Sound-Dust Is One of Stereolab’s Most Underrated (and Pivotal) Records
Best Record of 2001: Day 42
Good morning!
Today we’re taking a look at Stereolab’s Sound-Dust LP.
Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I'd be writing some of these up.
The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There'll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!
Check 'em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.
KA—
I came to Sound-Dust long after hearing other Sterolab records on either side of the catalog, which probably changed the way I hear it.
By the time I got to it, I already knew a few of the albums that came before, and a few that came after, so I had at least a little context. What stood out right away was how complete(?) it felt. Stereolab is still Stereolab here, so you get the bleeps, bloops, and sidequests. The little left turns that can make their records feel like they’re always drifting just enough. On Sound-Dust, you get all of that, yet it somehow feels assembled into something more settled and, frankly, more satisfying.
I don’t want to say they finally figured out sequencing, but if the shoe fits…
The songs flow into each other with more purpose than I expect from a Stereolab album, and that gives the record a real shape, or actual arc. It still sounds weird, of course; wouldn’t be Stereolab if it didn’t!. But instead of sounding scattered, it comes across as composed.
That’s a part of why I think Sound-Dust deserves more attention than it usually gets. The other is that this is Mary Hansen’s last appearance, and her tragic death casts a long shadow. Obviously, no one knew this would be her final record, but listening to it today feels like having a front-row seat at the end of an era. The record itself is so bright and alive, and while I’d much prefer she were still here, it’s a great final act, and a great close to an era.
That said, Sound-Dust also feels like the band easing into the next stage. Again, obviously, hindsight helps, but it has that future-retro quality, where the old hallmarks are still there but smoothed out and arranged into something more unified/monolithic. Stereolab had always been good at making music that sounded like it came from somewhere in the future. Here, that instinct feels appropriate. Less like something from the Jetsons or Space Age bachelor pad, and more of it’s time. I really hope that makes as much sense on your screen as it does mine…
Ultimately, I think that’s why this one warrants some space in the “best Stereolab record” discourse. When you’re up against titans like Emperor Tomato Ketchup, Dots and Loops, or even Transient Random Noise Bursts w/Announcements, an upset is a tall ask.
I don’t think this is the best one they’ve ever released, but it is one that helps define what Stereolab became in the 2000s. It is graceful, strange, and surprisingly warm. It has enough twists and turns to keep you leaning in, but it also feels like a band at the top of their game, trusting their own instincts more than ever.
Bottom Line: This is facing of against Allison Krauss & Union Station, and while there’s no denying her incredible talent, thwer’s also no denying that it came close to being only my 2nd or 3rd DNF of this challenge so far. This just wasn’t my bag. Bracket pick and vote will be for the Groop.
Any thoughts on either this or any Stereolab records? Agree/disagree with my take? Sound off in the comments!
Check out the full bracket here.
Info on the tourney, voting, and more is here.
As always, thanks for being here.
KA—
Before you go: Want to try Qobuz free for two months? Click here to give it a test drive!
