Rolling Stone (2/5/04, p.60) - 3 stars out of 5 - "[The album includes] a meticulous microhouse groove [and] an appealing example of Stereolab in rock mode..."
Spin (3/04, p.96) - "Stereolab's poppy ninth album is a pony ride to a Disney-sponsored pleasuredome." - Grade: B-
Entertainment Weekly (1/23/04, pp.99-100) - "Returning to its roots, the band strikes a graceful balance between rockers that charge forward with exhilarating abandon and pop tunes that float about with delightful melodic inventiveness." - Rating: A-
Q (3/04, p.112) - 3 stars out of 5 - "[T]here's still something fresh about Stereolab's brand of trippy space pop."
Magnet (p.107) - "In the context of retro-futurist pop, MARGERINE ECLIPSE is great."
CMJ (1/26/04, p.4) - "[Ranges] from experimental noise repetition to cutesy pop-rock....[A] compelling and unique album..."
Mojo (Publisher) (3/04, p.101) - 3 stars out of 5 - "[A]s aurally seductive as ever."
This is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser.
Stereolab: Laetitia Sadier (vocals, trombone); Tim Gane (electric guitar, organ, keyboards); Dominic Jeffrey (celeste, electric piano, harpsichord, organ); Simon Johns (bass, drums); Andy Ramsay (drums, programming).
Recorded in 2003.
This is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser.
Stereolab's first full-length recording without guitarist/vocalist Mary Hansen, who died in a tragic accident in December of 2002, MARGERINE ECLIPSE finds the band soldiering on in admirable fashion. Essentially picking up where they left off on 2001's SOUND-DUST, the group continues to employ their trademark blend of vintage keyboards, airy French/English vocals, and frothy lounge-meets-electronica pop sensibilities. That's not to say that there absolutely no new developments; one can hear the occasional dash of hip-hop rhythm ("La Demeure"), Autechre-like laptop glitch-pop ("Vonal Declosion"), and even a bit of disco (at the end of album-closer "Dear Marge") amid the familiarly odd time signatures, quirky socio-political lyrical observations, and postmodern retro-futurism. Most importantly, though, Stereolab's finely tuned knack for interesting arrangements, arresting timbres, and modestly elegant melodies remains unsullied.