Stereolab introduced easy-listening elements into their sound with the EP Space Age Bachelor Pad Music, released in March 1993.
The work raised the band's profile and landed them a major-label American record deal with Elektra Records.
Their first album under Elektra, Transient Random-Noise Bursts with Announcements (August 1993), was an underground success in both the US and the UK.
Mark Jenkins commented in Washington Post that with the album, Stereolab "continues the glorious drones of [their] indie work, giving celestial sweep to [their] garage-rock organ pumping and rhythm-guitar strumming".
In the UK, the album was released on Duophonic Ultra High Frequency Disks, which is responsible for domestic releases of Stereolab's major albums.

In January 1994, Stereolab achieved their first chart entry when the 1993 EP Jenny Ondioline, entered at number 75 on the UK Singles Chart. (
Over the next three years, four more releases by the band would appear on this chart, ending with the EP Miss Modular in 1997.)
Their third album, Mars Audiac Quintet, was released in August 1994.
The album contains the single "Ping Pong", which gained press coverage for its explicitly Marxist lyrics.
The band focused more on pop and less on rock, resulting in what AllMusic described as "what may be the group's most accessible, tightly-written album".
It was the last album to feature O'Hagan as a full-time member.
He would continue to make guest appearances on later releases.
The group issued an EP titled Music for the Amorphous Body Study Center in April 1995.
The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long.
Their second compilation of rarities, titled Refried Ectoplasm (Switched On, Vol.
2), was released in July 1995.

The band's fourth album, Emperor Tomato Ketchup (March 1996), was a critical success and was played heavily on college radio.
A record that "captivated alternative rock", it represented the group's "high-water mark" said music journalists Tom Moon and Joshua Klein, respectively.
The album incorporated their early krautrock sound with funk, hip-hop influences and experimental instrumental arrangements.
John McEntire of Tortoise also assisted with production and played on the album.
Katharine Gifford was replaced by Morgane Lhote before recording, and bassist Duncan Brown by Richard Harrison after.
Lhote was required to both learn the keyboards and 30 of the group's songs before joining.

Released in September 1997, Dots and Loops was their first album to enter the Billboard 200 charts, peaking at number 111.
The album leaned towards jazz with bossa nova and 60's pop influences.
A review in German newspaper Die Zeit stated that in Dots and Loops, Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness".
Contributors to the album included John McEntire and Jan St. Werner of German electropop duo Mouse on Mars.
Stereolab toured for seven months and took a break when Gane and Sadier had a child.
The group's third compilation of rarities, Aluminum Tunes, was issued in October 1998.

Their sixth album, Cobra and Phases Group Play Voltage in the Milky Night, was released in September 1999.
It was co-produced by McEntire and American producer Jim O'Rourke, and was recorded with their new bassist, Simon Johns.
The album received mixed reviews for its lighter sound, and peaked at number 154 on the Billboard 200.
An unsigned NME review said that "this record has far more in common with bad jazz and progressive rock than any experimental art-rock tradition."
In a 1999 article of Washington Post, Mark Jenkins asked Gane about the album's apparent lack of guitars; Gane responded, "There's a lot less upfront, distorted guitar ... But it's still quite guitar-based music.
Every single track has a guitar on it."

Stereolab's seventh album, Sound-Dust (August 2001), rose to number 178 on the Billboard 200.
The album also featured producers McEntire and O'Rourke.
Sound-Dust was more warmly received than
Stereolab introduced easy-listening elements into their sound with the EP Space Age Bachelor Pad Music, released in March 1993. The work raised the band's profile and landed them a major-label American record deal with Elektra Records. Their first album under Elektra, Transient Random-Noise Bursts with Announcements (August 1993), was an underground success in both the US and the UK. Mark Jenkins commented in Washington Post that with the album, Stereolab "continues the glorious drones of [their] indie work, giving celestial sweep to [their] garage-rock organ pumping and rhythm-guitar strumming". In the UK, the album was released on Duophonic Ultra High Frequency Disks, which is responsible for domestic releases of Stereolab's major albums.
In January 1994, Stereolab achieved their first chart entry when the 1993 EP Jenny Ondioline, entered at number 75 on the UK Singles Chart. (Over the next three years, four more releases by the band would appear on this chart, ending with the EP Miss Modular in 1997.) Their third album, Mars Audiac Quintet, was released in August 1994. The album contains the single "Ping Pong", which gained press coverage for its explicitly Marxist lyrics. The band focused more on pop and less on rock, resulting in what AllMusic described as "what may be the group's most accessible, tightly-written album". It was the last album to feature O'Hagan as a full-time member. He would continue to make guest appearances on later releases. The group issued an EP titled Music for the Amorphous Body Study Center in April 1995. The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long. Their second compilation of rarities, titled Refried Ectoplasm (Switched On, Vol. 2), was released in July 1995.
The band's fourth album, Emperor Tomato Ketchup (March 1996), was a critical success and was played heavily on college radio. A record that "captivated alternative rock", it represented the group's "high-water mark" said music journalists Tom Moon and Joshua Klein, respectively. The album incorporated their early krautrock sound with funk, hip-hop influences and experimental instrumental arrangements. John McEntire of Tortoise also assisted with production and played on the album. Katharine Gifford was replaced by Morgane Lhote before recording, and bassist Duncan Brown by Richard Harrison after. Lhote was required to both learn the keyboards and 30 of the group's songs before joining.
Released in September 1997, Dots and Loops was their first album to enter the Billboard 200 charts, peaking at number 111. The album leaned towards jazz with bossa nova and 60's pop influences. A review in German newspaper Die Zeit stated that in Dots and Loops, Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness". Contributors to the album included John McEntire and Jan St. Werner of German electropop duo Mouse on Mars. Stereolab toured for seven months and took a break when Gane and Sadier had a child. The group's third compilation of rarities, Aluminum Tunes, was issued in October 1998.
Their sixth album, Cobra and Phases Group Play Voltage in the Milky Night, was released in September 1999. It was co-produced by McEntire and American producer Jim O'Rourke, and was recorded with their new bassist, Simon Johns. The album received mixed reviews for its lighter sound, and peaked at number 154 on the Billboard 200. An unsigned NME review said that "this record has far more in common with bad jazz and progressive rock than any experimental art-rock tradition." In a 1999 article of Washington Post, Mark Jenkins asked Gane about the album's apparent lack of guitars; Gane responded, "There's a lot less upfront, distorted guitar ... But it's still quite guitar-based music. Every single track has a guitar on it."
Stereolab's seventh album, Sound-Dust (August 2001), rose to number 178 on the Billboard 200. The album also featured producers McEntire and O'Rourke. Sound-Dust was more warmly received than 
Stereolab