#Laetitia Sadier

[cosmonautroger]

Laetitia Sadier, Stereolab

[musickickztoo]

Lætitia Sadier *May 6, 1968

[grrlmusic]

Laetitia Sadier - Rooting For Love

[doomandgloomfromthetomb]

Stereolab - LIVE 2019-2023 (Series en Direct Vol. 7)

Great news ... for me! The marvelous Laetitia Sadier is swinging through Denver next week and I'll be there, of course. Sadier has a new / excellent LP out now called Rooting for Love that all of y'all are going to want to grab. She's been on the press circuit too, giving some very interesting interviews to the likes of Jason P. Woodbury on Aquarium Drunkard's Transmissions podcast and Tone Glow's Joshua Minsoo Kim.

From the latter: It’s just things that we recreate and reproduce. Like, “Man has to go to war. It’s compulsory, that’s how they are.” These are just narratives we have in our heads, and we believe that we have to act like that, and of course it gets reinforced by capitalism. Capitalism acts on all these negative traits that humans have in order to extract profit. It creates needs that we don’t have, it creates all this bullshit that we don’t need. In our brains, there is no stop for sugar. If you eat at some point, your body says “okay, stop.” For sugar, there isn’t. And for information, there isn’t. Information was very rare at some point. So imagine us, scrolling for hours. There’s nothing that’s gonna tell us to stop unless we think about it or have to be somewhere else. The system is exploiting all these little things—it’s so sophisticated how we’re exploited. And I think it’s really important that we know ourselves. “Know thyself.”

The reunited Stereolab remains a going concern, it seems — as a live entity anyway. However, the reformed Groop has done a great job of keeping things fresh, even without any new material. Check out this killer Anazgnos Series en Direct collection, which presents the 'Lab's entire live repertoire from 2019 through 2023. Tons of deep cuts, ambitious song suites, radical jams. If that's not enough, this sweet concert film from the Le Guess Who fest last fall will have to do.

[taylorrpark]

stereolab by ebet roberts, 1996

[dustedmagazine]

Laetitia Sadier — Rooting For Love (Drag City)

Photo by Marie Merlet

On her new album for Drag City, Rooting For Love, Laetitia Sadier takes all the elements of the beloved Stereolab sound and rearranges them artfully. There’s the familiar, pillowy, dreamlike sway and the jazzy ambiguity of major-seventh chords, offset by spiky, agitated, motorik propulsion. Lyrically, Sadier presents her ideas in both French and English, and continues her decades-long exploration of the intersection between the personal and the political. For an artist working with such a recognizable palette, Sadier manages to keep painting in bold and striking colors.

In terms of the production, this is decidedly Sadier’s best-sounding solo album to date. Alongside co-producers Emmanuel Mario and Hannes Plattmeier, drummer Lucie Antunes, and touring Stereolab bassist Xavier Munoz, Sadier weaves deceptively complex indie-pop tunes out of gorgeous-sounding instrumental performances. On “Protelformunite,” the interplay between Munoz’s staccato bass, synth and drum machine is intoxicating, before the song cascades away into a hurtling, spiraling second section. “Une Autre Attente” presents the ideal balance between buoyant jangle and drone, a familiar blueprint that you can hear in current bands such as En Attendant Ana. And “Panser L’inacceptable” has a strikingly Reichian flavor to its chiming vibraphone patterns.

In the quotidian intro to “Don’t Forget You’re Mine,” the lyrics paint a scene shadowed by obsession: “Since we came back from your lecture, you were quite over-excited / No time for hugs and kisses… Now give me your phone… Just don’t forget you’re mine.” Once the rhythm section kicks in to carry the song forward, the intro feels like an anomaly, only for the theme of obsession to re-emerge in a startling mid-song depiction of domestic abuse: “A good slap is what you need / A good slap is what you want / Take that, take that.’” Sadier also employs the shock factor on Rooting For Love’s eerily beautiful closer, “Cloud 6.” A lulling keyboard ostinato and vibraphone are juxtaposed with a sour organ drone, the song cycling over and over, maintaining its agonizing tension for over five minutes, until the final lyrical revelation, “I’m not fucking around! / You’re halfway dead.” The cut to silence at the song and album’s conclusion leaves the listener reeling, reflecting upon the possibility of further revelations hidden within the album’s appealing exterior, only bolstering its mystique and replayability.

Tim Clarke

[appleplaid]

Another Topster of The Week from ApplePlaid!! 🍎🍏

This is pretty messy loll, I’ve been in a music stump it’s like I’m unable to find any new music to listen to which is unfathomable. However, my current fav artist is Laetita Sadier! ⭐️

She has such a beautiful voice, the type you could recognize in an ocean full of chit chatters. I recommend everyone give her a listen! As I follow her albums I’m finding that I’m a fan of every single song of hers, which isn’t that unusual of me LOL! Still a very amazing and creative artist! My favorite album is ‘Something Shines’ (2014)

[radiophd]

laetitia sadier -- who + what

[hottopiczine]

adverts for stereolab’s 1994 album ‘mars audiac quintet’ and singles from the album

my scans, feel free to save <3

[iamlisteningto]

Laetitia Sadier's Rooting For Love

[underachievers-please-try-harder]

Track of the day // Laetitia Sadier - Une Autre Attente

[grrlmusic]

Laetitia Sadier

[groovesnjams]

48 / 50

"Missus Morality" by bar italia

MG:

I’d like to posit that what I’ll call “good old fashioned indie” is now a form of classic rock, and if we wanted to, we could think about Bar Italia as the sort of Greta Van Fleet to, like, Sonic Youth’s Led Zeppelin, but I wouldn’t. I wouldn’t be so cynical about it, even if that would provide the coolly disaffected trio behind “Missus Morality” some kind of perverse kick. This band clearly gets off on being dismissed, diminished, and misunderstood, that’s why they do dumb stuff like pretend not to know they’re named after a Pulp song or give ironic pull quotes that they insist are sincere. I don’t know if I believe they’re really so unbothered by everything dogging them (they do have a dedicated cult following, particularly here in the USA, which I’m sure does much to take the edge off) but I love the performance of dead-eyed, uncaring sophistication. “Missus Morality” is a send up to the wiry, autumnal guitars of Modest Mouse and the Euro-chic vocals of Laetitia Sadier and it wrenches tears from a stone even if we’re all too effete for something as pedestrian as human emotion.

DV:

Personally I feel extremely negative about the current classic rock revival, but I can't deny that there's some appeal to seeing the cycle repeat itself from the last time around, down to the dumb band names and the obvious influences. bar italia bring some shoegaze to the mix, which is weirdly enjoyable in the way it teaches me that I am actually interested in listening to shoegaze in 2023. I can hear Souvlaki-era Slowdive in their guitar tone, if not the vocals, a trace of the true self remaining and remade. Irony has never really died, where rock is concerned, but every few years someone finds a new way to sell it - postmodernism or pastiche or disaffection or whatever, and endless rebirth of the push to sincerity's pull. Maybe everything's just a pose, but what's wrong with that?

[muchpreferredcustomers]

Laetitia Sadier - Une Autre Attente - from Rooting For Love