The beauty of early Stereolab lies in their unique vocals, delicate layering, and incremental repetition in a verse/chorus pattern. "Jenny Ondioline" has the drone of guitars that could be found in early '90s bands like My Bloody Valentine or Jesus and Mary Chain. The vocal trade between Laetitia Sadier and Mary Hansen are what set Stereolab in a class of their own. "Fruition" has a spy soundtrack feel with bass accents and organs that blip and bleep. Laetitia Sadier's vocals set the track "Golden Ball" in motion, lifting and gliding to the next level. Droning guitars build, in the vein of Sonic Youth, and organs put in their part, adding layers and texture. "French Disco" ends the single building on repetition without you knowing that it is happening. The end sounds like a machine malfunctioning, leaving you wonder about the genius of Stereolab.
AllMusic Review by Francis Arres