Stereolab - Chemical Chords reviews
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| Avclub |
 The most striking element of Chemical Chords is its brevity. It's been ages since Stereolab made an album without a dragged-out, drone-y centerpiece or a 10-minute suite, and Chords finds the group in pop-song modeall of the tracks are in the three-minute range, and none is over six. Still, the album doesn't offer anything quite as structured and hooky as "Ping Pong" or "The Noise Of Carpet." Guitarist Tim Gane and singer Laetitia Sadier still build songs on tiny melodies and samples, but this time they aren't falling hopelessly in love with them. They're editing, giving simple ideas more impact by reducing their exposure, preventing a Saturday Night Live skit from becoming a Saturday Night Live movie. This is exemplified by "Pop Molecule (Molecular Pop 1)," a thunderously bottom-heavy instrumental on which the band piles atop a back-masked sample for a little over two minutes, enough to make listeners beg for more, rather than mercy. Meanwhile, High Llama Sean O'Hagan returns to the band with his giddy brass and string arrangements, lending Chords a warmer sound than any 'Lab record in years....full text |
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| Pitchforkmedia |
| Part of the fun of following Stereolab over the years has been following the declarations of mastermind Tim Gane, who has an uncanny ability to plant contextual seeds of albums in advance. The albums don't need it necessarily, but from the beginning-- when Stereolab paid prescient tribute to the likes of Neu! and Martin Denny-- on through to their present triumphant twilight, Gane has always come across as an ideal kind of character: a mix between a thoughtful critic and an excitable collector geek who gets off on trying out the ideas he hears on records he loves. Before 2004's Margerine Eclipse, Gane talked about using puddles of rhythm as the basis for songs that sparkled like reflections. For the new Chemical Chords, he's spoken of making good on an affinity for Motown....full text |
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| Allmusic |
| At times, Stereolab's music seems so unchanging that it feels more like it was generated by a laser-guided, lounge pop-meets-Krautrock machine than an actual "groop," but the small tweaks they make to their master plan on each album end up making a big impact. On Chemical Chords, Stereolab's 4AD debut, they take a much more pop-focused approach than their immediately previous work -- which is saying something, since neither Fab Four Suture nor Margerine Eclipse were among their more experimental moments in the first place. Actually, the shortness and directness of these songs could be seen as a bigger experiment for the band than their frequent lockgrooves and hypnotic passages; with those trimmed, Chemical Chords presents a version of Stereolab's sound that is just as vivid as their earlier output, but fizzing with immediacy and urgency. "Neon Beanbag" jumps in hooks first, opening the album with a surprisingly swift rhythm and Laetitia Sadier's more familiar, bopping backing vocals....full text |
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