Young Mother has played Wavelength a few times at this point, and for good reason. Their brand of kraut-rock is unparalleled in its mood and sense of exploration, and last year’s LP Future Classics ranks among the best local albums released in 2012. Initially Ryan McLaren asked YM brainmaster Jesse Laderoute a bunch of questions about the lack of a download code, but Jesse quickly pointed out it was printed on the label. So let’s start this interview with a forehead slap and see how it goes from there.

I have to admit that I only just picked up Future Classics on vinyl a few weekends ago. It's an absolutely beautiful clear record. Why'd you go clear?

Originally I wanted it to be glow in the dark because the image on the cover features a ghost which I thought would be kinda funny, but it turned out to be prohibitively expensive. Clear seemed like the next best thing.

How do you view the differences then between vinyl and digital?

Different formats create different listening environments for the audience. Digital is about portability; vinyl is about environmental listening, even in the case of the DJ who spins vinyl.

Sometimes I worry that, if the medium is the message, then digital equals disposable. Yet, I do like having the good version and the travel version in a neat little package. While digital-only makes sense for a lot of music, vinyl-only seems like it's still rare right now. Do you think this is changing?

The records that hold up to scrutiny long after blogs have moved onto something else are the reason people buy things on vinyl. People enjoy owning an artifact that reflects their timeless, excellent taste in midst of the constantly evolving sphere of popular music.

I read a review of Future Classics that used the phrase "worth the vinyl it's pressed on." Materially, vinyl is regarded with a certain reverence, so the clear vinyl this is pressed on connotes a certain degree of value and appreciation. Do you agree with that? Was that the intention?

I just wanted the vinyl itself to aesthetically match the album art and the tone of the music on the record.

Alternatively, the movie GO contained the phrase "if you were any less black you'd be clear." Was that the intention?

Glad you picked up on that.  The album itself was actually conceived as a veiled retelling of the plot of the movie GO.

So the download code is on the actual label, not on the outside of the album. Did you do that so it wouldn't look like it was a box of Cracker Jack?

Nah, we just didn't want to have to spend money printing cards so we incorporated it into the design of the sticker, which we had to print anyway. It was a matter of convenience.

Have you ever considered doing a locked groove? This seems like the perfect band for it.

Yes, I've thought about it. Maybe we can license the theme music from The Price Is Right.

A long time ago you mentioned that you feel that recorded music is just in service to the live show. How do you view the relationship between the two now? 

I don't know if I agree with that. It's more that I think that they're separate entities and should be treated as such. I don't care if my band sounds the same live as it does on record because in each circumstance they will be experienced in a different social and acoustic environment. I happen to think that the music should reflect that.