In Stereolab’s first few years they released an onslaught of material—singles, full-length LPs, a mini-LP, compilation tracks. It was one of those moments in music where a band is so creative and bursting with so many ideas there simply aren’t enough places to put them all. Being a record collector’s band, Stereolab decided to scoop up their copious non-LP material and compile it. They called the collections Switched On and issued three volumes of the series in the 1990s, each longer than the last. Almost all of their most significant early songs, no matter how obscure their initial issue, found their way to one onto one of these comps.
But one release included with that initial rush has so far fallen through the cracks. The Low Fi EP, issued in September 1992, four months after Peng! and a month before the inaugural edition of Switched On, hasn’t been compiled nor is it, as of this writing, available on streaming services. But Low Fi contains 25 minutes of focused Stereolab brilliance, the distillation of the minimalist rock side of their early sound.
For most of its runtime, Low Fi is a glorious streak of pure energy, leaving aside the exotica and motorik influences to focus on stomping rock’n’roll. Structurally, the first three songs, “Low Fi,” “(Varoom!),” and “Laisser-Faire,” are all homages to the Velvet Underground’s “Sister Ray,” each offering a variation on that song’s immortal two-chord chug. “The idea was a combination of naïve pop melodies melded with very simple rock minimalism,” Stereolab’s Tim Gane told TapeOp in 1998, discussing the band’s m.o. around the time of Low Fi. “Our innovation was to strip everything back.”
The key to that sound here is how the guitar, Moog, and Farfisa organ become a single roaring instrument, one hell-bent on transforming electricity into noise. You can feel the voltage surging through every stretched chord, the rumble of the circuitry and the waveforms being pounded into new shapes. From their hi-fi test record of a band name on down, Stereolab positioned itself as a refinement of existing musical ideas, a collective devoted to bringing earlier sounds and styles into the present moment with the precision of scientists. The records were assembled deliberately, using complicated musical instruments that required a regular maintenance.
So one part of the band’s image was as tinkerers, people in white coats working to perfect new formulations, somewhere away from the spotlight. Their kindred spirits were bands like Kraftwerk, laboring in Kling Klang for years, waiting for technology to catch up with their vision, or Kevin Shields, obsessing endlessly about the layering of guitar feedback. Stereolab were that focused on sound, but they were also moving fast, and they wanted to convey their findings to an audience as they discovered them. Low Fi shows that side of the group. Here, it doesn’t matter if every detail is in its right place; it’s about harnessing the noise and directing it even if you can never hope to tame it, the power of chaos over the power of knowledge.