Labradford: ‘Labradford’
When a known band suddenly gives, say, their third album the name of the band (the way one would usually do for a debut), you can generally guess that they’re making a pointed statement of identity and distancing themselves from much of what went before. And – appropriately – ‘Labradford’ is Labradford’s most fulfilling statement so far; showing a fully-developed band consolidating the intriguing (but ultimately frustrating and insubstantial) thumbnail sketches they provided on ‘Prazision’ and ‘A Stable Reference’.
Experiments like the deep sub-frequency bass – straight out of acid house – dropping into the chilling ambience of The Cipher or the dissonant tones that break up the background of Lake Speed are perhaps signs of ears being opened to electronica; although this also leads to a loss of the band’s shared interest in the ancient music and religious plainsong which influenced their earlier albums. And which kept me listening past the point where I’d gotten infuriated by their sheer collegiate lethargy, the way they sounded like something made by people who only got out of bed to turn their Neu! record over.
That spectral and distinctly European quality is missing from this year’s model to be replaced by more obviously technologically produced atmospherics, and better production has separated out the sounds from the claustrophobia of ‘A Stable Reference’. The addition of rhythms, albeit perfunctory and not necessarily conventional drum sounds, makes a big difference to the progress of the pieces. Where previously Labradford songs started, hung in stasis in a foggy air and then disappeared, there is now a definite propulsion, a moving forward. Reassuringly, though, we’re not talking 120 bpm…
For a group dealing in mainly instrumental ambient atmospheres, it comes as something of a joy to come across titles that, for once, bear some relation to the sounds being heard. The first track really does sound like a Phantom Channel Crossing – the most nightmarish vision imaginable of a midnight journey in a tin hulk of a ferry. The engines, the chains, the metallic resonances, the emptiness – all there. Maybe I’m imagining things. Painting my own picture for the sounds I’m hearing.
But if that’s not what Labradford’s all about, then there’s no point. This is a gallery of sound, rather than music. And yes, Midrange really does appear to exist all in that spectrum. It’s claustrophobic. While Mark Nelson’s voice mouths more of his usual indecipherable profundities over the group’s ghostly atmospherics, it is noticeable that more light is seeping into the sonic palette – distant violins and, most distinct from the usual swirling morass, a subtly tapped-out rhythm. It still ends with the growing unease of that Labradford noise, however – the closest description being the amplified sound of air ventilation.
Lake Speed is underpinned by a metronomic, surprisingly insistent bass drum rhythm, like a niggling thought tapping constantly on the wall of your brain. “Like a clock / In pieces / On the floor / I try to fix it fast / So I don’t lose too much time” – and as the clock ticks, all manner of worryingly gentle alarms go off in the background. It gives the impression of a David Lynch piece that is seeking to add to your feelings of paranoia. Aural massage never sounded so nerve-wracking. One of the track’s twisted and elongated effects sounds like a man giving vent to a low, painful scream. It’s buried deep in the mix… but it’s there. How appropriate.
Scenic Recovery retains much of the sound and atmosphere of Lake Speed. But still the thoughts keep churning away inside. The tap-tap-tapping rhythm has altered slightly – suddenly it’s the regular but ineffectual pulse of a coma patient. As the mire of sound envelops you, and tension hangs in the air, a solitary violin carries a melody through the ether. Pico is one of Labradford’s “songs”; rather than just shifting atmospheres. Almost hymnal in its simplicity – a sequence of heartbreaking chords, a melody that is played by a friendly alien on a space-age tin whistle, a barely-there whisper of a vocal and another minimalist, almost endearingly clumsy rhythm. The pace is processional, almost holy.
Oh God, how does one describe The Cipher? It is just there. It exists, like sounds exist even in the most silent of nights. Look, this is the sound of digital and analogue air rustling chains. Ghostly. Calming. It is all of these things. But mostly, it just is.
Battered, the closer, is almost eventful. Delicately balanced on a hesitant mandolin-like guitar, a brightly melodic riff, and with a beep providing the rhythm – coma patients again, nurse – it hits a Cocteaus-like bliss-out at the end. Perfect pop for Prozac people.
The last notes we hear are desert guitars drifting into the night. Death Valley, here we come…
(review by Col Ainsley)
Labradford: ‘Labradford’
Mute Liberation Technologies/Blast First Records, BFFP 136CD (5 016027 611360)
CD/download album
Released: 12th November 1996
Get it from:
(2018 update) CD best obtained second-hand, or download from Bandcamp.
Labradford online:
Misfit City 
One of the earliest reviews credited to the “Col Ainsley” hybrid of Vaughan Simons and myself. This particular one came about because we’d taken a pair of sequential Labradford albums, each written a review of one of them, and then compared and combined. Later on, I split the reviews again. This half of the effort was pretty much entirely Vaughan’s.