Stereolab – Dots And Loops (Side One)

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Stereolab
Dots And Loops (Side One)
1997

1.- Brakhage (0:00)
2.- Miss Modular (5:31)
3.- Flower Called Nowhere (10:02)
4.- Diagonals (15:00)
5.- Prisoner of Mars (20:18)

Dots and Loops; their fifth studio album ( released in September of 1997.)
The Guardian's Kathy Sweeney considered the album a successful move towards a more accessible and "pop-conscious" sound, with Stereolab's "avant-garde tendencies and atonal drone of old supplanted by breezy harmonies and, wait for it, tunes." Tom Sinclair of Entertainment Weekly said that it "finds them at the top of their game, successfully brokering the seeming shotgun marriage of easy listening and acute intellect."
NME writer Stephen Dalton stated that the band "have never sounded so comfortable in a pop setting than on Dots and Loops", which he deemed "both more accessible and more adventurous" than their previous album Emperor Tomato Ketchup.
Terri Sutton of Spin praised the music as Stereolab's "most audacious" to date, and Los Angeles Times critic Lorraine Ali commented that the band "continues to revitalize Muzak for the '90s." At the end of 1997, Dots and Loops was named among the best albums of the year by several publications, including Melody Maker, Mojo, NME, and The Wire. It also placed at number 28 in The Village Voice's Pazz & Jop critics' poll.
In his retrospective review of the album for Pitchfork, Eric Harvey praised Dots and Loops as Stereolab's "peak", finding them "embracing the bleeding edge of digital studio technology" and creating "a work both of its moment and […] that seems to hover outside everything else." He also considered it to be one of the first albums produced with a digital audio workstation. Louis Pattison of Uncut described it as being "a touch less immediate" than Emperor Tomato Ketchup, remarking on its "laid-back and loungier" mood, while noting that it captured Stereolab in their "imperial phase". Exclaim!'s I. Khider cited Dots and Loops as a "definitive" post-rock recording.] Writing for the same magazine, Alex Hudson commended the band for "deliver[ing] some of their most accessible pop without sacrificing any of their experimental impulses." In Vice, Sophie Kemp called Dots and Loops "a major milestone in the world of experimental pop, and within Stereolab's expansive discography", deeming it the band's "most sonically accessible and politically important record."



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