[ed.note - the inclusion of a photo featuring band member Mary Hansen is due to the fact that this interview took place before Mary's tragic passing.]

It's a rather rainy day when I pull up to the Palace to interview Stereolab. A day when most Californians would stay inside before say making a trek to even the local grocery store. However, as I stand outside the Palace awaiting my editor, Dustin, and the band themselves, I notice a man walk by...his small son then trails behind him on a tricycle. The duo seem non plussed by the stark cold or temperamental drizzle, at that moment I surmise that it must be Tim Gane along with he and fellow Stereolab bandmate/wife, Laetitia Sadier's son. I figure only a three year old accustomed to the rain of England would be so daring as to go peddling his trike through Hollywood in the rain.

Stereolab were formed in 1990 by Tim Gane and Laetitia Sadier after the dissolution of Tim's previous band, McCarthy. As clichè as it may be to quote, the rest is history. No doubt, that the Stereolab one sees today is vastly different from the Stereolab of ten years ago when the band began. However, despite the changes ranging from sound to band members to children, Stereolab have carved a unique niche for themselves in the music world that has given them both certified credibility as well as longevity.

When asked how she feels the band and their music have changed since its inception, Laetitia says,

"We go by the fact that our band is a representation of us. You take someone over a period of ten years...and a lot has changed and yet they're still the same person. Hopefully, a recognizable person...and at the same time, more mature. Just evolved... has learned...developed. I think our music has developed over the years, over the linearity from superelectric to more complex."

I remark that there is an apparent complexity to the new album. The versatility of style inherent even between songs make it hard to peg down. Laetitia remarks that they refer to their new songs as "drawer music, because you are opening this drawer and that drawer." Combining all the articles they take out of the various drawers to create a sound that is not necessarily avant garde and yet by no means easy to define.

As far as her feelings on their current tour winding up, Laetitia comments, "I'm quite happy actually. We're staying true to the songs. I mean, A.) we're incapable of reproducing the record live and B.) there's no point, so it's nice to have another version. I think they work well to varying degrees."

In briefly discussing their tour, I begin to wonder just how the marital dynamic between Tim and Laetitia play into Stereolab. There are other bands who make it work brilliantly such as Sonic Youth, Low, and the unique union of the formerly wed Quasi. However, there are many other bands in which working together and living together are not exactly an idyllic situation. I question how they remain cohesive without being competitive.

"Well, it's very compartmentalized because Tim writes the music and I write the lyrics. There is no conflict because we each have our roles. However,Tim has been listening to a lot of really crazy contemporary music like Prokofiev. I'm not to that level yet where I can appreciate early Stravinsky, it's really stern."

She expands on the differences between their individual approaches to music, "Tim has a quest of searching music that is very intense and more cerebral. He's more in the realm of ideas about music...connecting certain type of ideas with others...but then it gets channeled through his emotional channels and this music sounds nothing like Prokofiev, but I guess it's just about generating ideas."

(A brief sidenote, it must be stated somewhere in this story, that if you ever get a chance to speak with Laetitia Sadier, you will come to adore her. She has a very entrancing way about her.) With her large brown eyes and careful pausing, Laetitia continues to elaborate on the deconstruction of inspiration. She speaks of Oliver Messian, a twentieth century French composer who was so enthralled with the sound of birds that he tried to recreate it through his works. Of course, it is impossible to make an orchestra sound exactly like flocks of birds but the idea is there. Likewise, she explains that they tried a similar approach with the sound of insects on their new album. The question of whether or not they were able to accurately intimate the sound of insects was not so much the issue as the fact the insects were an original source of impetus for the songwriting.

"It is about being inspired and having new things that inspire you to renew your music and your ideas." She adds.

A remarkably simple yet simplistically remarkable ideal. To create music that does not always stem from the same sound or inspiration. Rock 'n' roll historians will attest that bands who achieve a formidable amount of longevity in their careers are generally artists who have been able to retain a sound that is uniquely theirs while not remaining stagnant musically. Hence the longevity of such names as the Beatles, Bowie, and others.

We continue to delve into the subject of inspiration and segue into talk of their lyrics. Some of what I read online prior to the interview seemed storylike and easy to follow, but other lyrics seemed puzzling. I really didn't want to ask about lyrical definition as it is an overly wrought subject in music journalism, but I'll admit, I caved in. Laetitia was kind enough to elaborate though, so I didn't feel quite that guilty.

"I want [the lyrics] to be understood by the audience but I want the audience to make an effort. To engage their creativity and their power of free association and to also have a critical mind about what they hear or what's written. I think that is the most important thing, to stir or engage the critical mind...which is kind of really lacking at the moment...sadly."

My compatriot, Dustin, sighs, "Especially here."

"I don't know how you guys do it. It must be so frustrating at times." Laetitia chimes in, almost relieved that we are as frustrated with certain aspects of American culture as she is.

This launches the three of us into a mildly political discussion of the current commercialization of the American flag as well as phrases such as "God Bless America." Once tokens of history, these iconic trademarks now seem as worn and tired as a "mean people suck" bumper sticker. We talk of fascism such as the notorious Hollywood red light cameras, a subject which my bank account is all too familiar with. How a country so built on the idea of freedom can aim to put more and more laws in place which curb those inherent freedoms.

"What is their idea of freedom?" Laetitia muses obstinately. " Where there are cops everywhere and more and more powers. Is that freedom? No, that's a false sense of security."

Laetitia's ideologies as a foreigner aren't at all that different from Dustin's and my own. We, too, think that the majority of our society would rather gloss over the truth of most issues and blindly enact random laws than to confront and discuss alternative ways to deal with issues. Those of us who spend any amount of time critically thinking know that there's a lot more to be proactive about, regarding both world issues and the world of music.

From here, Dustin nicely ties in the rock and politics like an old pro, and tells Laetitia, "What you were talking about earlier about more critical approaches to music. We don't necessarily embrace that type of ethic or the ideal of being critical of music here because everything caters to the lowest common denominator which is why it gets on the top 40. We had a big conversation on classification of music and how you can fit so many people into "popular" music, but bands like Stereolab kind of transcend the parameters of classification because it breaks all contemporary rules and forces you to look at things from an alternative paradigm and I think that's great."

Laetitia kindly accepts this praise, but with a note of self-deprecation.

"We could even be more revolutionary, if I may say, but it's just that in contrast with as you say...the top 40...we seem very 'oh my god' but at the same time I think we're completely accessible by most people."

After a small continuation between the three of us on the subject of cheesy pop music as well as the conversely awful current "indie-ot" trend, Laetitia states, "The beauty of being in America, which was actually one of the first countries to open their arms to Stereolab, is that there's a lot of people, so it's not so difficult. There is a good scene which I hope will continue to strive or to make a difference. Maybe ten, fifteen years ago a band like us could have had a hit...in London at least. I just think of bands like the Smiths or earlier bands like that...and now...it is impossible. Unless it was a complete freak accident. We're really being pushed underground...so the idea would be to open up this underground and create an underground world because it stinks so much above ground, it's just such a mafia of music that is meaningless and empty and perpetuates running away from reality."

I believe it was at this moment that Laetitia really hit on the subversive nail. I could sense between those of us sitting there that something genuine was being exchanged, something more than simply appeasing statements, but rather truly honest sentiments about the sad state of music. An authentic sense of frustration that what one hears on the radio or what is considered "a hit" today is music rich in nihilism, insecurity, and conformity.

"To be confident individuals. That is not popular. I think in the creative process you have to take risks, you have to put your neck on the line." She continues, "I think that was the original idea. To create a sound that would be unique and sound like no one else. It seems like such a simple idea, imagine a sound that is unique...try and work at that. That should be the aim of most bands, and is it?"

Well, we all know the answer to that rhetorical question.

It is nearing time for sound check, so we decide to round up our conversation with talk of Stereolab's future. It seems like there is a lot going on with the band currently labelless. Not surprisingly, Laetitia herself doesn't have a defined answer herself as to where the band is heading.

"Well, I don't have my [crystal] ball with me...but, hopefully moving upwards naturally." She smiles honestly.

As we begin our trek downstairs near the stage, the cold air hits us again. Dustin and I are bundled up like ski kids. Almost near the bottom of the stairs I look up to see Laetitia's small son looking down at me. I say hello to him and he grins widely and says, "Hello! Did you see me on my tricycle?" Adjusting my scarf, I smile and tell him I did.