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2LP
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KRANK 001LP
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"To coincide with the 20th anniversary of the original release, we are issuing Kranky katalog #001 on vinyl for the first time since 1993, newly remastered and with new artwork. The debut album from Labradford, as well as the premier Kranky release, was originally issued in late 1993 to a surprising amount of acclaim as well as a fair bit of confusion. What was one to make of these beatless atmospheres cum pop songs that had little to do with contemporary 'indierock? ' The album was typically lumped into such newly minted sub-genres such as 'lo-fi ' and 'post-rock ' even though there was no connection to any such imagined scenes. Lo-fi? You can hear Mark Nelson breathe between vocal lines. Must be the lack of cymbals and hi-hat that accounts for that fallacy. Post-rock? Did that catch-all phrase for disparate musical groups and sounds even imply anything concrete or encompassing? Alas, just another label that quickly became meaningless. What is clearly evident upon listening to the album anew is that this is not a dated or stale work by any means. It could just as likely have been recorded in 2003, or 1983 for that matter, as in 1993. It does not contain any of the markers so typical of pop music that would place it in any time frame, no production touches or instrumental sounds that would identify it as being the product of a specific period. At the very least, Labradford created a timeless work, one that still challenges the listener today. More to the point, they created a masterwork."
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CD
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KRANK 001CD
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"The debut album from Labradford, as well as the premier Kranky release, was originally issued in October 1993 to a surprising amount of acclaim as well as a fair bit of confusion. What was one to make of these beatless atmospheres cum pop songs that had very little to do with contemporary 'indie-rock'?? The album was typically lumped into such newly-minted sub-genres as 'lo-fi' and 'post-rock' even though there was no connection to any such imagined scenes. Lo-fi? You can hear Mark Nelson breathe between vocal lines, for chrissake. Must be the lack of cymbals and hi-hat that accounts for that fallacy. Post-rock? Does this catch-all phrase for disparate musical groups and sounds even imply anything concrete or encompassing? Alas, just another label that quickly became meaningless. What is clearly evident upon listening to the album anew is that this is not a dated or stale work by any means. It could just as well have been recorded in 2003, or 1983 for that matter, as in 1993. It does not contain any of the markers so typical of pop music that would place it in any time frame, no production touches or instrumental sounds that would identify it as being the product of a specific period. At the very least, Labradford created a timeless work, one that still challenges the listener today. More to the point, they created a masterwork. The album has been given a proper mastering job for the first time, and the B-side of their debut 7" single has been added that appeared as an addendum on the original release."
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CD
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KRANK 047CD
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"To record their sixth album, the members of Labradford met in Chicago to work with Steve Albini at Electrical Audio in June 1999. fixed::context finds the trio stripping off the string trios of the last two albums and working with interlocking sound sources and modifiers; Carter Brown's vintage synthesizers, organs and electric piano, the distinctive Duane Eddy plays Satie guitar of Mark Nelson and Bobby Donne's four and six string basses. Beginning with the 16 minute 'Twenty', Labdradford demonstrate grasp of the dialectic between organic sound sources, digital processing and composition. The guitar duet 'Up To Pizmo' shows a refocusing on basic elements like melody and twang while samples pulse below and keyboards waft above."
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LP
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KRANK 047LP
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CD
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KRANK 037CD
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"Soft-focused, haunting and beautiful, this is the frontline of guitar-based modern American music.' It's hard to improve on this description of the music of Labradford written by Dave Howell in Obsessive Eye fanzine. Labradford have, over the course of four albums, constantly expanded their sound. With their fifth studio recording, E luxo so, the trio have done it again...utilizing a string section, dulcimer, tape loops that stretched around a room as well as integrating digital technology via samplers. The result of these efforts are six songs that combine organic and electronic elements into a seamless whole. Labradford leads the listener to fill the gaps in their music. They do more than create an atmosphere, Labradford take the listener across a descriptive landscape in which process is just as important as product."
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CD
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KRANK 023CD
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"With their fourth album, Labradford have once again broadened and varied their sound, while maintaining their distinctive identity. Mi Media Naranja adds a string section, Fender Rhodes electric piano and slide guitar to the trio's sound bank. It is the most cinematic of Labradford's recordings to date. The music alternately stretches, ripples or lofts its way past the listener as if it was coming off a screen and not through speakers. The sounds here are reminiscent of John Barry, Bill Evans and most of all, Labradford."
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CD
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KRANK 013CD
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Self-titled 3rd album from this Richmond, VA trio (keyboards, bass, samples, guitar, vocals). "From the beginning strains of chains dragging across a Co2 canister on 'Phantom Channel Crossing,' Labradford have infused the album with sampled and real time percussion traces, at times faintly delving into actual syncopation."
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CD
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KRANK 006CD
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2nd album by heavily acclaimed Chicago trio. Guitar, keyboards, bass & subdued vocals mix up a brew of lo-ball ambiance and occasional icy sadness, it's no wonder they're huge in the UK.
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