EMPEROR TOMATO KETCHUP

Emperor Tomato Ketchup (named after a very Infamous movie) is an amazing modern take on krautrock, fusing elements of electronica, french pop, post rock and psychedelic. And i say *modern* because while there's pure 70s krautrock worship there's lots of stuff here that make it sound unique and frankly i can't find any other band that sounds like Stereolab, the sound is very playful yet laid back with hints of progressive pop, funk and electronica it's like if CAN was a french pop group with hints of THE VELVET UNDERGROUND, the album is experimental while still being very accessible, like i said it's very playful and laid back at the same time, i honestly find it impossible to not enjoy this album

A very highly praised album by these pop/Post Rock/MathRock pioneers, representing a major leap forward in the band's evolution--thanks to the inputs and influence of TORTOISE mastermind's JOHN McENTIRE and his Chicago production team.

1. "Metronomic Underground" (7:55) funk and Hammond! Building layers slowly, carefully, this is a textbook illustration of a Post Rock/Math Rock song but with vocals. Not so very exciting, it's more like a band's study in and display of discipline. So clean and solid! (13.25/15)

2. "Cybele's Reverie" (4:43) introducing the sound the band would perfect on Dots and Loops, melody and weave. Nice use of Motown-like "strings." (9/10)

3. "Percolator" (3:47) more fresh introduction of sounds and stylings that will be perfected on their next album, the bouncing Farfisa and running bass line provides perfect backdrop for vocals (in French) and other instruments' additions. Slightly monotonous. (8.75/10)

4. "Les Yper-Sound" (4:03) or perhaps a blend of older British and French sounds and styles with a social-political message. (8.25/10)

5. "Spark Plug" (2:29) a sparky little modern dittie for the deliverance of another politically-weighted message. (8.75/10)

6. "Olv 26" (5:42) Interesting OMD-like sound palette over which the French vocal is a little pitchy. Becomes a little more CURE-like with the addition of percussive guitar mid-way. (8.25/10)

7. "The Noise of Carpet" (3:05) another 80s-like (even 70s punk in its simplicity and political lyrics) sounding song. This one feels a bit immature, not fully formed; it doesn't quite stand up to the quality and sophistication of the opening three songs. (8/10)

8. "Tomorrow Is Already Here" (4:56) Americana guitar and bass are joined by Hammond in a Math Rock weave. Drums and cymbals join in to set the stage for Mary Hanson's lead vocal. More social-political commentary. Sounds a bit like JANE SIBERRY. Nice Post Rock build and crescendo. (8.25/10)

9. "Emperor Tomato Ketchup" (4:36) CLASH-like "London Calling" opening groove with all kinds of squishy computer- synth noises spilling out over the sound scape. Great bass play. Vocals don't start until the third minute! Beautiful soprano vocal from Mary in French--adds so much to the stark foundational weave. (8.5/10)

10. "Monstre Sacre" (3:44) opens with some very proggy chords and sounds, slow and spaciously woven with Lætitia's gorgeous vocal front and forward enunciating the English words so clearly.Very cool song! A top three for me. (9/10)

11. "Motoroller Scalatron" (3:49) synth spits open this one before rhythm guitar, bass, and drums enter to provide very basic bubble-gum pop sound & structure. The multi-voice vocal harmonize the simple lyrics to make it interesting ("built on love ? words") Cute pronunciation of "responsible" in second half. (8/10)

12. "Slow Fast Hazel" (3:53) another cool song that previews that which will be perfected on Dots and Loops. My other top three and my favorite song on the album. (10/10)

13. "Anonymous Collective" (4:32) opens with a darkness that feels more like something from Dutch band THE GATHERING. Lætitia's very deep voice enters at 0:30 singing as if from a closet in the background. When she switches to an upper octave, her voice becomes a little pitchy. The music is getting a little monotonous just when she quits and allows for the simple, sparse inputs of other instruments. Not my favorite song by them: too simple. (7.75/10)

One of the standout features of this collection of songs is the perfection of the weaves. Another is interesting social- political commentary.

B/four stars; a solid contribution to the progression of pop-fusion music that demonstrates the band's willingness and interest in growing, evolving. Still, this is very much a transitional album as there are songs that find them caught in "old" patterns while, at the same time, there are songs that demonstrate new, fresh sounds and stylings. Dots and Loops will show the band's full metamorphosis and maturity.

I saw two other PA users review Stereolab albums so I decided to review one of my favorites by this art pop six-piece.

This is where all those consolidated sounds and styles in Stereolab's earlier albums suddenly splintered, separated and were given their own space (they hinted at it in Mars Audiac Quintet, but here it sounds charged). They still approach each song with the heavy hand of a rock sensibility (as opposed to their later smoother electro-jazzy- groovy-esoteric stuff), and cram it with experimental and inventive arrangements. A grab bag of unpolished gems. Equal parts orchestral pop, proto-punk, moog rock and funk, without actually adhering to any prefab formula. Yet to a lot of people in a lot of ways, it's the only Stereolab LP where you don't have to develop a whole new philosophy about the structure of popular music in order to appreciate it. But your parameters are challenged and broadened anyway. Take "Spark Plug", a funky number with meat, its groove offset by the robotic chant "auto production / auto organization". Or the buzzing Suicide pulse of "OLV 26", given a melodic warmth. Or the odd rhythm coupled with a Steve Reich-like vibraphone trance in "Tomorrow is Already Here". Like I said, it's heavy-handed. This ain't EZ listening. Even forays into schmaltz like "Monstre Sucre" have a weighted off-kilter quality. While tunes like "Metronomic Underground" and "Emperor Tomato Ketchup" are so catchy, so instantaneously addictive, you'd never guess they were built around riffs lifted from Yoko Ono songs. Everyone should own this, even to see just how influential they were. Subversive in its intelligent sense of fun.

4.5