Introduction#
Since the days of Not Music, Stereolab’s presence in the music scene has been ever so dim, almost non-existent if it wasn’t for the release of their switched on (Vol. 4 & 5) records. No one sound of mind, however, would dare to challenge the claim even musicians the likes of Tyler, the Creator affirm to this day: “Le groop’s” legacy has influenced bands, singers and creative personas beyond the music genres that critiques attempted to confine them into since the early 90s, when Tim Gane pioneered his next experiment after his adventures with McCarthy (the indie pop band), along with musician Laetitia Sadier.
As I lie down in my bed, headphones plugged to my phone and digging at my hair’s nest where they are embraced by my ears, I listen to Stereolab’s renaissance moment in the form of “Instant Holograms on Metal Film” — the title of their latest record — wishing for this to not be their definite swan song but rather, a new beginning for one of my favorite music groups of all time. I began listening to this album on my birthday (May 30), a wonderful gift life itself gave me the chance to experience, after a flu almost landed me in hell’s doors.
I would’ve listened to the album right on its debut (May 23), but I was confined to my bed with what my family could only describe as a pneumonic rattle sourced from a sick man, who’s throat collapsed as it grasped for air between unstoppable coughing fits. I’m moved to tears when the awareness — or feeling — of how close I was from dying just mere hours from the album being released, crashes into my thoughts, and how surviving to hear these melodies was worth the struggle, because this album, much like many of “le groop’s” material, deals with sociopolitical fights that are permeating modernity more and more, with each passing moment.
From sociopathic empowerment and corruption hollowing out the democratic institutions once built by our forefathers, to leaders deciding it’s best to wage war and light the dynamite stick at virtues once put in a pedestal, but now disgraced in favour of the rhetoric of hate that leads to nowhere.
Review#
The album begins with its intro track: Mystical Ploves; A colorful instrumental that marks the tone of the first half of this new album. Next comes Aerial Troubles. Stereolab had already released this track before the album’s release, as a teaser, coupled with an AI-generated video, much to my distaste. However, the track in itself is beautiful, filled with lyrics that denounce the greed that is permeating our society, a self-castrating byproduct of civilizations whose end goal is the pursuit of unrestricted growth. Now that I think about it, I think the AI-slop they added might be a call-out to how many white-collars in the upper-echelons see human input as disposable, and instead rely on large-language models (LLMs) and generative husks to do a half-assed job in order to squeeze a few more digits in their quarterly margins.
Melodie is A Wound follows with a playful rhythm that continues the fight for justice and the exposition of media manipulation, or that’s how I interpreted it. This track is very long and rich with strings and playful maracas, robotic sounds and a long solo. I like this track but honestly the album keeps getting better from here. The debut of the next track, Immortal Hands (and much of its instrumental), reminds me of the days I used to play strategy games such as Age of Empires II, in my old machine. The smooth synth playing its keys, and the soft drums carrying the melody of Laetitia’s lullaby hypnotizes the listener and evokes feelings of calm. The solo with the digital instruments and the piano seals the deal as one of the songs that I’ll forever remember after overcoming tough problems in my life. I like the trumpets during the bridge, and the wind instruments give this track a very scenic feeling, as if I was staring at landscapes with giants of stone touching the clouds in the horizon.
Vermona F Transistor would serve for a timeless film teaser/trailer music. I’ve already imagined several settings and plots in which a well-edited trailer can sell a creative endeavour as a masterpiece. An example would be an old man returning from war, exiled from his homeland after having been expelled by the enemy, finding no peace in his new place to stay. He would’ve been recruited to perform asymmetric warfare in the enemy’s nation in exchange for being able to be accepted by his nation once again and see his family, but the main character starts to fall in love with the people of this enemy nation, and in no time finds himself in a dilemma when he decides to drop his allegiance to his home nation, realizing the futility of war, and creates a freedom fighter’s cell in order to lead an insurrection with like-minded veterans from both sides that felt used by the leaders of both sides. With the help of newer generations that amplify his message through the use of viral marketing in social media, his actions mark the creation of a new reality for the entire planet. This is a plot I just thought of while writing this review and at the time of this writing, is 5 minutes old and full of plot holes and clichés, but perhaps this or similar story threads can push for a new tale. I love that this album joins the vocals of Marie Hansen’s niece into several tracks, and this track is the one where I felt her shine the most, amazing job.
Le Coeur et la Force: I practice French with this song. The bass and the sounds that illuminate the path where Laetitia stands, singing with a rhythm that could make me feel as if I was stranded yet content, in a completely white sky from an alien world, painted with black stars. Perhaps after living for hundreds of years and quitting Earth, perhaps after a fateful accident that makes us realize how tiny we are in front of the monolith of the universe right in front of the astronaut that contemplates the stars that blink back at him with nostalgia.
And now we arrive to the futuristic part of this album, not only because of how the instruments, the bleeps, and the digital combination make this track feel as if it was pulled from the next millennium, but also because of the signature arpeggios from Tim Gane slash through my ears with such ease. I’ve always believed that Tim Gane is a very talented composer, and Electrified Teenybop! seals this belief into fact. With this experimental instrumental, I feel as if I’m taking my space motorcycle for a trip into the solar system, full of lights from artificial and natural satellites, where some humans now work, live and might even be born into. Also it reminds me of Sonic the Hedgehog for some reason, maybe the accelerated tone might have something to do with it. This has become my favorite track of this album, and its continuation, Transmutated Matters, does not slow down at all with the wide range of sounds, but this track now returns to carry Laetitia’s words to new heights.
Esemplastic Creeping Eruption was pretty forgettable for me, but it wasn’t necessarily a bad track. I liked it, its just that after listening to Electrified Teenybop!, it feels as if I returned to a pond in order to contemplate the lilly pads and the frogs at a distance, away from space, into a more earthly listen. If you Remember I Forgot How to Dream Pt.1 holds anti war lyrics and very playful tones with pianos and horns, I liked this song. Flashes from Everywhere also had lovely lyrics which I sing to, along with an amazing guitar bridge that connects to Laetitia’s performance. The only song that felt too out of place, was Colour Television, but again it was not necessarily a bad thing, as I was transported to a day in the dunes of sand at one of the many beaches I’ve been in my life, but I yearn to return to space or be shaken by a stronger emotion, like with the previous tracks.
And with all this, the album closes with the second part of If you Remember I Forgot to Dream. I loved this track more than the first part, it feels as if the lab incorporates male backing voices here and it fits the mood of the song, a beautiful synergy with Laetitia’s voice. It also feels a bit more futuristic and experimental than the first part, even if it’s slower-paced. It’s chords sometimes remind me of the track Chemical Chords, good overall!
Rating#
This has easily become one of my top three Stereolab albums. Instant Holograms on Metal Film serves as a rightful Renaissance to one of my favorite groups of all time (Dots and Loops holds the first place, and Sound Dust second place). I am extremely happy with this album and would rate it a 9/10. I want to buy the vinyl as soon as I can!
Wanna see the Lab live? Concerts all over Europe and the Americas will be held during 2025. Check Stereolab’s official site for more information.