Stereolab – Dots And Loops
Label: |
1972 – if10 |
|---|---|
Format: |
|
Country: |
US |
Released: |
|
Genre: |
Rock |
Style: |
Experimental |
Tracklist
| A1 | Brakhage | |
| A2 | Miss Modular | |
| A3 | The Flower Called Nowhere | |
| B1 | Diagonals | |
| B2 | Prisoner Of Mars | |
| B3 | Rainbo Conversation | |
| C | Refractions In The Plastic Pulse | |
| D1 | Parsec | |
| D2 | Ticker-Tape Of The Unconscious | |
| D3 | Contronatura |
Companies, etc.
- Recorded At – Idful Music
- Recorded At – Soma Electronic Music Studios
- Recorded At – St. Martin Tonstudio
- Licensed From – Elektra Entertainment Group
- Manufactured By – Rhino Entertainment Company
- Marketed By – International Feel LLC
- Pressed By – Rainbo Records – S-81443
- Pressed By – Rainbo Records – S-81444
- Pressed By – Rainbo Records – S-81445
- Pressed By – Rainbo Records – S-81446
Credits
- Arranged By [Brass] – Sean O'Hagan
- Arranged By [Strings] – Sean O'Hagan
- Brass – Ross Reed
- Performer – Tim Gane
- Piano, Electric Piano [Fender Rhodes], Organ [Farfisa] – Sean O'Hagan (tracks: 1, 2, 4, 6 to 9)
- Producer, Mixed By – Stereolab
- Producer, Recorded By, Mixed By, Synthesizer [Analogue], Electronics, Percussion, Vibraphone, Marimba – John McEntire (tracks: 1, 2, 4, 6 to 9)
- Strings – Shelley Weiss
Notes
Tracks 1, 2, 4, 6 to 9 recorded at Idful Music Corp., Chicago, March 1997.
Tracks 2, 6, 8, 9 & parts A & B of 7 mixed at Soma Recording Studio, Chicago, May 26th - June 4th 1997. Chicago tracks recorded directly onto hard disk.
Tracks 3, 5, 10 recorded at Academy of St. Martin in the Street, Düsseldorf, April 1997.
Instrumentation: Vocals, Farfisa organ, electric guitar, bass, analog synthesizers and other electronic devices (for sound generating and filtering), Fender Rhodes piano, drums, beatbox, percussion, piano, clavinet, nylon string acoustic guitar, electronic percussion.
Tracks 2, 6, 8, 9 & parts A & B of 7 mixed at Soma Recording Studio, Chicago, May 26th - June 4th 1997. Chicago tracks recorded directly onto hard disk.
Tracks 3, 5, 10 recorded at Academy of St. Martin in the Street, Düsseldorf, April 1997.
Instrumentation: Vocals, Farfisa organ, electric guitar, bass, analog synthesizers and other electronic devices (for sound generating and filtering), Fender Rhodes piano, drums, beatbox, percussion, piano, clavinet, nylon string acoustic guitar, electronic percussion.
Barcode and Other Identifiers
- Barcode: 852545003103
- Matrix / Runout (side A): IF-10A1 S-81443 S-81443
- Matrix / Runout (side B): IF-10B1 S-81444 S-81444
- Matrix / Runout (side C): IF-10C1 S-81445 S-81445
- Matrix / Runout (side D): IF-10D1 S-81446 S-81446
Other Versions (5 of 36)
View All| Title (Format) | Label | Cat# | Country | Year | |||
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Recently Edited
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Dots And Loops (CD, Album) | Duophonic Ultra High Frequency Disks | 62065-2 | US | 1997 | ||
| Dots And Loops (2×LP, Album) | Duophonic Ultra High Frequency Disks | D-UHF-D17 | UK | 1997 | |||
|
Recently Edited
|
Dots And Loops (CD, Album) | Duophonic Ultra High Frequency Disks | D-UHF-CD17 | UK | 1997 | ||
|
Recently Edited
|
Dots And Loops (CD, Album) | Elektra | CD 62065 | Canada | 1997 | ||
| Dots And Loops (CD, Album) | Elektra | 7559-62065-2 | 1997 |
Recommendations
Reviews
-
Strangely, I found the 2019 remasters to sound worse than this version; far less clarity and energy, so I ended up giving the newer record to a friend who liked the music. This was not true for all of the 2019 remasters, but for this one that's how it ended up for me. The pressing quality is worse, though, with more anomalies and surface noise, but they still play all the way through with no issue. -
I honestly can't understand why people hate on these pressings so much - I bought mine used and aside from some surface noise towards the beginning of each side the sound is pretty listenable. As someone who considers themselves a modest audiophile, I don't think the concept of Hi-res digital files pressed to vinyl is the end of the world. I own a few of the 2018/2019 Stereolab reissues and while they are not bad they are not as great as they could've been; there is harsh sibilance on all of them, unlike this release. -
FYI, this and other Stereolab vinyl will be reissued in 2019
https://pitchfork.com/news/stereolab-announce-tour-new-reissue-series/ -
Does anyone know if this pressing is on standard black vinyl or is it colored like the original white / green pressing? -
fwiw, In response to Neoguri :
http://www.reddit.com/r/vinyl/comments/vvy1w/followup_stereolab_vinyl_master_sourcing/
"Just heard back from a friend who works at Rhino/Warner Special Markets, who are in charge of licensing the Stereolab masters to US companies. He believes that they would have sent hi-res 192/24 digital master files of the Stereolab albums to whomever cut the lacquer (Rhino did not do the vinyl mastering themselves).
Given that CD resolution is 44.1/16, it's clear that, although not mastered from analogue sources, the Stereolab vinyl releases will be of much higher resolution than their CD equivalents (higher numbers are better).
So, still worthwhile and not just a vinyl "cassette" of the CD.
Also, I'm in possession of the new vinyl releases and have a/b'd them against the CDs; the lacquer cutting and pressings sound fine, similar in EQ and general feel to the CD versions. But better on vinyl, of course.
(In addition, I was very impressed with the manufacture of the Mars Audiac gatefold sleeve. Rather than the ubiquitous printed and glued covers we see nowadays, this was constructed using the brown cardboard with pasted-over-slick process used in the 1950s and 1960s.)" -
Edited 12 years agoGood chance this is another release not endorsed by the band and mastered from retail CD, much like the other Stereolab and Aphex Twin pressings on the 1972 ‘label’. Very sad.
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