After taking almost a decade off to go do other projects, Stereolab returned at the end of 2019 to sold out reunion shows and a hugely successful reissue campaign of their back catalogue. Though it sounds trite, in this case, absence really does make the heart grow fonder. Taking an extended break has also served other bands in the last decade, like Suede, The Cure and Everything But The Girl. There was a sense of goodwill and anticipation for their comeback albums and it applies here too. There’s genuine excitement for Stereolab’s first album in 15 years.
After finding critical success with their mid-90s classics such as Mars Audiac Quintet, Emperor Tomato Ketchup and Dots & Loops, the band fell off critically at the beginning of the 2000s and went from making the top 30 (even with compilations) to missing the charts completely. Any drop in popularity wasn’t reflected in the quality of the music in the slightest – 2001’s Sound Dust and the incredibly underrated Margerine Eclipse are some of their best albums. By this time, there was a sense they were taken for granted. Even their neglected final album, Not Music, was an extremely strong release.
The announcement of Instant Holograms On Metal Film (sounds like a Stereolab title) came with the lead single, ‘Aerial Troubles’, at the end of March. Everything fits perfectly into place on this restrained single. Laetitia’s vocals make it sound like no time has passed: there are gorgeous soothing backing vocals, a gentle rhythm and layers of warm synths. The combination makes you want to lie back and float away. The unexpected arpeggio that ends the song is one of many cool little flourishes.
Second single ‘Melodie Is A Wound’ (very much a Stereolab title) is even better. The ratting ‘Enola Gaye’-like rhythm and two-note guitar-line is deeply hypnotic. It wouldn’t sound out of place on Margerine Eclipse or the poppier moments on Cobra & Phases. Laetitia sings, “you’re longing for truth and trust” as the textured sounds melt around her. The extended album version adds an unexpected jazz-tinged breakdown before a delightful synth lifts off and takes the song into space. It’s one of those moments that make Stereolab who they are and it’s hard to resist hitting repeat at least another five times just to experience it again.
The sparkling ‘Immortal Hands’ slows things down with another beautiful yearning melody. At the three minute mark the song switches tempo, as dreamy keyboards twinkle in the background and a buoyant brass section appears. These switches have been part of Stereolab’s DNA from the epic full album version of ‘Jenny Ondioline’ to Sound Dust highlight ‘Captain Easychord’. Somehow after all this time they still catch you off guard and make the journey of a Stereolab album incredibly alluring.
As with all of Stereolab’s best work, this is very much a headphones album. When you listen closely to a song such as ‘La Coeur Et La Force’ you can hear stunning details in the production such as the bubbling electronic beeps and the undercurrent of layered tranquil backing vocals. The irresistible instrumental, ‘Electrified Teenybop’ (maybe the best Stereolab title since ‘The Noise Of Carpet’), has motorik 70s inspired synths that ping pong in your ears and sound absolutely heavenly. The trippy dub coda to ‘Esemplastic Creeping Eruption’ is another magical moment. The whole album is a production masterclass, with songwriting from Tim and Laetitia to match it.
Elsewhere, ‘If You Remember I Forgot How To Dream Part One’ provides the album’s biggest earworm with its playful addictive bass-line and delicious guitar licks. It’s followed by the heartwarming ‘Flashes From Everywhere’, which has the perfect balance of melancholy and luxurious whimsical tones. These songs give the album the light and shade to make it stand with their most compelling releases.
The return of Stereolab doesn’t find the group (or “groop”) needing to undo any wrongs. They never lost their way or put out any albums that were remotely bad. This comeback feels like they are just gently reminding people they were always special. Despite that 15 year gap between albums, they’ve not missed a beat.
On Holograms On Metal Film, Stereolab have distilled their sound and made a dazzling return. One of the album’s most striking moments is when Laetitia sings, “I’m the creator of this reality” on ‘Vermona F Transistor’. Stereolab has influenced some of today’s best artists (Jane Weaver, Melody’s Echo Chamber, Dummy, Gwenno etc), and the reality she sings of is one only these people together could make. Getting lost in their technicolour world will always be such a pleasure. If they come back soon or if it’s another 15 years, it seems unlikely they’ll ever be taken for granted again.
Instant Holograms On Metal Film is out on Duophonic/Warp on Friday
