s a lad growing up in a series of small towns, with little to no access to good radio stations, publications, and (for far too long) the Internet, label compilations were the only way I could find out about many of the bands who now make up the pantheon of greats in my world.

Through my purchasing of these inexpensive discs, I quickly deduced that there were two kinds of compilations that most independent labels trucked in—one is simply a rundown of the artists and songs the label is pushing in the coming months; the other a collection to celebrate a milestone of some sort.

This four-disc set from Labrador Records, Sweden's finest pop label, falls squarely in the latter category as it is their 100th release. To thank the fans and supporters who have helped them survive and thrive as a label, they have put together a handsome looking collection that runs down 100 of the best songs they have put out to date (including a sole exclusive cut to close out the proceedings).

Obviously as label collections go, this is not the quick and dirty affair that I'm used to. It takes a great deal of time and energy to get through 100 of anyone's songs (it's no wonder Stephin Merritt decided to halt his concept at the next best number), but thankfully, the wheat outweighs the chaff, making it a worthwhile investment.

As many of the bands featured here are still around today, it is especially interesting to hear the progression of their sound over the past decade. For instance, the Acid House Kings—a group that counts three co-owners of the label amongst their members—have evolved from a pretty standard twee act into a lush, sophisticated pop group. As well, you can hear the slow influence of electronica creeping into the label's signings, something that started to take hold around the world around the time Labrador came into existence.

Once you put each of the four discs into perspective (they each cover a particular chronological stretch of the label's life), it becomes apparent that Labrador became more selective in their signings over the years. The fourth disc is, arguably, the strongest of the bunch, featuring several songs that ring with the indestructible nature of a classic rather than one that is clearly date stamped. This is particularly true of Labrador's best bands: Sambassadeur’s three breathy, VU-inspired tracks are some of the most hypnotic pop I've heard in ages.

As compilations go, it is hardly the zeitgeist, gauntlet toss that marked such still classic collections like Wanna Buy a Bridge? and Sub Pop 100, but it gets its job done admirably, introducing the world to a bevy of fine work streaming out of Sweden.