Cobra And Phases Group Play Voltage In The Milky Night

Stereolab - Cobra And Phases Group Play Voltage In The Milky Night

Cobra And Phases Group Play Voltage In The Milky Night
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CD Details

Artist: Stereolab
Edition: Music CD
CD Release Date: 1999-09-21
Music Label: Elektra / Wea
Soundtracks:
  1. Fuses
  2. People Do It All The Time
  3. The Free Design
  4. Blips Drips And Strips
  5. Italian Shoes Continuum
  6. Infinity Girl
  7. The Spiracles
  8. Op Hop Detonation
  9. Puncture In The Radax Permutation
  10. Velvet Water
  11. Blue Milk
  12. Caleidoscopic Gaze
  13. Strobo Acceleration
  14. The Emergency Kisses
  15. Come And Play In The Milky Night

Music reviews of Cobra And Phases Group Play Voltage In The Milky Night

Music Review: Stereolab Fall Under the Weight of Jazz...***1/2
Rating: 4 Stars

An interesting if difficult album, this. Of course, having been a Stereolab fan since '93 (when i was fortunate to see them in Portland on their first tour of the states) i have come to expect a certain amount of change on every album. In the last 3 years, i have also come to realize that they will never top the perfect mesh of texture and song they hit with "Emperor Tomato Ketchup." But that's okay. Their last true album, "Dots and Loops" mostly traded in the moogs and Velvet beats for xylophones and bossa nova percussion. This time out, it's ten fold, but it still works.

the album begins with the odd instrumental cacophony of "fuses" which will send most old fans screaming for the stop button. But if you hang on for "The Free Design", all will be rewarded. Here the rhythms really kick in and the textures dance all over each other. Prance around for a few more songs and you get " QP Hop detonation", "Puncture in the Radax Permutation" and "Velvet Water" all of which belong in the classic Stereolab song mix (especially "Puncture" which features more of their patented song shifts). After that, though, it gets weird again. "Blue Milk" is a 14 minute sound wash that doesn't always work and "Caleidoscopic Gaze" just doesn't work, period. "Come and Play in the Milky Night" ends the album on an upnote, but overall the record leaves me with more questions than answers. For one: where are Gane and Sadier going with all this? At the end of "Dots and Loops" one is left with a promise of a groovy symbiot between jazz, pop, and experimental music. At the end of this one we are left with no promises at all. As if the jazz had finally won the battle begun way back when on "The Groop Played Space Age Bachelor Pad Music" and nothing new had arisen to challenge it. Another problem is Sadier herself...i dearly love her lyrics and vocal stylings, but they haven't changed while the music has. What this means is that her voice no longer matches the tunes that surround it. These songs call for some long, drawn out wails and passionate subject matter and neither of these are Laetita's fortay.

But no matter. It's still a great little album full of surprises. And many of my gripes may come from years of being continually astonished by this band's creativity, only to wonder if they've hit the end of their road. If so, they've left behind a legacy difficult to compete with, which will only ripen with the years. If not, I imagine i will be bowled over in a year or two with the new wonders concocted by Gane's musical kitchen. Even still, he can make some mean salsa.

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Description of Cobra And Phases Group Play Voltage In The Milky Night

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Like Sonic Youth and the Beastie Boys, Stereolab have always acted as cultural ambassadors (enthusiastically turning folks on to neglected artists and sounds) as much as a band of their own. On this gorgeous disc the group spice up their sonic soup with jazz, creating complex songs that are spot-on terrific and remind the listener of no other band in the world. --Mike McGonigal
On this bemusingly titled album, Stereolab toss around small chunks of music as catchy and irresistable as anything they've ever recorded. The warm Moog synth that leads off "Infinity Girl" or the horns that burst out of Laetitia Sadier's dry, layered voice in "The Free Design" will significantly boost your serotonin levels. The deconstructions these sonic scraps undergo and the analog keyboard textures around them are radically broad-minded, unveiling a separate and equally engaging architecture all their own. The ear follows one, then the other, first harmonically together, then suddenly cacophonous, all wrapped up in that familiar, '60s-a-go-go ambience. The scrupulous sensibilities of coproducers John McEntire and Jim O'Rourke are all over this record, incorporating the Chicago post-rock electronic sound and left-field musical influences at the heart of their work. Yet just when the song is sure to fall apart, Stereolab rediscovers the melody at the core. Take "Puncture in the Radax Permutation": a descending string melody mingles with a plunking xylophone-like pattern, the blend getting more and more abrasive. Suddenly the strings rise up with the drum track and a dreamy little tune reveals itself. It's not a record that's easy to get one's head around. Repeated listens, however, expose the diamonds in the rough, though the rough itself proves just as valuable. --Matthew Cooke

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