by Ben Hogwood

What’s the story?

Laetitia Sadier is best known as the frontwoman of Stereolab, the band who have carved a wholly distinct niche for themselves in pop music over the last 35 years. Yet now and then she delves into some interesting side projects, including the band Monade – or her own solo work. Rooting For Love is her first such album in seven years.

On it, Sadier’s quest is to provide for the listener a way out from the state of the world today, looking for an end to suffering and moving towards healing of the traumas the human race has been suffering of late.

What’s the music like?

With such ambitious aims, the worry would be that Sadier’s work would be regarded as pretentious or having ideas way above its station. Happily neither is the case, for this is a deeply felt set of songs that really do go some way towards making their listener feel more empowered and less downtrodden.

Typically, Sadier sings some of the album in French and some in English, and it is easy for the listener to follow. Musically, however, the language is some of the most exploratory we have yet heard from her. There are still plenty of references to the pop, funk or bossa nova that frequently seeps into her work with Stereolab, but here the results are even less constrained, totally in response to the lyrical material.

As the album progresses, so the intensity heightens. While first song Who + What shows how much instrumental colour she has at her disposal, it also sets the scene for what lies ahead. La Nageuse Nue (The Naked Swimmer) has a starry backdrop, while sonically The Inner Smile makes a very strong impact, not just through Sadier’s resonant voice but the block organ chords surrounding it.

Yet the peak of intensity comes with the last song, Cloud 6. Here the rich brass and fuzzy atmospherics provide a backdrop to a strong vocal motif that gains in power, rather like a Philip Glass offshoot, and lyrics that culminate in Sadier’s striking pronouncement that “I’m not fucking around, you’re halfway dead.” With that the music suddenly cuts off, leaving silence in its wake.

Does it all work?

It does – and the way the intensity builds as the album progresses is rather striking. Sadier has much to say, and does so with poise and no little power.

Is it recommended?

It is. A mandatory purchase for Stereolab followers, but a great standalone purchase too. Laetitia Sadier remains at the peak of her powers.

Listen and Buy

Published post no.2,098 – Sunday 25 February 2024