Album Review: L.A.B – III

L.A.B. III Album Cover

L.A.B – III
(Loop Recordings)

Reviewed by Tim Gruar.

L.A.B’s last album was a lesson in masterful music, navigating between the best of our past and future, from the late 60’s era to the early 90’s. Soulful, funky and innovative. Less than 12 months after the release of that stunning sophomore effort the boys are back – with L.A.B III, their third album in three years, proving what a productive powerhouse they’ve become.

Consistency is a key ingredient. So part of the superb soundings on this recording comes from the continued input of producer Dr. Lee Prebble (and Ara Adams-Tamatea) at his legendary Surgery Studios in Wellington. Songs came fast and furious out of a another rigorous writing and recording session which saw the the band spending 24/7 in the studio writing, recording and mixing. Somehow, they managed to cram this all in between an even more furious programme of festival commitments and touring dates!

L.A.B. was founded by the legendary Kora brothers Brad Kora (drums) and Stu Kora (guitar, keys) and quickly engaged the extraordinary talent of Joel Shadbolt on lead vocals & guitar and Ara Adams-Tamatea from the mighty Katchafire on bass.

A quick nod to Natalie Mentor, who has created all the band’s album covers, complex and mesmerising – loaded with classic rock imagery and hints of famous Jamaican reggae albums.

L.A.B III opens quietly with digital soundscapes and delicate, gospel/honky tonk keys courtesy of former-studio collaborator, now full-timer Miharo Gregory before swelling up to the full size of a tsunami of bass and monster riffs. Frontman Joel Shadbolt has fine tuned his pipes to be even more soulful, and that comes through from the first lines of Personify, the first number out of the blocks. If this was a stage show, then you could image the lights rising up behind a dense fog of dry ice. The drama builds steadily before dropping into a solid skank groove. This is campfire strumming, Nile Rodgers and Chaka Khan all in one! And it sets the tone and mood for the best BBQ soundtrack of the summer.

If there was such a thing as a ‘family’ groove, then In The Air would be that song. This mid-tempo swinger will appeal to Kuia and Tamariki alike. Held together by an awesome bass melody that drives it home, you can’t help ‘doo-whopping’ along. I’m looking forward to catching these guys live just see how they made this warm deliciousness.

Splashing out on the canvas All I Know employs a good dollop of mambo percussion and Dalvanius styled disco. It’s almost kitsch in its infectiousness. Alright is another delicious hum-along, peeled straight off old town Motown vinyl records. I swear (Maori music legend) Sonny Day was lurking around the studio the day they made this one. Hell, somebody was listening to Day’s big hit Savin’ Up.

You get some brilliant heavy rock moments with guitar interplay between Shadbolt and rhythm guitarist Stu Kora on What The Hell and All I Know. At times it seems they are about to launch into a bit of Hendrix or Clapton, pulling back at the last moment. Both tracks are ripe for onstage improvisation and showmanship. …Hell also has a touch of Ed Sheeran’s hookery in the chorus. Another reason to shout out at the top of your lungs from the festival mosh pit.

My personal fav on this album is the Marley/Perry inspired dubstepper Running. Here the Kora Bros get to reveal their roots with a deep bass groove. Shadbolt purposely channels Bob, whilst Brad Kora can’t help dropping in some Lee Scratch signature knob twiddles over the top of the final mix.

Then, there’s For The Love Of Jane. Jimmy Barnes, eat your heart out because Shadbolt nails this sweet one as if he was born and raised to replace Andrew Strong in the Commitments. I love the classic Motown sway and Mahuia Bridgman-Cooper’s classic strings and horn arrangements on this rendition.

The album rounds off with more classic pop/soul on the darkly grungy 70’s Shoot On You. Back then you could have easily slipped this into a Citizen Band set and claimed the sweet accolades. Shadows is classic reggae, and would sit happily next to anything by Katchafire. Then, there’s the closer, Heat. This a lush, psychedelic rock extravaganza. There are Glam references all over the shop – from Bon Jovi, Toto, Alan Parsons, Iron Maiden, and even Kiss. The song brings in a storm, peeling church bells and a lonely guitar from an abandoned Mexican border town. Shadbolt wails like Jon Bon Jovi (Wanted .. Dead or Alive) before breaking into a classic rock riff-fest and screaming “He’s heading for war, running through the trenches, he’s gotta run and hide.” The only regret I have is that the guitar solo in the bridge of this 3 minute Spaghetti Western is far too short but you can tell they were totally having fun with this one.

L.A.B III is nothing short of brilliant, clever, and delicious. Sure it’s full of cliche’s and touch points. But I found it brought back some great childhood memories. It’s a stunning grab bag from the best LP’s our olds thrashed on the Pye Isontronic during those hot afternoons as they swayed about in a ‘Kiss-the-cook’ apron’, proudly worn over lime green stubbies, with a can of Lion Brown in one hand and barbie-mate in the other. Don’t be surprised if one of these numbers turns up on the next season of Westside!


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1 Comment

  1. Awesome review, awesome album.

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