Stereolab has cast a long and impressive shadow across the fringes of indie rock, and unfortunately now more than ever, their anti-capitalist and anti-fascist philosophies are more important than they’ve ever been. Saying that it’s revolutionary to feel joy, Laetitia Sadier and the rest of the band unleashed a joyous celebration of humanity without oppression.
Since regaining active status in 2019 after a decade pause, the band remarkably stills hits the high targets of quality they are known for. The most recent record, Instant Holograms On Metal Film is as strong a record as they’ve ever done, kind of unique situation where fifteen years later you’d be hard pressed to grab one of their other 13 records to play a banger or two at the party you’re hosting.
“Aerial Troubles” led the night off with an infectious melody, powered by their incessantly head-boppable rhythms. Sadier played the melody lines on her played lefty/strung for a righty guitar while Tim Gane fueled the engine room of the rhythm with drummer Andy Ramsay, setting a clear and unwavering course.
Playing for a sold out room, the band stretched across their discography in an impressive manner. Before launching into “Peng 33!” from their debut record back in ’92 and not played since 1993, Sadier asked who was in the room when they first played Boston at TT The Bear’s; my arm shot up with a couple dozen others. It’s a true pleasure they have reactivated the core artistic mission; all signs are go.
Last point – because this venue turns into a dance club for late night, the band was forced to cut “The Way Will Be Opening,” but even unplayed, the lyrics mirrored our times accurately:
“Total insubordination
Complete revolt, formal sabotage
Still it must be stressed that on this port
There is no room for compromise”
MEMORIALS was the kind of opener that’s ideal for the bill. They till the same soil but their crop is much different. Formed by Verity Susman of Electrelane and Matthew Simms of Wire, they took the duo format to the outer reaches. Both handled multiple duties, with Susman singing, playing keypboards, sax and the occasional chimes whereas Simms manned the drum kit, guitar and electronics. No gimmicks or taped backing tracks, each part was thoughtfully presented and built towards the whole. Their entire 40 minute set slipped by so quickly, I’m ready to be entranced once again.
