SUPER-ELECTRIC

Emerging only a mere four months after its electrifying fuzzy guitar-laden debut, STEREOLAB unleashed its second EP of 1991 in the form of SUPER-ELECTRIC which found the band deemphasing its brash guitar dominate of "Super 45" and rather engaging in a wider array of more relaxed approaches that allowed the band to experiment with a wider range of tones, timbres, dynamics and most significantly tempos. As with its first EP release, SUPER-ELECTRIC featured four tracks that focused on the same contrasting forces that made STEREOLAB sound utterly distinct from the beginning.

A much mellower affair, the guitar tones had been de-noised and rather offer a clean slightly echoey effect which allowed the electronic atmospheres to resonate with a less suffocating effect. Likewise Seaya Sadier's vocals take an even greater role in delivering a more emotive display of her French origins that evoke the classic chanson tactics of her heritage. While the rhythmic drive is still set to the already established motorik robotic detachment of the debut, here the four tracks find different speed settings thus allowing a wider variety of percussive approaches rather than a simple time keeping beat.

Most notably the layering of synthesized elements is more in the forefront with the guitars demoted to the same status as the drums which are designed to simply maintain an incessant hypnotic drive that allows Sadier's vocals to wail over with her relaxed nonchalant mannerisms. Immediately flaunting a newfound confidence in its electronic the title track opens with an explosive electronic display of noise before breaking into the first track that offers the true potential of the band's future output. Dreamy indie pop hooks nurtured by a hypnotic droning guitar drive and smothered with a shoegazy atmospheric covering, Sadier seems to have found her niche in weaving her chanson inspired vocals into a the greater Kraut-fueled procession of the motorik rhythms and web of electronic wizardry.

Expanding its style beyond the usual motorik dominated noise pop, "High Expectation" offers a cleaner approach with less guitar fuzz and a more expansive array of chord changes and vocal possibilities evoking more of a Velvet Underground detachment than the world of Kraut. "The Way Will Be Opening" slows things down even more offering what could be called an indie pop ballad of some sort with clean guitars and a throbbing bass allowing an almost Cocteau Twins approach with Sadier's vocals taking on a more angelic role in delivering her dueling off-kilter harmonic twin voice effect. And with the closer "Contact," the band breaks free of its time restrictions and lets loose for over eight minutes of jamming dream pop meets Neu! inspired motorik rhythms. While as hypnotic and endearing as the other tracks, this one allows the proper expansiveness for the tempos to slowly ratchet up incrementally which offers the early characteristics of post-rock which the band would add to its infusion of sound.

While "Super 45" found the band ecstatically declaring their independence in a brash (for STEREOLAB) way, SUPER-ELECTRIC is an easy-going acceptance of having found a style which its unflinchingly displays in full sonic regalia. The age of STEREOLAB had pretty much arrived and the band would begin to release its arsenal of innovative album's beginning with "Peng" in 1992. While often ignored in the greater STEREOLAB canon, these first two EPs are very worth checking out. Likewise SUPER-ELECTRIC along with "Super 45" and a couple of unreleased tracks were compiled together and released as the compilation "Switched On" the following year. In effect, SUPER-ELECTRIC is where STEREOLAB completed its alchemic experiment of melding the worlds of Krautrock, space rock, noise pop, post-rock, dream pop, shoegaze and French chanson into an irresistible force that would soon take off.

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