Labradford

Gob, “Beauville”

I have regrets when it comes to the tagging system I use around here. Yes, it’s nice to have all the bands tagged, that’s useful. But I wish I had also tagged genres, and subgenres, and some of the common threads in these posts. Like “Canadian Punk” would have been a fun tag. Why did I listen to so many Canadian punk bands in the 90s? I dunno. I have no way of knowing if my punk consumption was disproportionately Canadian or not. How would you measure that? Count up the number of punk albums I own that came out in the 90s, weigh by population, see if they match the expected distribution? I suppose that would work, would likely be possible with some data scraping using the Discogs API, and is absolutely not going to happen unless someone were to pay me. Or if I get super bored.

Mary Wells, “Bye Bye Baby”

A real rager here from the early Motown days from Mary Wells. It’s certainly easy to see how this did so well for them.

Labradford, “Disremembering”

Here’s a track from the first drone record by Labradford, the record that found them with their most minimal lineup. Labradford was always most effective setting a mood, and I think that the mood comes through the most with fewer tools in the arsenal.

SOB X RBE, “Paramedic!”

Kendrick Lamar assembled the soundtrack to Black Panther, which ended up being a set of songs that are more inspired by the movie than necessarily being a traditional soundtrack. Kendrick is involved with everything, taking different roles depending on the song. As a result, even though there are a lot of different artists, it still feels like a coherent album. It’s not quite as magnificent as his recent proper albums, but really, what could be?

At The Drive-In, “Pattern Against User”

At The Drive-In is probably best known for one of their successor bands, the Mars Volta, but they also totally ruled. They were less prog-y than the Mars Volta, with more post-hardcore and straight up punk going on. But despite being more conventional, that doesn’t at all mean that the songs were uninteresting. This is from my favorite album by them, Relationship of Command, their final album (before the 2017 reunion).

Happy birthday to me! I’m…more than 4 years old.

Labradford, “S”

There’s a lot I like about Labradford, and Mi Media Naranja in particular. And then it kicks of with “S”, that beautiful reverbed out guitar…and then you get that high pitched tone. And it drives me crazy. I wish it weren’t there! It’s unpleasant!

clown core, “flat earth”

I came across clown core through their absolutely insane videos (here’s the one for “flat earth”). But honestly, this kind of thing is really right up my alley. Sure, it’s avant-garde as hell, but it’s also goofy, the drumming is extreme, it’s noisy. Good stuff!

Today!

Labradford, “Sliding Glass”

More of Labradford’s drone-y version of post-rock, with that lovely build up during the song.

The Mad Lads, “Whatever Hurts You”

No, this isn’t actually a Motown song, this is actually from Stax, from 1968 even. Usually, it’s easier to spot which label we’re dealing with.

Frankly, the fact that a band appearing on here called “The Mad Lads” turned out to be old soul and not some fifth-tier third-wave ska band is a massive upset.

Yeah! Old Primus! Soul! Kid music?

Labradford, “WR”

The other day, we had Kranky labelmates Jessamine, but here’s the band I associate most with that label, Labradford. Post-rock-y, drone-y, sometimes very experimental, Labradford had a very interesting run of a half dozen albums on Kranky which were all very interesting. Most of the time, they were working with instrumental stuff, and I find it to be really pleasant stuff to put on when I’m working. That sounds like a backhanded compliment, but it’s not intended to be.