Chords for Stereolab’s Dots And Loops (in 5 Minutes) | Liner Notes
Tempo:
112.35 bpm
Chords used:
G
F
E
C
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] [A]
[C#m] [Bm]
[Dm] [F] Stereo Lab was a band that was somehow both of its time and from another time altogether.
Enamored with [C] 1950s jazz, 1960s exotica, [G] 1970s kraut rock, and 1980s indie rock, [N] the group
manifested the esoteric pop culture scholarship and detached hickness of the 1990s.
[G] Their record store knowledge was both a natural extension and sneaky disguise of their far-left
politics and conceptual thinking.
On their fifth album, 1997's Dots and Loops, Stereo Lab melded their retro musical mastery
and brainy ambition in a newly seamless way, creating a dreamy, detail-rich triumph that
channels the vibes of the 90s while hinting at something [E] more futuristic.
This is the [D] future [F] of an [G] illusion.
[Fm] [D] Stereo Lab was formed out of the aftermath of another band, McCarthy, whose lead guitarist,
Tim [F] Gain, recruited his girlfriend, Letitia Sadié, to sing backup vocals for their last
album, Banking, Violence, and The Inner Life Today.
Gain and Sadié called their next project Stereo Lab, an homage to a premier hi-fi line
produced by Vanguard Records that included electronic composers like Puray and Kingsley,
whose early avant-pop experiments were a key stylistic element of Gain and Sadié's [Cm] sound.
[G] [F] Early Stereo Lab recordings were issued on the band's self-started label, Duophonic.
The releases were known for their motoric rhythms, an even-tempo drumbeat used by German
kraut rock bands of the 1970s.
The group also favored vintage keyboards, such as Farfisa organs and Moog synthesizers.
Stereo Lab became known for their droning [G] melodies, driving rhythms, and Sadié and
co-vocalist [E] Mary Hansen's hypnotic singing, whose soothing sound disguised lyrics that
were deeply [Gm] informed by Marxism, Surrealism, and the mid-century French movement Situationist [D#] International.
On their breakthrough album, 1996's Emperor Tomato Ketchup, Stereo Lab had become more
musically [E] diverse and rhythmically adventurous, incorporating string arrangements, [G] exotic
percussion, and samples on their songs.
Their biggest sonic evolution came when they began working with producer John McIntyre,
the drummer of Chicago [C] bands Tortoise and the Sea and Cake, and a leading figure in
the city's influential post-rock scene.
[F] On the tracks McIntyre produced for Dots and Loops, Stereo Lab were riskier, sporting
intricate textures [G] and sophisticated arrangements.
Still, the album's overall sound is more balanced from the start, thanks to the chiming
vibraphones, slick guitars, and rainy percussion that make up the opening [E] track, Brackage.
[A]
[E] [D] [A]
[E] [D]
[Am] Stereo Lab also hired German post-rock [G] duo Mouse on Mars to produce three songs.
Yet where Mouse on Mars' own recordings tended to squirm, zigzag, or scurry, their contributions
to Dots and Loops are smooth and straightforward.
Like on The Flower Called Nowhere, a shimmering, psychedelic shuffle so approachable even Pharrell's a [E] fan.
[Em] [F#m]
[D] [C] Dots and Loops also highlights the [D#] band's fascination with [G#m] mixing pop melodies and unexpected
[G] sounds.
The single Miss Modular juxtaposes a sunny hook with elegant woodwinds and dissonant
zaps from [Bm] keyboards and guitars.
[C#m] Likewise,
[Bm] [F#m] [C#m]
[F] the title of Dots and Loops more than likely refers to Stereo Lab's newfound
use of [C] samples in digital production.
You can hear all three on Diagonals, where the bubbling whir of a sped-up marimba [G] sits
atop a drumbeat sampled from I Can't Wait by Krautrock icon Amand [Dm] Duhl.
[F] [C]
[N] Even as Stereo Lab seemed to have one foot in the past, parts of Dots and Loops rank
among the most audacious and experimental pop of the late 90s.
The quasi-drum and bass of Parsec so perfectly evokes the era's internet-informed and nostalgia-heavy
atmosphere that it was used in a Volkswagen ad for the new Beetle, a car repurposed from
the 1960s for a new generation.
[Am] [Dm]
[E] [N]
Stereo Lab experimented even more in the studio on their next few albums, but Hansen's sudden
and unfortunate death in 2002 permanently slanted the band's [G] direction.
In 2009, they went on indefinite hiatus.
Looking [G] back, Dots and Loops is Stereo Lab's pinnacle, consummately reflecting a moment
in time when experimental pop transitioned from the analog past to its [Dm] digital future.
[Am]
[D#]
[N]
[C#m] [Bm]
[Dm] [F] Stereo Lab was a band that was somehow both of its time and from another time altogether.
Enamored with [C] 1950s jazz, 1960s exotica, [G] 1970s kraut rock, and 1980s indie rock, [N] the group
manifested the esoteric pop culture scholarship and detached hickness of the 1990s.
[G] Their record store knowledge was both a natural extension and sneaky disguise of their far-left
politics and conceptual thinking.
On their fifth album, 1997's Dots and Loops, Stereo Lab melded their retro musical mastery
and brainy ambition in a newly seamless way, creating a dreamy, detail-rich triumph that
channels the vibes of the 90s while hinting at something [E] more futuristic.
This is the [D] future [F] of an [G] illusion.
[Fm] [D] Stereo Lab was formed out of the aftermath of another band, McCarthy, whose lead guitarist,
Tim [F] Gain, recruited his girlfriend, Letitia Sadié, to sing backup vocals for their last
album, Banking, Violence, and The Inner Life Today.
Gain and Sadié called their next project Stereo Lab, an homage to a premier hi-fi line
produced by Vanguard Records that included electronic composers like Puray and Kingsley,
whose early avant-pop experiments were a key stylistic element of Gain and Sadié's [Cm] sound.
[G] [F] Early Stereo Lab recordings were issued on the band's self-started label, Duophonic.
The releases were known for their motoric rhythms, an even-tempo drumbeat used by German
kraut rock bands of the 1970s.
The group also favored vintage keyboards, such as Farfisa organs and Moog synthesizers.
Stereo Lab became known for their droning [G] melodies, driving rhythms, and Sadié and
co-vocalist [E] Mary Hansen's hypnotic singing, whose soothing sound disguised lyrics that
were deeply [Gm] informed by Marxism, Surrealism, and the mid-century French movement Situationist [D#] International.
On their breakthrough album, 1996's Emperor Tomato Ketchup, Stereo Lab had become more
musically [E] diverse and rhythmically adventurous, incorporating string arrangements, [G] exotic
percussion, and samples on their songs.
Their biggest sonic evolution came when they began working with producer John McIntyre,
the drummer of Chicago [C] bands Tortoise and the Sea and Cake, and a leading figure in
the city's influential post-rock scene.
[F] On the tracks McIntyre produced for Dots and Loops, Stereo Lab were riskier, sporting
intricate textures [G] and sophisticated arrangements.
Still, the album's overall sound is more balanced from the start, thanks to the chiming
vibraphones, slick guitars, and rainy percussion that make up the opening [E] track, Brackage.
[A]
[E] [D] [A]
[E] [D]
[Am] Stereo Lab also hired German post-rock [G] duo Mouse on Mars to produce three songs.
Yet where Mouse on Mars' own recordings tended to squirm, zigzag, or scurry, their contributions
to Dots and Loops are smooth and straightforward.
Like on The Flower Called Nowhere, a shimmering, psychedelic shuffle so approachable even Pharrell's a [E] fan.
[Em] [F#m]
[D] [C] Dots and Loops also highlights the [D#] band's fascination with [G#m] mixing pop melodies and unexpected
[G] sounds.
The single Miss Modular juxtaposes a sunny hook with elegant woodwinds and dissonant
zaps from [Bm] keyboards and guitars.
[C#m] Likewise,
[Bm] [F#m] [C#m]
[F] the title of Dots and Loops more than likely refers to Stereo Lab's newfound
use of [C] samples in digital production.
You can hear all three on Diagonals, where the bubbling whir of a sped-up marimba [G] sits
atop a drumbeat sampled from I Can't Wait by Krautrock icon Amand [Dm] Duhl.
[F] [C]
[N] Even as Stereo Lab seemed to have one foot in the past, parts of Dots and Loops rank
among the most audacious and experimental pop of the late 90s.
The quasi-drum and bass of Parsec so perfectly evokes the era's internet-informed and nostalgia-heavy
atmosphere that it was used in a Volkswagen ad for the new Beetle, a car repurposed from
the 1960s for a new generation.
[Am] [Dm]
[E] [N]
Stereo Lab experimented even more in the studio on their next few albums, but Hansen's sudden
and unfortunate death in 2002 permanently slanted the band's [G] direction.
In 2009, they went on indefinite hiatus.
Looking [G] back, Dots and Loops is Stereo Lab's pinnacle, consummately reflecting a moment
in time when experimental pop transitioned from the analog past to its [Dm] digital future.
[Am]
[D#]
[N]
Key:
G
F
E
C
D
G
F
E
_ _ _ _ [F] _ _ _ [A] _
_ _ [C#m] _ _ _ _ [Bm] _ _
_ [Dm] _ _ _ [F] Stereo Lab was a band that was somehow both of its time and from another time altogether.
Enamored with [C] 1950s jazz, _ 1960s exotica, [G] 1970s kraut rock, and 1980s indie rock, [N] the group
manifested the esoteric pop culture scholarship and detached hickness of the 1990s.
[G] Their record store knowledge was both a natural extension and sneaky disguise of their far-left
politics and conceptual thinking.
On their fifth album, _ 1997's Dots and Loops, Stereo Lab melded their retro musical mastery
and brainy ambition in a newly seamless way, creating a dreamy, detail-rich triumph that
channels the vibes of the 90s while hinting at something [E] more futuristic.
This is the [D] future _ _ [F] of an [G] illusion. _
[Fm] _ [D] _ Stereo Lab was formed out of the aftermath of another band, McCarthy, whose lead guitarist,
Tim [F] Gain, recruited his girlfriend, Letitia Sadié, to sing backup vocals for their last
album, Banking, Violence, and The Inner Life Today.
Gain and Sadié called their next project Stereo Lab, an homage to a premier hi-fi line
produced by Vanguard Records that included electronic composers like Puray and Kingsley,
whose early avant-pop experiments were a key stylistic element of Gain and Sadié's [Cm] sound. _ _ _ _
_ [G] _ _ _ [F] Early Stereo Lab recordings were issued on the band's self-started label, Duophonic.
The releases were known for their motoric rhythms, an even-tempo drumbeat used by German
kraut rock bands of the 1970s.
The group also favored vintage keyboards, such as Farfisa organs and Moog synthesizers.
Stereo Lab became known for their droning [G] melodies, driving rhythms, and Sadié and
co-vocalist [E] Mary Hansen's hypnotic singing, whose soothing sound disguised lyrics that
were deeply [Gm] informed by Marxism, Surrealism, and the mid-century French movement Situationist [D#] International. _
On their breakthrough album, _ 1996's Emperor Tomato Ketchup, Stereo Lab had become more
musically [E] diverse and rhythmically adventurous, incorporating string arrangements, [G] exotic
percussion, and samples on their songs.
Their biggest sonic evolution came when they began working with producer John McIntyre,
the drummer of Chicago [C] bands Tortoise and the Sea and Cake, and a leading figure in
the city's influential post-rock scene.
[F] On the tracks McIntyre produced for Dots and Loops, Stereo Lab were riskier, sporting
intricate textures [G] and sophisticated arrangements.
Still, the album's overall sound is more balanced from the start, thanks to the chiming
vibraphones, slick guitars, and rainy percussion that make up the opening [E] track, Brackage.
_ [A] _ _ _ _ _ _
[E] _ [D] _ _ _ _ _ _ [A] _
_ _ _ _ [E] _ _ [D] _ _
_ [Am] _ Stereo Lab also hired German post-rock [G] duo Mouse on Mars to produce three songs.
Yet where Mouse on Mars' own recordings tended to squirm, zigzag, or scurry, their contributions
to Dots and Loops are smooth and straightforward.
Like on The Flower Called Nowhere, a shimmering, psychedelic shuffle so approachable even Pharrell's a [E] fan.
_ _ _ [Em] _ _ _ [F#m] _ _
_ [D] _ _ _ [C] Dots and Loops also highlights the [D#] band's fascination with [G#m] mixing pop melodies and unexpected
[G] sounds.
The single Miss Modular juxtaposes a sunny hook with elegant woodwinds and dissonant
zaps from [Bm] keyboards and guitars.
[C#m] Likewise, _ _ _
[Bm] _ _ _ [F#m] _ _ [C#m] _ _ _
_ _ _ _ [F] the title of Dots and Loops more than likely refers to Stereo Lab's newfound
use of [C] samples in digital production.
You can hear all three on Diagonals, where the bubbling whir of a sped-up marimba [G] sits
atop a drumbeat sampled from I Can't Wait by Krautrock icon Amand [Dm] Duhl. _ _ _
_ [F] _ _ _ _ _ _ [C] _
_ [N] Even as Stereo Lab seemed to have one foot in the past, parts of Dots and Loops rank
among the most audacious and experimental pop of the late 90s.
The quasi-drum and bass of Parsec so perfectly evokes the era's internet-informed and nostalgia-heavy
atmosphere that it was used in a Volkswagen ad for the new Beetle, a car repurposed from
the 1960s for a new generation.
_ [Am] _ _ _ [Dm] _
_ [E] _ _ _ _ _ [N] _
Stereo Lab experimented even more in the studio on their next few albums, but Hansen's sudden
and unfortunate death in 2002 permanently slanted the band's [G] direction.
In 2009, they went on indefinite hiatus.
Looking [G] back, Dots and Loops is Stereo Lab's pinnacle, consummately reflecting a moment
in time when experimental pop transitioned from the analog past to its [Dm] digital future. _ _ _
_ _ _ _ _ _ _ [Am] _
_ [D#] _ _ _ _ _ _ _
_ _ _ _ _ [N] _ _ _
_ _ [C#m] _ _ _ _ [Bm] _ _
_ [Dm] _ _ _ [F] Stereo Lab was a band that was somehow both of its time and from another time altogether.
Enamored with [C] 1950s jazz, _ 1960s exotica, [G] 1970s kraut rock, and 1980s indie rock, [N] the group
manifested the esoteric pop culture scholarship and detached hickness of the 1990s.
[G] Their record store knowledge was both a natural extension and sneaky disguise of their far-left
politics and conceptual thinking.
On their fifth album, _ 1997's Dots and Loops, Stereo Lab melded their retro musical mastery
and brainy ambition in a newly seamless way, creating a dreamy, detail-rich triumph that
channels the vibes of the 90s while hinting at something [E] more futuristic.
This is the [D] future _ _ [F] of an [G] illusion. _
[Fm] _ [D] _ Stereo Lab was formed out of the aftermath of another band, McCarthy, whose lead guitarist,
Tim [F] Gain, recruited his girlfriend, Letitia Sadié, to sing backup vocals for their last
album, Banking, Violence, and The Inner Life Today.
Gain and Sadié called their next project Stereo Lab, an homage to a premier hi-fi line
produced by Vanguard Records that included electronic composers like Puray and Kingsley,
whose early avant-pop experiments were a key stylistic element of Gain and Sadié's [Cm] sound. _ _ _ _
_ [G] _ _ _ [F] Early Stereo Lab recordings were issued on the band's self-started label, Duophonic.
The releases were known for their motoric rhythms, an even-tempo drumbeat used by German
kraut rock bands of the 1970s.
The group also favored vintage keyboards, such as Farfisa organs and Moog synthesizers.
Stereo Lab became known for their droning [G] melodies, driving rhythms, and Sadié and
co-vocalist [E] Mary Hansen's hypnotic singing, whose soothing sound disguised lyrics that
were deeply [Gm] informed by Marxism, Surrealism, and the mid-century French movement Situationist [D#] International. _
On their breakthrough album, _ 1996's Emperor Tomato Ketchup, Stereo Lab had become more
musically [E] diverse and rhythmically adventurous, incorporating string arrangements, [G] exotic
percussion, and samples on their songs.
Their biggest sonic evolution came when they began working with producer John McIntyre,
the drummer of Chicago [C] bands Tortoise and the Sea and Cake, and a leading figure in
the city's influential post-rock scene.
[F] On the tracks McIntyre produced for Dots and Loops, Stereo Lab were riskier, sporting
intricate textures [G] and sophisticated arrangements.
Still, the album's overall sound is more balanced from the start, thanks to the chiming
vibraphones, slick guitars, and rainy percussion that make up the opening [E] track, Brackage.
_ [A] _ _ _ _ _ _
[E] _ [D] _ _ _ _ _ _ [A] _
_ _ _ _ [E] _ _ [D] _ _
_ [Am] _ Stereo Lab also hired German post-rock [G] duo Mouse on Mars to produce three songs.
Yet where Mouse on Mars' own recordings tended to squirm, zigzag, or scurry, their contributions
to Dots and Loops are smooth and straightforward.
Like on The Flower Called Nowhere, a shimmering, psychedelic shuffle so approachable even Pharrell's a [E] fan.
_ _ _ [Em] _ _ _ [F#m] _ _
_ [D] _ _ _ [C] Dots and Loops also highlights the [D#] band's fascination with [G#m] mixing pop melodies and unexpected
[G] sounds.
The single Miss Modular juxtaposes a sunny hook with elegant woodwinds and dissonant
zaps from [Bm] keyboards and guitars.
[C#m] Likewise, _ _ _
[Bm] _ _ _ [F#m] _ _ [C#m] _ _ _
_ _ _ _ [F] the title of Dots and Loops more than likely refers to Stereo Lab's newfound
use of [C] samples in digital production.
You can hear all three on Diagonals, where the bubbling whir of a sped-up marimba [G] sits
atop a drumbeat sampled from I Can't Wait by Krautrock icon Amand [Dm] Duhl. _ _ _
_ [F] _ _ _ _ _ _ [C] _
_ [N] Even as Stereo Lab seemed to have one foot in the past, parts of Dots and Loops rank
among the most audacious and experimental pop of the late 90s.
The quasi-drum and bass of Parsec so perfectly evokes the era's internet-informed and nostalgia-heavy
atmosphere that it was used in a Volkswagen ad for the new Beetle, a car repurposed from
the 1960s for a new generation.
_ [Am] _ _ _ [Dm] _
_ [E] _ _ _ _ _ [N] _
Stereo Lab experimented even more in the studio on their next few albums, but Hansen's sudden
and unfortunate death in 2002 permanently slanted the band's [G] direction.
In 2009, they went on indefinite hiatus.
Looking [G] back, Dots and Loops is Stereo Lab's pinnacle, consummately reflecting a moment
in time when experimental pop transitioned from the analog past to its [Dm] digital future. _ _ _
_ _ _ _ _ _ _ [Am] _
_ [D#] _ _ _ _ _ _ _
_ _ _ _ _ [N] _ _ _