Bit earlier then usual but for your hungover pleasure Maximum Joy Productions have picked ten very soothing tracks to help to back to your prime (and who doesn't need that in the boozey festive season) and this weekend Maximum Joy have an extra mega amazing gig for you as they present Stereolab
Tracklisting and download link and more info on the gig in the read more
Tracklisting:
01 Young Marble Giants - NITA
02 Antena - Camino Del Sol
03 Nelson Angelo & Joyce - Vivo ou Morto
04 Ennio Morricone - Matto, Caldo, Soldi, Morto, Girotondo
05 Speck Mountain - Midnight Sun
06 Lispector - Ice Cream Man
07 Broadcast - Ominous Cloud
08 Panda Bear - I'm Not
09 Stereolab - The Emergency Kisses
10 Julie Covington - My Silks and Fine Arrays
download
MAXIMUM JOY in association with POD Concerts presents
STEREOLAB
support
Sky Larkin
Si Schroeder are
TRIPOD, HARCOURT STREET
13th DECEMBER
7:30pm til late
Adm: €25
There will be an aftershow party in the Tripod club room with B-music, Maximum Joy DJs and special guests. Because there is limited capacity only those with aftershow wristbands will be admitted. These will be available on request from the box office on a first come first serve basis.
Considered as one of the first post-rock outfits, their sound encompasses krautrock, Brazilian tropicalia, 50s lounge, French pop, free jazz and art rock in a manner that is utterly fresh and uniquely their own.
In an admiring review of their 2004 album Margarine Eclipse, Spin magazine hailed Stereolab as one of pop's 50 most influential ensembles. "No one can do beautiful, energising crossover pop like Stereolab," concurred The Independent, while a US writer, one Eric Greenwood, echoed the sentiments of thousands of 'Lab devotees when describing the band's enduring appeal thus: "The formula has never been broken; it's only tweaked slightly with each new album, and I never want it to end."
Indeed, over fifteen prolific years of qualitatively consistent output, Stereolab have accrued a vast, peerless cache of work, hallmarked by a unique, carefully evolving but instantly recognizable sonic signature. In addition to over a dozen glittering LPs, their back catalogue is littered with fan-pleasing gems: limited editions, one-off collaborations, split singles et al. In the process they've galvanised an extensive, staunchly loyal international fanbase; become a byword for playful, stylish excellence; struck a blow for the feminisation of rock and booked a permanent seat at experimental pop's high table.
Theirs is a rich, overflowing palette, readily able to blur the gulf between Os Mutantes and the BBC Radiophonic Orchestra; merge Krzysztof Komeda with the Velvet Underground, Francoise Hardy with Neu! and Burt Bacharach with Esquivel. A super-deluxe blend, in other words, with ingredients plucked assiduously from pop's coolest outposts: 50's lounge pop, Rive Gauche chanson, Brazilian tropicalia, North American art rock, East European film music, Krautrock. hi-fi test recordings, library music and more. Somehow they distil these apparently incongruent components into an ageless exotica that is all their own.
Sessions for 'Chemical Chords' began in the spring of 2007 as "a series of about seventy tiny drum loops" on top of which Tim Gane would dub improvised chord sequences using piano and vibraphone, "building them up from there – later slowing the tracks down or speeding them up - a totally new way of doing songs for us…" With typically prolificacy, the band laboured over the summer at Instant 0, helping transform these blueprints into 32 luminous new songs, with keyboardist/technician Joe Watson manning the mixing desk. Half the new repertoire was selected for the forthcoming Chemical Chords opus (Gane is currently mixing the remainder for future releases) – an album which, for all the breathless spontaneity of its invention, is arguably the band's tautest, most highly focused work this century. Being released by Duophonic UHF Disks / 4AD, it's a collection of "purposefully short, dense, fast pop songs," according to Gane, brimming with Motown-like drums, Sean O'Hagan's finest baroque-pop brass and string arrangements and etched with some of Laetitia Sadier's most eloquent, mellifluous vocal performances to date, it is, nonetheless, classic Stereolab; like all their best work, a perfect equipoise between an implausibly cool past and a shamelessly exotic future.
STEREOLAB - Two Fingers Symphony
Stereolab - Neon Beanbag
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