Impressed by the violent psychedelic form dub music - played live by musicians that is - could take on a classical sound system, Lab°'s future members - 2 guitarists, a bassist, a drummer, a sampling/keys rythm padder and a architectural sound ingenier- took together on july 1998.
The sinuous path to rehearsal studios without really knowing what the result would be.
The members knew each other but just the way musicians from a small town (St Germain en Laye)
know each other. Some had worked with others whether by recording one's music or playing together on one of those 4 years lasting rock band. Anyway, the thing to remember is that no one had any experience in dub or reggae music. They were in fact more into dark sound if we may accept the term than jump-around-with-a-smile-on-your-face ire kind a music and they still are...more than ever.
6 months after the first hour of rehearsal, Lab° recorded in one night their first album - more of an EP form - released to begin with the do-it-yourself-way and then on 2000 on their own label MILLE MILLIARDS, distributed by PIAS FRANCE. Underground and specialized medias were pretty interested by "Dubalgan 500mg" laborotory tests weirdness and Lab°'s tour life began. If you listen to the first track "Liquide" you'll get a closer idea of what Lab°'s music is all about: dark, trippy, instrumental and violent. They improvised two tracks "mille milliards" and "500mg" on which Suzanne Thoma ( Octet's female singer) sang.
The future form of lab°'s composition process is in progress. "Taffy Ap", a dark pop-dub eleven tracks LP, is released on the year 2001. "Massive" and "io" are good tracks to understand the lp meanings.
More while-recording-improvisations are presented: "io", "horns of bah", "une démarche trés naturelle" still with Suzanne Thoma's voice.
Lab°'s own dub is taking a turn and defines itself. The tone had been given: you'll never find Lab°'s music where you think it is.
The third LP "Derriére la pluie" released on 2003 is once again amazing by his awareness and by his interests in self evolution.
Here, you have deserted spaghetti western atmospheres ("Revient aux témoins") and vivid bursts of electric guitars cries ("solness").
More than half of the album has been improvised and reedited.
"Müs", Lab°'s last album offers the listener a seizing contraction and a sometimes disturbing vision of Lab°'s musical universe.
The group got together for twenty days to record, firstly in an old Basque Ball court of a farm near Saint Jean De Luz, and secondly in the living room of a 17th century manor in Normandy.
Completely improvised, the sessions were then cut up, assembled, mixed, and mastered, resulting in these fourteen tracks on the album.
Lab°'s universe is an initiatory tunnel, whose aesthetic radicalism eludes an inattentive listening of the record.
From dub, which was their original trademark, they move on to noisy eruptions, passing through arid atmospheres to extreme rock. Distorted rhythms and sounds shout out images of urban life.
The four songs on the album offer a temporary break from the relentless instrumentation of the rest of the album.
Each piece is a feeling, a desire. "Müs" passes from one palpitation to another\ sinuous motorways ("Enclume"), extreme lashing out ("Encoprésie"), stubborn pop ("De Porcelaine", "Crystal Krill Killer"),urban noise ("The Pope And The Bleeding Baby", "Nice White Hat"), obsessive cinematographic ambiances ("Ocho1", "La Cigue"), and sections of everyday life ("Müs", "Angel In My Pocket").
Lab° play what they breathe.
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