Margerine Eclipse

ステレオラブのスタジオアルバム7作品がオリジナル音源を忠実に再現した2LPエディションにてリイシュー!!数量限定の日本語帯付きも発売決定!!

ステレオラブのスタジオアルバム7作品が新たに2LPエディションとして〈Duophonic UHF Disks / Warp Records〉よりリイシュー!今回のリリースでは、2019年に拡張版としてリリースされたリマスター音源を使用。
さらに、オリジナルの1/2インチテープからボー・コンドレン(Calyx Mastering)がカッティングを担当し、ティム・ゲインが監修した高品質な仕上がりとなっている。各アルバムは5mm幅のシングルスリーブとプリント入りインナースリーブに収納され、保護用のPVC外袋付き仕様となっている。また、各アルバムとも数量限定の日本語巻き帯仕様のリリースも決定!

時代の転換期に生まれた重要作。メンバーの死を乗り越え、激動の時期を迎えたバンドが、デュアル・モノ録音を採用するなど実験性を取り戻し完成させたセルフプロデュース作。

メアリー・ハンセンの早すぎる死、ポスト・ロック～音響派のシーンの失速、時代が転換期を迎えた中、逆境を乗り越え完成させた本作。フランスに設立したプライベート・スタジオ、INSTANT Oで制作された初のアルバムでもあり、長く続いたジョン・マッケンタイア(及びジム・オルーク)との連携から離れ、セルフプロデュースを行っている。左右のチャンネルで別々の演奏を録音する〈デュアル・モノ〉というトリッキーな手法を取り入れるなど実験性を取り戻し、前作までのクールな音響ポップスとは対照的に、『Margerine Eclipse』はアッパーで濃密なアルバムに仕上がっている。ボーナストラックとして同時期にリリースされた2003年のEP『Instant 0 in the Universe』と2004年のシングル「Rose, My Rocket-Brain!」の全トラックを収録。

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