Stereolab are a UK-based band whose style, mixing 1950s–1960s pop and loung… Read Full Bio ↴Stereolab are a UK-based band whose style, mixing 1950s–1960s pop and lounge music with the “motorik” beat of krautrock, was one of the first to which the term “post-rock” was applied. People frequently refer to their style as being "avant-pop." They are noted for the use of vintage keyboard instruments like Moog synthesizers and Vox and Farfisa organs. Stereolab is also notable for founding their own record label, Duophonic Records, with a grant from UK charity The Prince’s Trust. The band is often referred to as “The Groop” by their fans (and in the title of their song “The Groop Play Chord X” on the album Space Age Batchelor Pad Music).

They were founded in 1990 by songwriters Tim Gane (guitar, keyboards), formerly of the band McCarthy, and Laetitia Sadier (sometimes credited as Seaya Sadier; vocals, keyboards, trombone, guitar), who is from France and sings in both English and French.

Over the years, Gane and Sadier have enlisted a large number of other musicians to accompany them on stage and on record. The initial line-up featured Martin Kean, formerly of The Chills, on bass, and Joe Dilworth (from their Too Pure label-mates Th’ Faith Healers) on drums, with Russell Yates (of Moose) and Mick Conroy (ex-Modern English) also appearing at early live shows. In 1993 they recruited Andy Ramsay (drums), who has remained in the group line-up ever since, and Mary Hansen (vocals, guitar, keyboards, percussion). Hansen’s distinctive backing vocals became an important aspect of the Stereolab sound, and she remained a regular feature of the line-up until her death in a cycling accident on December 9, 2002. Multi-instrumentalist Sean O’Hagan of The High Llamas has also been a frequent contributor, particularly with string, brass and keyboard arrangements to the band’s studio albums. John McEntire (Tortoise) has also contributed keyboard, electronic effects and studio help over the years. Other members have come and (in some cases) gone over the years, including Duncan Brown, Dave Pajo (from Tortoise), Richard Harrison and Simon Johns (all bass); Gina Morris (vocals); and Katharine Gifford and Morgane Lhote (both on keyboards).

Early Stereolab material displayed a heavy influence of krautrock sounds, particularly Neu! and Faust, characteristically relying on droning, repetitive guitar or keyboard riffs, with or without vocals. Early heavy use of distorted Farfisa combo-organ sounds were also reminiscent of early recordings by The Modern Lovers. As the band developed, they incorporated new instrumentation, and an increasingly complex sense of rhythm and structure, frequently making use of irregular time signatures as well as unorthodox chord progressions and melodic intervals. The band has often made copious use of female backing vocal lines.

Lyrically, Stereolab’s music is quirky (song titles evoke memories of 1950s science fiction stories, and are often borrowed directly from old films and records of the period, but have nothing to do with the song’s content), but highly politically and philosophically charged, sometimes with a decidedly Surrealist or Situationist bent. (Sadier notes the libertarian Marxist theoretician Cornelius Castoriadis as a particular inspiration.) Sadier’s lyrics, in both French and English, often read like highly condensed sociological texts, standing in deliberate and distinct counterpoint to the lush hedonic pop sound of the band. A prime example would be “Ping Pong” from Mars Audiac Quintet, which is an explicit restating of Marxist theory concerning the relationship between economic cycles and war cycles.
Stereolab earned a minor place in the Britpop movement, with their sound proving influential to bands like Blur: occasional keyboard-driven b-sides and singer Damon Albarn’s love of retro keyboards showed the influence, and in recognition Laetitia Sadier was invited to provide vocals on “To The End” from Parklife.

Despite the band’s fan base and critical acclaim, Stereolab has not achieved high levels of financial or popular success. On June 7, 2004, suits at the Warner Music label (to whom the band was signed in the U.S.) announced they were dropping Stereolab in response to the poor sales (40,000 to that date) of Margerine Eclipse. This was part of an ongoing effort by Warner to cut costs; The Breeders and Third Eye Blind were also dropped from the label for this reason. Laetitia Sadier is now also a member of Monade, which is essentially expressive of her own singular musical goals.

Spinal Column
Stereolab Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

I've got a spine
So I can move around
It's so supple
It gets me really high
It all stretches
Keeping the man ? alive
I've got a spine
So I can modulate

Also, helps me to concentrate
A spinal column, a flexible tool
It is harmless but fairly powerful
I've got a spine
So I can move around
I've got a spine
Keeping me

I've got a spine
So I can move around
It's so supple
It gets me really high
It all stretches
Keeping the man ? alive

A spinal column, a flexible tool
It is harmless but fairly powerful

Overall Meaning

The song "Spinal Column" by Stereolab is a celebration of the human body's most critical structure- the spine. The lyrics open by acknowledging that the spine enables movement, flexibility and suppleness, making it an essential tool for any person in their daily lives. The lyrics go further and state that the spine helps one to concentrate, as it is connected to the nervous system that controls both movement and sensation. Stereolab also praises the spine's power, calling it "fairly powerful," despite seemingly being a relatively harmless structure.

Throughout the song, Stereolab emphasizes the spine's vital role in keeping a person alive, highlighting its continuous stretching as a symbol of life itself. The lyrics acknowledge the body's constant need for movement and adaptability, with the spine acting as a tool for modulating when necessary. The song's chorus emphasizes the message that the spine keeps the singer moving, keeping them alive, and emphasizes the importance of this influential structure in everyday life.

Overall, the song seems to celebrate the spine's significance in everyday life, from the mundane to the profound, reminding the listener not to take its importance for granted.

Line by Line Meaning

I've got a spine
I possess a spinal column

So I can move around
Which allows me to be mobile and move my body

It's so supple
My spinal column is quite flexible

It gets me really high
The sensation of being flexible brings me elation

It all stretches
The spinal column can be lengthened to varying degrees

Keeping the man ? alive
The spinal cord helps sustain the human body

A spinal column, a flexible tool
This bony structure is a versatile tool

It is harmless but fairly powerful
It doesn't cause harm, but its strength is not to be underestimated

So I can modulate
The spinal cord also helps regulate movement

Also, helps me to concentrate
In addition, it can aid in focus and concentration

Keeping me
Overall, my spinal column is crucial to my physical existence