To sum up STEREO TOTAL's short history, which began with the single , let us list the different elements characteristic of their musical art:
a minimalistic production (in a positive sense), meaning a home-made-trash-garage-sound crossed with underground, authentic as well as amateurish, ironic as well as effective, pop as well as...political. An untiring creative energy, as if it could never suffice, "Oh, but you haven't heard this one!" and wop! here we go again, hardly leaving time to draw a deep breath. A brilliant sense of composition as well as for covering other's material, whatever the source, combined with an excessive love for French chanson (the main weak spot being an evident admiration for the master Gainsbourg). A mystery of words resulting from the French-German/ male-female bilingualism, words in which accents are merrily blended and become more and more exotic from album to album (Japanese, Turkish, Spanish, English). And finally, an explicit and surprising sensitivity for electronic effects and a thrilling beat. A gift of pop music and its everlasting history. Between "Dactylo Rock" and "Get Down Tonight" (1995), "Supergirl" and "Grand Prix Eurovision" (1997), "Touche-moi" and "Party Anticonformiste" (1998), "Die Krise" und "Milky Boy Bourgeois" (1999), to only mention a few of their past titles.