Having been in this game now for something approaching 15 years and with 8 albums now under their collective belt, the temptation is to bestow veteran status on STEREOLAB and suggest that perhaps their glory days are gradually fading into the past.
That's a touch harsh when you sample their new album (the groop's 8th) "Margerine Eclipse", however. Their first concerted, full-length effort since the tragic death of guitarist Mary Hansen, it's a mostly likeable - and occasionally inspired - affair that will do little to harm the band's tried and true fanbase.
Whether it's really any more, though, is debatable. Certainly it starts beautifully with the airy glide of "Vonal Declosion", which is breezy, poised and an exemplary exercise in the band's patented retro-pop. But with all the correct buttons already pushed, a slew of tracks like "Need To Be", "Sudden Stars" and "La Demeure" slide through almost unnoticed. All pleasant, spacy and slightly dance-y, they're nice, but nowt ver 'lab haven't already done a hundred times previously.
Indeed, it's only really when Gane, Sadier and co screw up the blueprint and lob it out the window that any real sparks fly. Take "Cosmic Country Noir", for instance: initially an odd, scuttling thing with moody oscillations, it ups its' intent dramatically when the whole band smash into the picture and is only marginally short of a "suite" (erk!) in the Neil Young "Broken Arrow" sense.
"Margerine Rock", by comparison, is refreshingly direct. Laetitia sounds sassy as hell and the band really rock in a clipped, economic stylee. Very good, as is the ensuing "The Man With 100 Cells", which is smooth, subtle and melodic before suddenly shifting into a dangerous fifth gear. Haunting stuff.
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The band save the album's two other standouts for the end. "Bop Scotch" is bright, bouncy and a simpler, driving pop tune of its' own volition, while the closing "Dear Marge" - a tribute to Mary Hansen - is initially a bossanova with nylon strung guitars and shadowy organ. It's certainly dignified until a final funky section dominated by clavinet and disco beats makes its' presence felt. It's hardly what you'd expect and all the better for that.
There's nothing intrinsically wrong with the remainder. The band do try a few subtle deviations, such as a gentle reggae pulse here ("Margerine Melodie") and wintry Krautrock textures there ("Feel & Triple"), but these are a bit tentative and half-finished and suggest the band didn;t quite have the courage of their convictions when push came to shove.
Nonetheless, "Margerine Eclipse" is a decent album and certainly one to suggest there's still legs in this groop project even after Mary Hansen's sad demise. It's also possibly their most consistent set since "Emperor Tomato Ketchup", so to complain too much would be churlish. Whether it can open doors to a fresh audience, though, is debatable at best.
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