Rooting For Love
Laetitia Sadier
Rooting For Love
Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
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Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
Limited edition Splatter vinyl.
Out of Stock
Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
Black vinyl LP.
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Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
Out of Stock
Boomkat Product Review:
Stereolab's Laetitia Sadier returns with her first solo full-length since 2017's 'Find Me Finding You', pulling on civilizational trauma to recapture the hallucinogenic, exotica-tinged melancholy of her most crucial early gear, and, more importantly, propel it forward.
Sadier has always prioritized hope in the darkest times. "Wars cannot overcome our troubles / Status, prestige, prominence, don't mean a thing at this time," she sang presciently on 'Reflectors' from her last solo album. This time around she confronts global suffering more directly, issuing "a call to the traumatized civilizations of Earth," and asking us to evolve together. Her sonic palette won't be too surprising to anyone who's familiar with Sadier's catalog, but she's added a vocal ensemble that she calls The Choir, who lend her quixotic songs a further air of connectedness with the wider world. She sings gently in French over dreamy bass plucks, airy synth pulses and tight drum machine rhythms on 'Protéïformunité', bringing The Choir in mid-way through, first subtly and then more readily when the track explodes into prog excess. There's a Morricone-esque, cinematic quality to the music that Sadier's faultlessly in control of, letting the songs swoop and swirl without worrying about any perceived resistance to theatricality.
Chirpy lead single 'Une Autre Attente' is one of the least arresting moments, veering closer to Stereolab's epochal 'Emperor Tomato Ketchup' and its fan favorite follow-up 'Dots and Loops'. It's a reminder of how well Sadier is able to write catchy, modern lounge pop, but when we're confronted with tracks as endearingly open-ended as 'Don't Forget You're Mine' and the tropicalia-inspired 'The Inner Smile' it falls into the background. The latter is a particular high water mark, a swirl of flutes and ghostly choral phrases that disappears into almost silence before hitting an organ-led tempo change and a bizarrely brilliant spoken word segment. "Smile at your spleen, inundated with light, and be serene," she deadpans. "Feel your organs smiling back at you." And on 'La Nageuse Nue', Sadier takes her cues from American minimalists Philip Glass and Steve Reich, singing over rhythmic vocalizations and operatic swoops from The Choir. It's an optimistic way to unravel unsettling themes; Sadier's soundscapes are emotionally layered, patchworks of genre and expression that speak to a universal wholeness that's borderless and fluid.
'Rooting for Love' is her most galvanizing record in years, and certainly her most experimental. Left at the finale with the undulating 'Cloud 6', an emulsion of evocative neo-liturgical chants, spirited organ blasts and synthesized drones, we're provided with not answers, but dreams. And that's all we can ask for.
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