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Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG
Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG
Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG
Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG
Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG
Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG
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Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG

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Product Description

Allmusic review:

Having established their sound, Labradford took the admirable step on their sophomore release by extending it to further levels rather than simply refining what was already there, as well as adding bass player Robert Donne to the lineup. Whether various live appearances with Main in fact had an impact, Labradford here resembles that extremely avant-garde group in creating honest to goodness \""post-rock\"" as originally defined by critic Simon Reynolds -- music reliant on rock instruments but avoiding bluesy riffs and pop hooks in favor of sheer light and shade, very much at home in the studio. The biggest change on Reference has remained a near-constant ever since, namely, the removal of lyrics and vocal parts from almost all tracks, outside of some extremely understated and intentionally buried in-the-mix-bits scattered throughout the record. Other long-running motifs started to appear as well -- astoundingly obscure cover art, short and/or nonsensical terms for s.

Labradford - A Stable Reference CD - 1995 - Flying Nun Records - FNCD329 - VG

Allmusic review:

Having established their sound, Labradford took the admirable step on their sophomore release by extending it to further levels rather than simply refining what was already there, as well as adding bass player Robert Donne to the lineup. Whether various live appearances with Main in fact had an impact, Labradford here resembles that extremely avant-garde group in creating honest to goodness \""post-rock\"" as originally defined by critic Simon Reynolds -- music reliant on rock instruments but avoiding bluesy riffs and pop hooks in favor of sheer light and shade, very much at home in the studio. The biggest change on Reference has remained a near-constant ever since, namely, the removal of lyrics and vocal parts from almost all tracks, outside of some extremely understated and intentionally buried in-the-mix-bits scattered throughout the record. Other long-running motifs started to appear as well -- astoundingly obscure cover art, short and/or nonsensical terms for s.

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