the long hair of death stereolab

This is garage punk as power-pop, unimpeachable nyah-nyah-nyah, a paean to unbridled id and flouted manes. Boiling three decades of albums, compilations, EPs, splits, and singles down to a mere 10 songs was rough, and it’s entirely possible that if I started writing this feature next month, I’d be tackling a different 10 songs. There are certainly other viable ways to separate hardcore besties from fairweather friends, but “Pulse” is the only one I can think of that’s reliably magical each time out — plus, it’s all in French. The bouncy “Transona Five” nails this approach, a wonder of sweet’n’sour clang chords that drift around in the mix’s viscous mucous membrane. Singles. Given that the Groop’s final masterpiece felt inspired by jazz, melancholia, psychedelia, and late 20th-century European cinema, the emergence of a straight-up banger seemed unlikely. While grunge was peaking, Britpop was winding down, and hip-hop was in the midst of being codified as pop’s lingua franca, Stereolab were just getting warmed up in pursuit of a throwback art-deco futurism. 2005 Free Witch And No-Bra Queen 2001 The In Sound 1999 Iron Man 1997 Noises 1993 The Long Hair Of Death Everything about this song is playfully calibrated for maximum wow: the vocal lines enveloping one another like mutant kudzu, the killer wasp tickle of effects pedals, the strings a-swooping just so. Her beautiful older daughter knows the real reason for the execution lies in the lord's sexual desire for her mother. Simple Headphone Mind is the second collaboration between Stereolab and Nurse With Wound.As with their first release, Crumb Duck, Stereolab recorded the basic track and then handed it over to Steven Stapleton to do with as he pleased. Directed by Antonio Margheriti. Its not on particularly heavyweight vinyl but its a good pressing. VAT Number: GB 315 0760 32. Somewhat similar to the Japanese box. Speaking of which, I still don’t understand why Stereolab weren’t the target of constant, face-melting remixes during their prime; one of the universe’s crueler mysteries. Registered office: Spectrum House, 32–34 Gordon House Road, London, NW5 1LP. Ultimately a vodka-and-Red Bull-doused-lemonade Slurpee of a single, “Bubblegum,” like the cockroach or the Dude, abides; indeed, if Stereolab can truly be said to have a recorded essence, this is it. How exactly are you listening to this at home without dancing in your swivel chair? Early 1990s Stereolab was largely noisy, raging, and monochromatic, with few or no individual songs calling much attention to themselves for non-diehard fans. The discography of Stereolab, an English-French rock band, comprises thirteen studio albums, seven compilation albums, fifteen extended plays, sixteen singles, and twenty-three rarities compilations.Release dates listed are earliest worldwide. You can choose to opt out of the following cookies: Google Analytics is used to track usage of this website anonymously. Here, the Groop goes in for a jittery jolt of electro-reggae — or something near enough to that vein — as the unbreakable fist of Sadier/Hansen gamely boil the truth of geo-political unrest down to piddling schoolyard bullshit. With Barbara Steele, George Ardisson, Halina Zalewska, Umberto Raho. Company Registration Number: 11793693. I can’t hear Sadier sing, “So if you must go, go/ The wind will take you, it will lift you/ Across the ocean,” without being overtaken by chills. Turning off will mean that your activity is not sent to these services. 08. Beyond that point, Stereolab seemed to lose ground; the stretch of LPs from Sound-Dust through Not-Music was relatively uninspiring, with fans getting only one or two gems from albums that weren’t otherwise memorable. Aluminum Tunes is a double album collection of EPs and rarities from Stereolab, released in 1998. Even at the chorus, when “Reverie” pauses to catch its breath and pulls its propulsive punches, dazzlement remains the name of the game, with sweet sweeps of orchestration and synth tone piling up swiftly and adroitly, like Jenga blocks in the hands of a master. – Stereolab: The Long Hair Of Death Songwriter – Sadier*, Gane* Notes Both sides of the record (and on the sticker on the sleeve) labeled "A"; etchings indicate A/AA. For information about cookies that are required for this website to operate correctly, please read our cookies policy. It’s actually two awesome-sauce ragers in one, shifting around the eight-minute mark into a choppier, slightly more conventionally thrilling gear that crashes forward for 10 more minutes of your life that you won’t mind surrendering to these grooves. Powered by Ochre. Titled after a 1960s Italian horror film, “The Long Hair Of Death” may be the best of the Groop’s out-music larks: five minutes of moody boulevard bass drones beset by squelched wavelength and spooky oooooooos doubling back upon themselves. These days, Sadier has pursued music as Monade and under her own name, while Gane teams up with Holger Zapf and former Stereolab drummer Joe Dilworth as Cavern Of Anti-Matter. In a 15th-century feudal village, a woman is accused of witchcraft and put to death. It should be noted that the Switched On compilations, where stray splits, EPs, and singles were collected, are an embarrassment of riches in terms of oddities and left turns like “Death” — which feels tailor-made for a Scooby-Doo episode where the gang mistakes brown acid for Scooby Snacks. For good or ill, no two releases sounded quite the same, but everything was recognizable as uniquely Stereolab — a heady, hyper-real brew born of too many hours spent dicking around in studios by their lonesome or with varying degrees of input from members of Mouse On Mars, Tortoise, and High Llamas. Turning off will mean that your IP address is not sent to Google. The elaborateness of its construction belied by merriment and sheer melodic power, this spritely song is composed entirely of musical exclamation points: the drums scaring up a fine simulacrum of a horse on cobblestone, flanged guitars and synthesizers trading quips, shoots of piano poking through, Laetitia Sadier’s felicitous vocal ballooning the hook to stratospheric heights. For many, Dots & Loops drew a clear line in the sand of Stereolab’s discography, separating the band’s rough-hewn beginnings from its creamier, increasingly produced later period.

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