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Their music was never purely bubblegum: it had to be John Cage Bubblegum, it was never purely avant-garde: it had to be Avant-Garde AOR.
Their early records were infused with a gushing enthusiasm for the motorik rhythms of Neu!
From the start, Stereolab infuriated the UK music press with cryptic song titles and obscure puns alongside what seemed like a contrarian insistence that what they were doing was pop.
It also reflected a punkish rejection of the grownup world and a love of childish thrills.
In some ways, Stereolab were like a precociously smart teenager experiencing first love: so keen for you to like them, but always holding something back; complicating every simple expression of their feelings, but also underscoring every attempt to be cool and aloof with something disarmingly honest.
With me, I find that I use it a lot without ever really thinking about what it means.
But if I were to choose one, this would actually be quite legitimate, because there were strong pop references in our music, and it was our モンテカルロフリーカジノ for a lot of what we were doing.
So in that regard pop can be very subversive and can be a danger to society!
Laughs IAN: You mention about the the importance ジョイカシーノ2019 simplicity, and I remember reading something that Tim said about how a lot of the simplicity and minimalism of early Stereolab was dictated to ジョイカシーノ2019 large degree by your own limitations as musicians.
Indeed, you have what you have, and you have to work with that.
IAN: Within punk, there seemed to be a lot of affection — sometimes a little ironic and sometimes more sincere — for the bubblegum extremes of pop music.
The Sex Pistols covering The Monkees etc.
LAETITIA: But they were!
You know, The Who and The Kinks were probably seen with an air of suspicion by the authorities because they had an incredible amount of sway with the youth.
They were a bit threatening, and of course so were the punks.
When Stereolab started, one of their most audible influences was Krautrock, which was a music with its own kind of simplicity.
And far less immediate than listening to a pop album.
IAN: Of course, as your career progressed, you all became better musicians and so some of those limitations fell away.
How did you keep in touch with that simplicity?
One album was written entirely where none of the notes from the melodies appeared in the chord that was sustaining the melody — which I think is great.
It brings about more tension.
There were often little tricks like that, which sustained entire albums.
We were very serious about what we did.
It was our way of making sense of our lives and of being autonomous.
Something about the idea of organising independently of power structures?
Even in my own band, I write almost everything.
He took all the melodic feel!
So this thing about relinquishing control is probably difficult if you have a very strong artistic expectation, which I think Tim had.
But also as a result I think our music was very reined in.
IAN: Do you think that having your creativity channeled narrowly into your lyrics and vocals influenced the way you make your own music?
LAETITIA: Yeah, yeah, of simply タホカジノの結婚式のパッケージ opinion />And also what it forced me to do was start my own band, which was Monade, and I think Tim was very relieved!
Laughs And, yeah, so that was a creative way around this issue, because I wanted to write my own songs, I had my own ideas, which are actually very similar to Stereolab, so I think I could have co-written much more with Tim.
IAN: But also one of the most powerful things music can do is that it creates a world.
I wonder if the difficulty you describe in escaping Stereolab is a measure of how immersive the world you created was.
I find myself quite good at getting out of my comfort zone, at least when I compare myself to people I know.
Yeah, and also coming from psychoanalysts themselves.
The need to step out of your comfort zone, and also to take the listener out of their comfort zone.
LAETITIA: Yeah, this is the duty!
I worked with Colin Newman recently, and his wife Malka Spigel who was in Belgian postpunk band Minimal Compact.
What they did was they took parts of the song and then they looped it.
And it worked fine, but I realised that, compared to what they were sending me, it just gave me a glimpse of this web page complex ジョイカシーノ2019 make things and how I could simplify it a lot.
And I was thinking how this idea of looking at the structure of the world in many ways goes against the rather individualistic world of pop or rock music.
Even the capitalist, the individualist, all this is stuff I could feel within myself.
LAETITIA: Yeah, and also coming from psychoanalysts themselves.
And in fact, I got very interested in a guy called Cornelius Castoriadis.
Like, as if society did not impact your psyche, your unconscious, which I find extremely dubious!
LAETITIA: Yeah, I think so.
And the production of the song will say a lot.
IAN: There seems to be an ease pop culture in Japan has in disconnecting the visit web page from the content.
And I think in Japan people were very savvy as well when it came to music.
People knew their stuff!
IAN: By Shuji Terayama, yeah.
Like I said, it gets タイタニックミステリーゲーム無料オンライン out of your comfort zone, and it forces you to a sort of activity to be productive, because anything could make you go out of productivity: feeling a bit depressed or this or that or the other.
LAETITIA: When I worked with Jan and Andi Mouse on Mars.
It was so brilliant.
So that became my sort of motto.
And yeah, somehow we did it and we had such a fun tour — it was such an adventure!
IAN: So you made three albums with Monade, then three just under your own name, and then more recently one as Laetitia Sadier Source Ensemble.
LAETITIA: Yeah, thank you for summing it up so beautifully!
We are all connected here.
For example, most Stereolab albums are far too long to fit onto a single piece of vinyl.
LAETITIA: Yeah, like any music that respects itself!
IAN: I think the way it forces you to constantly attend to it by turning it over every fifteen minutes encourages a different, more attentive sort of listening.
IAN: Perhaps it goes back to the idea of tension again.
LAETITIA: Yeah, you just consume it.
Just say a band and there you have it.
LAETITIA: Well, really the main thing at the moment is my project with ジョイカシーノ2019 Brazilian boys, Modern Cosmology.
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