Background: Stereolab were an English-French avant-pop band from London, formed in 1990 by Tim Gane (guitar/keyboards) and Laetitia Sadier (vocals/keyboards/guitar) who both remained at the songwriting helm across many line-up changes. Other long-time members included Mary Hansen (backing vocals/keyboards/guitar), who joined in 1992 and remained in the line-up until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993 and is still in the official line-up. Sean O'Hagan of the High Llamas was a member from 1993 to 1994, and continued appearing on later records for occasional guest appearances. The group's music combined influences from krautrock, lounge and 1960s pop music.
Context: Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock experimental rock, and experimental pop. Their records are heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Funk, jazz, and Brazilian music were additional inspirations, and the sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to their earlier guitar-driven style. Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Joshua Klein in The Washington Post said that, "Years before everyone else caught on, Stereolab was referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach."  Stereolab make use of vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things." The 1994 album Mars Audiac Quintet prominently feature Moog synthesizers.  Laetitia Sadier's English and French vocals was a part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music. In reference to her laid-back delivery, Peter Shapiro wrote facetiously in The Wire that she "display[ed] all the emotional histrionics of Nico". Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.  In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not." The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing", and for Sadier, "you trust that there is more and that it can be done more interesting." CANNOTANSWER
Question: Any other influences?

Answer:
CANNOTANSWER
Bakgrund: Stereolab var ett engelsk-franskt avant-popband från London, bildat 1990 av Tim Gane (gitarr/keyboards) och Laetitia Sadier (sånger/keyboards/gitarr) som båda stannade kvar vid låtskrivarrodret över många line-up förändringar. Bland övriga långvariga medlemmar fanns Mary Hansen (backande sång/keyboards/gitarr), som anslöt 1992 och kvarstod i line-upen fram till hennes oavsiktliga död 2002, och Andy Ramsay (trummor), som anslöt 1993 och fortfarande är med i den officiella line-upen. Sean O'Hagan från High Llamas var medlem 1993–1994, och fortsatte att medverka på senare skivor för enstaka gästframträdanden. Gruppens musik kombinerade influenser från krautrock, lounge och 1960-tals popmusik. Sammanhang: Stereolabs musik kombinerar ett dronande rocksound med loungeinstrumentaler, överlagrade med sing-song kvinnlig sång och popmelodier. Den har allmänt beskrivits som avant-pop, indie pop, konstpop, indie electronic, indie rock, post-rock experimental rock, och experimentell pop. Deras skivor är starkt influerade av 1970-talets "motorik"-teknik krautrockgrupper som Neu! och Faust. Tim Gane har stött jämförelsen: "Neu! gjorde minimalism och drönare, men på ett väldigt pop sätt." Funk, jazz och brasiliansk musik var ytterligare inspiration, och de ljud som influerades av minimalistiska kompositörer Philip Glass och Steve Reich återfinns på albumet Cobra and Phases Group Play Voltage in the Milky Night från 1999. Angående deras senare arbeten som Instant 0 in the Universe (2003) och Margerine Eclipse (2004) har kritiker jämfört utgivningarna med deras tidigare gitarrdrivna stil. Stereolabs stil innehåller också lättlyssnande musik från 1950- och 60-talen. Joshua Klein i The Washington Post sade att, "År innan alla andra fångades på, Stereolab refererade 1970-talet tyska band Can och Neu!, den mexikanska lounge musikmästare Esquivel och den avgjort unhip Burt Bacharach." Stereolab använder sig av vintage elektroniska tangentbord och synthesizers från märken som Farfisa och Vox och Moog. Gane har berömt instrumenten för deras mångsidighet: "Vi använder de äldre effekterna eftersom de är mer direkta, mer extrema, och de är mer som plastika: man kan forma dem till massor av saker." På albumet Mars Audiac Quintet från 1994 finns Moog synthesizers med framträdande inslag. Laetitia Sadiers engelska och franska sång var en del av Stereolabs musik sedan början; och brukade då och då sjunga ordlöst tillsammans med musiken. Med hänvisning till sin avslappnade leverans skrev Peter Shapiro facetiously i The Wire att hon "visar[med] alla Nicos känslomässiga histrioniker". Sadier brukade ofta byta sång med Mary Hansen back-and-forth på ett allsångssätt som har beskrivits som "eerie" och "hypnotiskt". Efter Hansens död 2002 kommenterade kritikern Jim Harrington att hennes frånvaro märks på liveframträdanden av Stereolabs äldre spår, och att deras nyare låtar kunde ha gynnats av Hansens uppbackningssång. I intervjuer har Gane och Sadier diskuterat deras musikaliska filosofi. Gane sade att "att vara unik var viktigare än att vara bra." När det gäller att vara för dunkel, sade han i en intervju 1996 att "kanske är det område där vi är på taskig mark, är denna idé att man behöver stor kunskap [om] esoterisk musik för att förstå vad vi gör." Sadier svarade Gane, och sade att hon "tror[s] att vi har uppnått en musik som kommer att göra mening för en hel del människor oavsett om de känner till Steve Reich eller inte." Duon var upp-front om deras önskan att växa sitt sound: för Gane, "annars låter det bara som vad andra människor gör", och för Sadier, "förlitar man sig på att det finns mer och att det kan göras mer intressant." CANNOTANSWER Fråga: Några andra influenser? Svar:
Background: Stereolab was an English-French avant-pop band from London, formed in 1990 by Tim Gane (guitar/keyboards) and Laetitia Sadier (vocals/keyboards/guitar) both of which remained at the songwriting rudder over many line-up changes. Other long-time members included Mary Hansen (backing vocals/keyboards/guitar), who joined in 1992 and remained in the line-up until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993 and is still in the official line-up. Sean O'Hagan of High Llamas was a member from 1993 to 1994, and continued to appear on later records for occasional guest appearances. The group's music combined influences from Kraut rock, lounge and 1960s pop music. Context: Stereolab's music combines a drone rock sound with lounge instrumentals, superimposed with sing-song female vocals and pop tunes. It has been widely described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock experimental rock, and experimental pop. Their records are heavily influenced by 1970s "motorics" technology krautrock groups like Neu! and Faust. Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way." Funk, jazz and Brazilian music were further inspiration, and the sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night. Regarding their later work as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to their previous guitar-driven style. Stereolab's style also features easy listening music from the 1950s and 60s. Joshua Klein of The Washington Post said that, "Year before everyone else was caught on, Stereolab referenced 1970s German bands Can and Neu!, the Mexican lounge music champion Esquivel and the decided unhip Burt Bacharach." Stereolab uses vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the instruments for their versatility: "We use the older effects because they are more direct, more extreme, and they are more like plastic: you can shape them into lots of things." The 1994 album Mars Audiac Quintet features Moog synthesizers with prominent features. Laetitia Sadier's English and French vocals were part of Stereolab's music since the beginning; and would occasionally sing wordlessly along with the music. Referring to his relaxed delivery, Peter Shapiro facetiously wrote in The Wire that she "shows[with] all Nico's emotional histrionics". Sadier would often switch vocals with Mary Hansen back-and-forth in a all-song way that has been described as "eerie" and "hypnotic". After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticed on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals. In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "being unique was more important than being good." When it comes to being too obscure, he said in a 1996 interview that "perhaps the area where we are on shitty ground, this idea is that you need great knowledge [of] esoteric music to understand what we are doing." Sadier responded to Gane, saying that she "believe[s] that we have achieved a music that will make sense to a lot of people whether they know Steve Reich or not." The duo were up-front about their desire to grow their sound: for Gane, "or it just sounds like what other people are doing", and for Sadier, "you rely on there to be more and that it can be made more interesting." CANNOTANSWER Question: Any other influences? Answer:
CANNOTANSWER
CANNOTANSWER