| Artist |
Stereolab |
| Album Title: |
Cobra And Phases Group Play Voltage In The Milky Night |
| Album Cover: |
 |
| Primary Genre |
Alternative & Punk: Indie |
| Format |
CD |
| Released |
09/27/1999 |
| Label |
Elektra Entertainment/Warner Communications Inc. |
| Catalog No |
62409-2 |
| Bar Code No |
0 7559-62409-2 5 |
| Packaging |
Jewelcase |
| Tracks |
| 1.
|
Fuses (3:40)
|
| 2.
|
People Do It All The Time (3:42)
|
| 3.
|
The Free Design (3:47)
|
| 4.
|
Blips Drips And Strips (4:28)
|
| 5.
|
Italian Shoes Continuum (4:36)
|
| 6.
|
Infinity Girl (3:56)
|
| 7.
|
Spiracles (3:40)
|
| 8.
|
Op Hop Detonation (3:32)
|
| 9.
|
Puncture In The Radak Pernutation (5:48)
|
| 10.
|
Velvet Water (4:24)
|
| 11.
|
Blue Milk (11:29)
|
| 12.
|
Caleidoscopic Gase (8:09)
|
| 13.
|
Strobo Acceleration (3:55)
|
| 14.
|
The Emergency Kisses (5:53)
|
| 15.
|
Come And Play In The Milky Night (4:38)
|
|
| Date Acquired |
09/21/1999 |
| Personal Rating |
 |
| Acquired from |
Amazon |
| Purchase Price |
14.00 |
Web Links |
All Music Guide Entry:
Discogs entry:
MusicBrainz entry:
Wikipedia Entry: |
Notes |
Notes:
Recorded Winter 98-99 at Wolf Studios, Brixton, London.
Track 5: Continuum section recorded February 1998 at Blackwing Studios, London.
Mastered at Abbey Road.
Credits:
Artwork – House At Intro
Bass – Simon Johns
Bass [Occasional], Guitar [Occasional], Keyboards [Occasional], Percussion – Jim O'Rourke
Brass – Andy Robinson, Colin Crawley, Marc Bassey, Steve Waterman
Cornet – Rob Mazurek (tracks: 1, 2, 6, 8, 13)
Mastered By – Steve Rooke
Organ, Electric Harpsichord, Clavinet, Bass [Occasional], Acoustic Guitar, Piano [Tack], Arranged By [Brass] – Sean O'Hagan
Producer – The Groop
Producer, Recorded By, Mixed By – Jim O'Rourke (tracks: 3, 5, 7, 9, 11, 12, 14), John McEntire (tracks: 1, 2, 4, 6, 8, 10, 13, 15)
Strings – William Hawkes, Brian G. Wright, Jacqueline Norrie, Sophie Harris
Vibraphone, Keyboards [Occasional], Drums – John McEntire
Vibraphone, Marimba – Dominic Murcott (tracks: 7, 9, 12, 14)
Vocals, Guitar, Organ, Electronics, Drums, Percussion, Bass [Occasional], Electric Harpsichord, Clavinet, Electric Piano [Wurlitzer], Piano [Tack] – Andy Ramsay, Laetitia Sadier, Mary Hansen, Morgane Lhote, Tim Gane
Written-By – Sadier, Gane
Companies, etc:
Phonographic Copyright ℗ – Elektra Entertainment Group
Copyright © – Elektra Entertainment Group
Made By – WEA Manufacturing Inc.
Published By – Island Music
Mastered At – Abbey Road Studios
Glass Mastered At – WEA Mfg. Olyphant – Y8611
Pressed By – WEA Mfg. Olyphant
Barcode and Other Identifiers:
ASIN: B00001P4OP
Barcode (Text): 0 7559-62409-2 5
Barcode (Scanned): 075596240925
Matrix / Runout (Variant 1): wea mfg. OLYPHANT Y8611 2 62409-2 01
Mould SID Code (Variant 1): IFPI 2U2N
Matrix / Runout (Variant 2): Z99834 2 62409-2 02
Mastering SID Code (Variant 2 ): IFPI L909
Mould SID Code (Variant 2): IFPI 2U70
Matrix / Runout (Variant 3): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S5
Mastering SID Code (Variant 3): ifpi L903
Mould SID Code (Variant 3): IFPI 2U6A
Matrix / Runout (Variant 4): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S1
Mastering SID Code (Variant 4): ifpi L903
Mould SID Code (Variant 4): IFPI 2U3T
Matrix / Runout (Variant 5): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S2
Mastering SID Code (Variant 5): ifpi L903
Mould SID Code (Variant 5): IFPI 2U3X
Matrix / Runout (Variant 6): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S7
Mastering SID Code (Variant 6): ifpi L903
Mould SID Code (Variant 6): IFPI 2U3M
Matrix / Runout (Variant 7): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S4
Mastering SID Code (Variant 7): ifpi L903
Mould SID Code (Variant 7): IFPI 2U5A
Matrix / Runout (Variant 8): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S8
Mastering SID Code (Variant 8): ifpi L903
Mould SID Code (Variant 8): IFPI 2U4G
Matrix / Runout (Variant 9): wea mfg. OLYPHANT Y8611 2 62409-2 01 M1S3
Mastering SID Code (Variant 9): ifpi L903
Mould SID Code (Variant 9): IFPI 2U3U
----------------------------------------------------------------------------------------------
Analyzed Folder: Stereolab - Cobra And Phases Group Play Voltage In The Milky Night_dr.txt
----------------------------------------------------------------------------------------------
DR Peak RMS Filename
----------------------------------------------------------------------------------------------
DR11 -0.18 dB -12.56 dB 01 - Fuses.aif
DR11 -0.16 dB -12.03 dB 02 - People Do It All The Time.aif
DR10 -0.17 dB -11.11 dB 03 - The Free Design.aif
DR11 -0.17 dB -12.28 dB 04 - Blips Drips And Strips.aif
DR08 -0.17 dB -10.88 dB 05 - Italian Shoes Continuum.aif
DR09 -0.12 dB -09.61 dB 06 - Infinity Girl.aif
DR10 -1.02 dB -13.30 dB 07 - The Spiracles.aif
DR09 -0.14 dB -09.84 dB 08 - Op Hop Detonation.aif
DR08 -0.11 dB -10.68 dB 09 - Puncture In The Radax Permutation.aif
DR11 -0.17 dB -14.48 dB 10 - Velvet Water.aif
DR10 -0.12 dB -15.30 dB 11 - Blue Milk.aif
DR09 -0.08 dB -12.06 dB 12 - Caleidoscopic Gaze.aif
DR09 -0.11 dB -10.63 dB 13 - Strobo Acceleration.aif
DR11 -0.17 dB -13.12 dB 14 - The Emergency Kisses.aif
DR09 -0.17 dB -10.86 dB 15 - Come And Play In The Milky Night.aif
----------------------------------------------------------------------------------------------
Number of Files: 15
Official DR Value: DR10
----------------------------------------------------------------------------------------------
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| Reviews |
All Music Guide Review by Tim Sendra:
On Emperor Tomato Ketchup, Stereolab began to change the way they recorded their songs. Instead of building them out of locked grooves and briskly strummed guitars, they pieced songs together out of loops, added parts and instruments as they went, and drifted away from motorik avant-pop towards something freer and more musically expressive. Dots and Loops furthered the experiment, adding more jazz and electronics to the formula with the help of Mouse on Mars and John McEntire of Tortoise. When the group got together to record their next album after a short layoff, they decamped to a small studio in Brixton and the band's chief composer/tinkerer Tim Gane set about outfitting it with the gear they needed. Along with McEntire, Jim O'Rourke was brought in to co-produce what became Cobra and Phases Group Play Voltage in the Milky Night.
Stereolab and the crack creative team (which also included stalwart Sean O'Hagan of High Llamas) build on the changes of the previous two albums in interesting and satisfying ways. They go on sonic journeys that spiral past the already far-out realms of Dots and Loops -- "Blue Milk" stretches and twists chords and sounds into an outer-space symphony of noise, on "Fuses" the band barely holds on as drums clatter, horns splat, and marimbas meander -- but they also refine their blend of jazz, exotica, and soft rock into bubbling, horn-driven pop that's compelling and challenging. The mix of the two Chicagoans' avant-garde tendencies with O'Hagan's classicism and the band's tightly wound playing makes for some dramatic moments on tracks like "The Free Design," which sounds like ABBA played by Steely Dan and a late-'60s jazz combo, or the rollicking "Come and Play in the Milky Night," which has a driving, off-kilter rhythm that's overlaid with swooping organs and abrasive guitars.
The showy production and sometimes busy arrangements might have been overbearing if they weren't paired with typically memorable and melodically pleasing songs. Luckily, the album is full of the kind of hooky, sticky songs that Stereolab made their name on. "People Do It All the Time" is candy sweet on the surface and biting on the inside, "Infinity Girl" is a keyboard-heavy future baroque jam, and "Strobo Acceleration" jumps back in time for some fine motorik pop. No matter the sound or style, the vocal duo of Lætitia Sadier and Mary Hansen make the songs come to life. Their interplay is one of the main strengths of the band, and even on the most stylized tracks, their harmonies give the songs a warmly beating heart. On the quieter songs like "Velvet Water," where the instruments step back and their voices come to the front, the effect is breathtaking. Hansen gets to take a rare lead on "Puncture in the Radax Permutation," and it's one of the album's many highlights. While it can be difficult at times, Cobra is Stereolab at their near best. It combines dense experimentation that engages the mind with lovely pop songs that pluck at the heartstrings.
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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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| Cover 6 |
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