nc33/multispan_quoref huggingface dataset:
Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on 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 features Moog synthesizers.
Lætitia 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 Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". 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."

Question: What is the first name of the person who died in 2002?
Answer: Mary
Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on 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 features Moog synthesizers.
Lætitia 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 Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". 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."

Question: What is the full name of the person whose absence was noticeable on live performances of Stereolab's older tracks?
Answer: Mary Hansen
Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and have also made use of unorthodox time signatures. It has been generally described as avant-pop, indie pop, art pop, indie electronic, indie rock, post-rock, experimental rock, and experimental pop.The band have played on 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 features Moog synthesizers.
Lætitia 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 Wire that Sadier "display[ed] all the emotional histrionics of Nico", while some critics have commented that her vocals were unintelligible. Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". 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."

Question: What is the first name of the person whose vocals were unintelligible for some?
Answer: Lætitia
Their records have been 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." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. 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. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.

Question: What is the name of the band that was heavily influenced by the "motorik" technique?
Answer: Stereolab
Their records have been 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." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. 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. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.

Question: What is the name of the band that their music also had "echoes of bubblegum, of exotica,?
Answer: Stereolab
Their records have been 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." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. 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. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.

Question: What is the name of the band that was inspired by funk, jazz, and Brazilian music?
Answer: Stereolab
Their records have been 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." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. 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. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.

Question: What band has musical influences such as Burt Bacharach?
Answer: Stereolab
Their records have been 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." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. 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. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.

Question: What is the name of the album that Rick Reger said it was between the Beach Boys and Kraftwerk?
Answer: Cobra and Phases Group Play Voltage in the Milky Night
Their records have been 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." Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy. 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. The same album, according to Rick Reger of Chicago Tribune, "charts [a course] somewhere between the Beach Boys and Kraftwerk." Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Barney Hoskyns wrote in a review for Dots and Loops (1997) that the group moved "away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.

Question: What band was referencing the decidedly unhip Burt Bacharach?
Answer: Stereolab
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the group that "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound"?
Answer: Stereolab
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the group for whose lyrics Sadier was influenced in part by the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord?
Answer: Stereolab
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the band in whose lyrics critics have seen Marxist allusions?
Answer: Stereolab
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the band whose members critics have gone so far as to call Marxist?
Answer: Stereolab
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the song in which Sadier sings "about capitalism's cruel cycles of slump and recovery"?
Answer: Ping Pong
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the song whose lyrics constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis"?
Answer: Ping Pong
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the band whose members have resisted attempts to link the group and its music to Marxism?
Answer: Stereolab
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the name of the person who directly claims that "none of us are Marxists...I've never even read Marx"?
Answer: Gane
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the last name of the person whose project, Monade, and its debut album title, Socialisme ou Barbarie, are references to the work of Castoriadis?
Answer: Sadier
Stereolab's music is politically and philosophically charged. Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound." The lyrics of the 2006 compilation Fab Four Suture, contains themes of war, governments that suppress freedom, and "the powerlessness that everyday people feel in the face of it all", in contrast to "humans [working] together, [treating] each other like people, and [pushing] for governments that would do the same." Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord, and her anger towards the Iraq War. The Surrealist, as well as the Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist. Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart". The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering". Sadier also said that she had read very little Marx. In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking. The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group Play Voltage in the Milky Night contains the names of two Surrealist organisations, "CoBrA" and "Phases Group", The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage. Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched On Bach, and the 1993 song "Jenny Ondioline", an interlock of inventor Georges Jenny and his instrument the Ondioline.

Question: What is the full name of the critic who describes the lyrics to Ping Pong as "a plainspoken explanation of one of the central tenets of Marxian economic analysis"?
Answer: Stewart Mason
Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; as well as one of "the decade's most innovative British bands." by Mark Jenkins. Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different." In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal." In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points." They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group. Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need." In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music. They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums. In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine. The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.

Question: What is the full name of the journalist who compared the influential band to other Britpop bands?
Answer: Peter Shapiro