The latest idea from that genius Tim Gane to introduce novelties into the Stereolab project seems to be to refer to an aesthetic that I'll call collage. The effect achieved, however, is that of a mosaic! Let me explain better. Collage juxtaposes different pieces, cutouts to create a composition, while a mosaic is the union of small fragments aimed at achieving an effect of great harmonic power.
Well, Margerine Eclipse presents several songs that are (Tim Gane himself stated that he used fragments of compositions made years earlier alongside new ones) composed of different segments, yet the skill in sewing them together and closing the circle each time into small pop gems is amazing.
Compared to many Stereolab albums, this is one of the most accessible. It's obvious the intention to avoid any excess, starting with the very contained length of the tracks compared to the band's latest exploits. The intention is to say a lot, clearly and in a short time. The bet succeeds thanks to the supernatural sense of proportion and harmony in the composition by Tim Gane and, of course, thanks to the elegance of the vocal textures of the ever-sultry Laetitia Sadier.
This lightness is, in a sense, unexpected and contrasts with the mournful period experienced by the band following the accidental death of the other traditional Stereolab vocalist Mary Hansen (who was killed last year in a road accident while cycling in central London). Instead of producing a depressing album, their reaction was to release one of the brightest and poppiest works of their career.
Of course, the characteristic features of their music are present: lounge lightness, ethereal vocals in English and French by Laetitia, sudden krautrock accelerations, pop sensitivity, but to demonstrate the willingness to inject new elements into the recipe, the last track even has a tail in seventies disco style (duly Stereolab-ized)
In short, given its characteristics, this work might almost be the best way to approach the sound of this brilliant and long-lasting band.