Margerine Eclipse (Expanded Edition)

90年代オルタナ・シーンでも異彩の輝きを放ったポップス界の皇帝ステレオラブが本格再始動!!7タイトル再発キャンペーン第3弾!

90年代に結成され、クラウト・ロック、ポスト・パンク、ポップ・ミュージック、ラウンジ、ポスト・ロックなど、様々な音楽を網羅した幅広い音楽性でオルタナティブ・ミュージックを語るのに欠かせないバンドであるステレオラブ。10年ぶりに本格再始動した彼らが音楽史に燦然と輝くカタログ7タイトルのリイシュー・キャンペーンをスタート。

7タイトル再発キャンペーンの締めくくりとなる第三弾として、ジム・オルークとジョン・マッケンタイア共同プロデュースによる2001年の『Sound-Dust』と、久々のセルフプロデュースアルバムとなった2004年の『MargerineEclipse』の2作が再発。今回もメンバーのティム・ゲインが監修を行い、電気グルーヴのマスタリングも手掛けるボー・コンドレンの手によってリマスタリングが施され、ボーナス音源には別バージョンやデモ音源が収録されている。

Stereolabs music is so consistent, and so consistently pretty, that it has become nearly criticism-proof; the band do what they do so completely that its almost a matter of accepting or rejecting their music whole instead of analyzing it. But while Stereolabs mix of 50s and 60s lounge, vintage electronic music, and Krautrock may have crossed over into easy listening indie pop a few albums ago, they still cant be dismissed easily. Margerine Eclipse, the bands tenth full-length, can sound a bit like a collage of pieces from their nine other albums, but the overall effect is more retrospective than repetitive. Its arguably the most direct work Stereolab have done since Emperor Tomato Ketchup (and at just under 54 minutes, its one of the shortest of their later albums) and it continues Sound-Dusts trend of gathering the sounds the band explored on their previous work and tweaking them slightly. All of this is to say that Margerine Eclipse is a strong album, even if the nagging feeling that the band aimed a little low with their artistic goals takes a small amount of pleasure out of listening to it. The album trades in the bright yet somehow bittersweet pop at which the group have always excelled, albeit in a more streamlined form than its taken over the course of their past few albums. The busy beats, whimsical noises, unconventional melodies, and, of course, lovely harmonies that define Stereolab are all present and accounted for, and theyre all very pretty, even if many of them are pretty similar to each other. But Margerine Eclipses best songs are good enough that they resemble a greatest-hits collection from an alternate universe: ...Sudden Stars is as coolly lovely as it was on the Instant 0 in the Universe EP, with its delicate, measured synth and vocal lines rising and falling in graceful arcs of sound. Vonal Declosions twangy guitars and lush strings nod to Sean OHagans involvement, and the layers of Laetitia Sadiers vocals are seamless, but on songs like this, Mary Hansens voice is missed more than ever (Feel and Triple is a sweet tribute to her). Cosmic Country Noir is another of Margerine Eclipses standout tracks, and indeed one of the best Stereolab songs in a long time; on paper, its percolating percussion, chiming synths and guitars, and simple lyrics about the pleasures of the country might not seem all that special, but in practice its exceptionally beautiful. Perhaps Margerine Eclipses greatest accomplishment is that it isnt nearly as overcooked as some of Stereolabs other recent work. None of the songs bring the album to a halt; the closest Margerine Eclipse comes to the bands previous noodly excursions is La Demeure, a fascinating but somewhat formless track mixing Raymond Scott-like synth sparkles with brass and unpredictable rhythmic and melodic shifts. Just as importantly, the fizzy Margerine Rock and Hillbilly Motorbike, which sounds like the theme to a very stylish game show, restore some of the effortless fun that informed all of Stereolabs work before Dots and Loops. Likewise, Bop Scotchs mix of surf rock and synths -- as well as the sassiest vocals from Sadier in a long while -- suggests that theres still plenty of life in Stereolab. OHagans presence on the album is used judiciously, adding some warmth to the production but not indulging his own noodly tendencies either. Margerine Eclipses final track, Dear Marge, is heavily influenced by OHagans work, both with the High Llamas and his previous collaborations with Stereolab. Its languid guitars and silky vocals threaten to slide off into a blissful haze, but then the band reprises the surprisingly convincing disco interlude they introduced on Instant 0 in the Universes Mass Riff. It wouldve been nice to hear that part of the song developed into a full-fledged track, but it still makes the song one of the freshest on the album. Margerine Eclipse cant really be called a return to form since Stereolab didnt really deviate from the form to be continued...

メンバーであるメアリー・ハンセンを交通事故で失ってしまった悲しみを乗り越え、約2年ぶりにリリースされるニュー・アルバム。キュートでカラフルなストレンジ・ポップ風味はそのままに、フィジカルなグルーヴを強化した演奏はこれまで以上にロックだ。腰をグッと掴まれて揺さぶられる、と同時に夢見心地なハーモニーが脳ミソをフワリと浮かせたりもして……。よりしなやかに、タフになった彼ら。頼もしいぞ!!
bounce (C)狩野 卓永