Dots and Loops The Groop

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CD

  • Release Date: 09/23/1997
  • Sales Rank: 84,219
  • Label: ELEKTRA / WEA
  • UPC: 075596206525

Listener Rating: (1 ratings)

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  • Overview
  • Tracks
  • Editorial Reviews
  • Customer Reviews
  • Details & Credits
Track List
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Dots and Loops

1LISTENBrakhage 5:30
2LISTENMiss Modular 4:29
3LISTENThe Flower Called Nowhere 4:55
4LISTENDiagonals 5:15
5LISTENPrisoner of Mars 4:03
6LISTENRainbo Conversation 4:46
7LISTENRefractions in the Plastic Pulse 17:32
8LISTENParsec 5:34
9LISTENTicker-Tape of the Unconscious 4:45
10LISTENContronatura 9:03

About this Artist

Editorial Reviews

On Emperor Tomato Ketchup, Stereolab moved in two directions simultaneously -- it explored funkier dance rhythms while increasing the complexity of its arrangements and compositions. For its follow-up, Dots and Loops, the group scaled back its rhythmic experiments and concentrated on layered compositions. Heavily influenced by bossa nova and swinging '60s pop, Dots and Loops is a deceptively light, breezy album that floats by with effortless grace. Even the segmented, 20-minute "Refractions in the Plastic Pulse" has a sunny, appealing surface -- it's only upon later listens that the interlocking melodies and rhythms reveal their intricate interplay. In many ways, Dots and Loops is {|Stereolab|}'s greatest musical accomplishment to date, demonstrating remarkable skill -- their interaction is closer to jazz than rock, exploring all of the possibilities of any melodic phrase. Their affection for '60s pop keeps Dots and Loops accessible, even though that doesn't mean it is as immediate as Emperor Tomato Ketchup. In fact, the laid-back stylings of Dots and Loops makes it a little difficult to assimilate upon first listen, but after a few repeated plays, its charms unfold as gracefully as any other Stereolab record. Stephen Thomas Erlewine, All Music Guide

Customer Reviews

  • Listener Rating:
  • Ratings: 1Reviews: 1

Stereolab goes for the rhythm on this oneby Anonymous

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April 30, 2004: This is an awesome album. The cool, laid-back German production contrasts with Lætitia Sadier's warm, hushed voice and Mary Hansen's somewhat ethereal backing vocals. Drum'n'bass messes around with Francoise Hardy, moog synthesizers with computer-controlled production, this record feels like it hasn't been made in 1997, but in the year 3000, on another planet. No great singles on this one, though, but the colourful production makes the whole album feel like a continuous stream of utterly AWESOME sounds.