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Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

Robert Zimmerman, aka the rock-folk singer-songwriter Bob Dylan, was born in Duluth, Minnesota in 1941. His first three albums – Bob Dylan, The Freewheelin’ Bob Dylan, The Times They Are A-Changing – reoriented both folk music and rock. His early songs were largely inspired by Woody Guthrie, and in turn provided inspiration (and soon a religion) to many music fans around the globe.

There is no doubt that the baby-boomers of 1968 – a whole generation – were seeking an ideal, and the promise of change in Dylan’s first songs transformed a merely average nasal-toned folk singer into a figurehead of the protest movement, and later one of its high priests.

But there are also those who will remember how Dylan invented his own life-story as an orphan with Indian blood who spent his childhood in a circus/ Or how he happily explained to 'Time' why their magazine was pointless (and to CBS News why opinions expressed by media were useless and harmful.) Of course they were, and so Bob was there to change the world. Times, indeed, they were changing, and Bob began wearing silk shirts way before he was handed the Nobel Prize for Literature. We need more Jesus Christs and Bob Dylans as world-changers.

• A classic August 1988 The Fall concert recorded in Edinburgh, Scotland.
• The band play their 1988 album "I Am Kurious Oranj" in its entirety.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

• Jimmy Page - Tribute To Alexis Korner Vol.1
• Jimmy Page and Alexis Light Orchestra recorded live in June 1984 as a tribute to the recently passed Alexis Korner.
• Recorded on the June 5th, 1984 at the Palais Ballroom in Nottingham, England.
• Featured Artists include:Jimmy Page - Guitar, Jack Bruce - Bass, vocal, Paul Jones - Harmonica, vocal, Charlie Watts - Drums, Ian Stewart - Piano, Ruby Turner - Vocal.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

• Jimmy Page and Alexis Light Orchestra recorded live in June 1984 as a tribute to the recently passed Alexis Korner.
• Recorded on the June 5th, 1984 at the Palais Ballroom in Nottingham, England.
• Featured Artists include:Jimmy Page - Guitar, Jack Bruce - Bass, vocal, Paul Jones - Harmonica, vocal, Charlie Watts - Drums, Ian Stewart - Piano, Ruby Turner - Vocal.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

• Progressive rock act THE ENID captured live in 1980 at Loughborough Town Hall!!
• British group THE ENID were formed around the founder/keyboardist Robert John GODFREY (BARCLAY JAMES HARVEST) and his fellow founder members, guitarists Stephen STEWART and Francis LICKERISH in 1973.
• Almost like a combination of classical and rock, the band combined vast orchestral movements, exclusively classical instrumentation, rigorous construction completely well-written and romantic rock music.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

• Stunning Counting Crows broadcast recording from 2000!
• Recorded in Switzerland’s largest city, Zurich, at the prestigious Volkshaus Concert hall.
• Playing a remarkable 80-minute set featuring cuts from the new record "This Desert Life" alongside songs from their previous two releases.
• Providing fans everywhere a chance to sample one of the group’s finest ever live events.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

• Live version of Ray Davies' finest theatrical work!
• The Kinks took the "Soap Opera" album out on the road in the summer of ’75 and performed the entire
record at New Victoria Theatre, London, on 14th June.
• The show was also recorded for live FM radio transmission, which further boosted the fortunes of the
corresponding album.
• FANTASTIC 140 GRAM VINYL.
• LIMITED EDITION
• Full servicing to all relevant media
• Extensive print & internet advertising

Oz Echoes peels away another layer of Australia's '80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups.

From the Sydney cassette network, The Horse He's Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age's pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf - the former's worn out apparition hails from an instantly deleted 1981 7", while Mr Knott entrust one of the compilation's five previously unreleased tracks.

Matt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide's Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap-happy punk-funk of The Frenzied Bricks and Jandy Rainbow's prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz' improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave.

A cherry-picked cast of unusual suspects, Oz Echoes' unfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.

Who is Harvey Couture? Some say he’s a survivor of French pop music’s sun-soaked synth-pop era of the early 1980s, others that he’s a more suave and stylish Serge Gainsbourg for the nu-Balearic era. There were even rumours circulating that he’s a musical mobster from the Cote D’Azure: a shadowy member of the mafia who deals in synths, drum machines and fretless bass guitars rather than guns, money and drugs. In truth, not even Leng Records knows much about the man behind the moniker, though his vividly kaleidoscopic, retro-futurist debut album, Scellé En Cristal, does offer a number of crafty clues. Whether listeners will make the necessary deductions to solve the mystery remains to be seen; regardless, it’s the music that matters, and on that score Scellé En Cristal simply cannot be faulted.

Rich in humid, afternoon-bright musical delights, the set sees our publicity-shy hero mix and mangle a multitude of musical influences – think proto-Balearic European synth-pop, Prince style purple funk, immersive ambient, early INXS style synth-rock, the electronic end of zouk and much more besides – with constantly colourful and imaginative results. Couture is most at home adding his variously seductive, sexy and sleazy vocals to bubbly, upbeat and mid-tempo numbers that combine delay-laden drum machine beats with surging synths, fluid bass, stylish guitars, lashings of leftfield pop nouse and plenty of tongue-in-cheek Gallic flair.

For proof, check the throbbing, off-kilter alien-funk throb of ‘Les Portes De La Perception’, the bustling, percussion-laden cheeriness of ‘Crème Solaire’ and the loose-limbed, toe-tapping brilliance of ‘Je Nes Peux Pas’, where chiming, steel pan style melodies and pots-and-pans percussion hits jostle for position with sliding fretless bass notes and flash-fried guitars. Check to ‘Passion’, a swaggering slab of bustling electrofunk/synth-rock fusion rich in ‘Rockit’-style scratches and restless synth-bass. The influence of languid, sunset-ready European pop records of the 1980s – those cuts that would later become sought-after amongst dusty-fingered collectors of Mediterranean music – is another recurring feature of Couture’s cultured but joyous debut album. It can be heard amongst the drowsy guitars, yawning bass and tumbling lead lines of ‘Look Within’, the pleasingly laidback ‘Invincible Line’, the elastic bass, fluorescent synth sounds and stuttering machine drums of ‘Marche’.

Yet Couture is no one-trick pony. Horizontal and loved-up moments of a more downtempo hue can be found scattered across the album, with the enveloping ambient awe of ‘Les Portes’ – all swelling chords, gentle melodies and atmospheric field recordings – and slowly unfurling ‘Whale Song’ both lingering long in the memory. Harvey Couture may not be ready to step out of the shadows just yet, but his music most certainly is. We have a feeling that Scellé En Cristal is just the start of the mystery monsieur’s musical journey.

Luca Yupanqui was not yet born when she recorded her debut album. The music on the aptly titled Sounds of the Unborn is the expression of life in its cosmic state _ pre-mind, pre-speculation, pre-influence, and pre-human. It is the first album created by a person while they were still inside the womb, the expression of a soul that hasn't yet seen the light of day nor taken a single breath of air. It is a message that comes from a different realm, a sublayer of our existence. Sounds of the Unborn was made with biosonic MIDI technology, which translated Luca's in utero movements into sound. With the help of her parents, Psychic Ills bassist Elizabeth Hart and Lee Scratch Perry collaborator Iván Diaz Mathé, Luca's prenatal essence was captured in audio. They designed a ritual, a kind of joint meditation for the three of them, with the MIDI devices hooked to Elizabeth's stomach, transcribing its vibrations into Iván's synthesizers. They let the free-form meditations flow without much interference, just falling deeper into trance and feeling the unity. After five hour-long sessions, the shape of an album began to emerge. Elizabeth and Iván then edited and mixed the results of the sessions, respecting the sounds as they were produced, trying to intervene as little as possible, allowing Luca's message to exist in its raw form. This cosmic soul summoning created new sounds, striking into uncharted territory for Elizabeth and Iván as musicians. A new language was being created, a new form of communication. It was a music without intellect or intentionality behind it, with no preconception or attempt to create any specific sound or melody. Every note on Sounds of the Unborn occurred naturally. It is human nature to wonder what life is like inside another human being's consciousness. How does it feel? What does it sound like? All these questions became stronger and more important to Elizabeth and Iván while they were waiting for Luca to come into the world. At a certain point the questions turned into, What would she say if she could speak? How would she react to the outer world? And ultimately, What kind of music would she play if she was able to? This album is an attempt to answer those questions. RIYL: Brian Eno, Mort Garson, Kaitlyn Aurelia-Smith

HIGHLIGHTS New pieces by Spanish pioneers from the 80's and before in Experimental rock, Electronica, Industrial, Avant-Garde, etc. Inspired by the mysterious and disturbing anti-Franco illustrator OPS, nowadays well known as El Roto. Second part of the Erizonte trilogy on drawing as a transmitter of progressive ideas, first part being Suite Los Caprichos by Francisco de Goya. Available only in vinyl gatefold edition. TRACKLIST: SIDE A A1. ERIZONTE - Obertura A2. MECANICA POPULAR and Erizonte - Dos veces en la vida A3. LA FURA DELS BAUS and Erizonte - ¡Mierda de guerra! A4. MACROMASSA with Erizonte - Tonsura A5. PELAYO ARRIZABALAGA, ELI GRAS & ERIZONTE-Miedo a la verdad A6. ERIZONTE - Tres piezas para teclados SIDE B B1. ERIZONTE - (Des) educación B2. ESPLENDOR GEOMÉTRICO & Erizonte - Clerecía B3. MAR OTRA VEZ - Calma B4. ERIZONTE - Difracción B5. ERIZONTE with JESUS ALONSO - En el país del silencio B6. SCUD HERO with Erizonte - Hipnosis colectiva B7. CORCOBADO and Erizonte - Sol sotnemurtsni es nacot B8. ERIZONTE - Coda More Details: In this collective creation directed by Erizonte well-known artists sharing ethics and aesthetics come together over the mysterious and disturbing drawings that appeared in some newspapers, books and magazines in the mid 1960's to mid 1980's, such as Hermano Lobo, Triunfo or Cuadernos para el Diálogo, signed OPS - later better known by the heteronym of El Roto. Musicians or sound artists, representatives of avant-garde music that emerged in the Spain of OPS, have composed a piece for this album on a given, recurring theme: repression, censorship, informative manipulation, induced or obligatory oblivion, the vices of clericalism, the horrors of war, imperialism, bad education or the lack thereof and gender violence. These are themes that coincide with those already undertaken by Goya in etchings, and of whom we can consider Andrés Rábago, the painter behind these two pseudonyms, as the legitimate heir, at least in this field. He himself has chosen the drawings that illustrate each of the covers corresponding to the individual editions of each piece as they appeared. The covers are all gathered here, along with a new cover. This album is part II of Erizonte's trilogy inspired by drawings in the media c. After the first part, the "Suite Los Caprichos de Goya", where 19th century ideals of the Enlightenment can be seen through the etchings of Francisco de Goya, while this second album corresponds to the OPS cartoons, anti-Francoism and its environment, as it was when they appeared in newspapers and magazines, the media of the 20th century. The artist and the graphic medium for the third and last part, corresponding to this 21st century, is yet to be discovered ...

Adult Books is the brainchild of Los Angeles-based writer and multi-instrumentalist Nick Winfrey. With the help of childhood friends Sina Salessi (drums) and Alex Galindo (guitar/synth), Winfrey crafts lyric-driven dark pop gems that recall the hook-heavy guitar work of Johnny Marr, the just-below-the-collar angst of Mission of Burma, and the doomsday bellow of early Echo and the Bunnymen.
After a well-received string of bedroom demos and cassettes, Adult Books released their first full-length album, Running from the Blows , in 2016, trading in their previous home-recorded sounds for a cleaned-up act that allowed Winfrey’s pop savvy and understated lyrical wit to shine through. Two years of heavy touring followed, after which Winfrey found himself both burned out and uninspired by the business of music.
Following a much-needed hiatus, Adult Books is finally ready to share their sophomore LP, Grecian Urn . Recorded with Jonny Bell (Crystal Antlers) and mastered by Dave Cooley (Animal Collective, J Dilla) , Grecian Urn was crafted over the course of nearly two years; however, the seeds of the album were sown more than a decade earlier. When sitting down to write Grecian Urn , Winfrey revisited old demos, forgotten voice memos and unfinished fragments of songs to create something wholly new.
The end result is a self-assured and intensely personal album that places Winfrey’s evocative images and economic storytelling approach front and center. A loose concept album of sorts, Grecian Urn draws on classical Mediterranean imagery and mythos as a means of exploring Winfrey’s past traumas and struggles with chronic anxiety.

2023 Repress


it’s happening again: dj, producer and dial records co-owner lawrence produced his fourth album for mule musiq. and once more, another very special one. the berlin-based artist wrote nine new arrangements specifically for “studio mule”, the new audiophile listening bar that mule musiq's head-honcho toshiya kawasaki recently opened in shibuya, tokyo. it features an exquisite vintage hi-fi sound system, a small record shop, craft liquor and beer as well as an extensive natural wine collection. “toshiya's wine and listening bar was the inspiration for the project. i followed the idea of listening to music in this (for me imaginary) place on a magic vintage sound system, slightly drunk with an always special drink in my hand! the music is therefore also very eccentric and “tipsy”, improvised on acoustic instruments, synthesizers and computer, combined with recordings i did in berlin's central tiergarten park.” lawrence acknowledges the imaginative superstructure above his new album and his mode of operating during the recordings. the records is called “birds on the playground” and features deep pulsating music, that unfolds its true absorbing character when the auditor listens care-fully to the detailed storytelling of lawrence. like always his tunes got a special, radiant pulse, that somehow is a signature sign of most of his productions. playful cosmic grooves, light-hearted, crafted with love and yet freshly unset-tling in some moments. his arpeggiated melodies remind partly on the music of hans-joachim roedelius. in other sec-onds they display a jazzy spiritual character and drift into meditative areas, that sound to a degree like long forgotten japanese folk music spheres. as “birds on the playground” isn’t aimed straight for the dancefloor, the overall coating of the music is a relaxed, cautious one, that goes beyond the average definition of ambient music. each track builds up gracefully, in order to present a mesmerizing musical architecture, that offers new sound dimensions with any fresh listening turn. as the record is made for mule musiq`s latest public space enterprise, everyone who is close-ly connected to the label was involved.

mule musiq’s core artist kuniyuki was in charge for the mastering. and the labels visual draw-er stefan marx painted the cover artwork. “when i saw the record cover for the first time, i had to think a bit of an extremely funny new year's eve party from over 10 years ago, when stefan and i founded the imaginary band “the dead sea”. this record would have been a wonderful soundtrack to the bustle during that night.” lawrence reveals.

it must have been a party beyond hysteric spheres, where all guests dance and talk dearly at the bar, while the music slows down their body functions enough to hear a sound that takes everybody away to a place, that must have been home in that very moment.

Over the course of four albums, Manchester based trumpeter, composer, arranger and band-leader Matthew Halsall has carved out a niche for himself on the UK music scene as one of it's brightest talents. His languid, soulful music has won friends from Jamie Cullum and Gilles Peterson to Jazz FM and Mojo as well as an ever-growing international following. His label Gondwana Records is home to GoGo Penguin and his own albums have found Halsall exploring the modal jazz of John and Alice Coltrane, paying tribute to the hard bop of the late '50s and early '60s or most recently on Fletcher Moss Park drawing on Eastern influences in his most personal statement yet. His latest album When The World Was One is something of a companion piece to Fletcher Moss Park (much of the music was written at the same time) but draws more explicitly on Halsall's love of spiritual jazz and Eastern music as well as his own studies in meditation and travels in Japan. Beautifully recorded at Hasall's favourite studio, 80 Hertz in Manchester, and engineered by Brendan Williams and George Atkins it features the recording debut of Halsall's large ensemble, The Gondwana Orchestra, which utilises the exotic flavours of harp, koto and bansuri flute and Eastern scales to create a global palate for Halsall's life-affirming sounds.

The Gondwana Orchestra features long time collaborators Nat Birchall, saxophone, Gavin Barras, bass and Rachael Gladwin, harp as well as Taz Modi on piano. Modi who also plays with Halsall in their more electronic trio shares his passion for spiritual jazz and plays the music with real feeling while the role of the harp here is to bring a touch of 'magical reality' a floating dreaminess that is a vital part of Halsall's elegiac and beautiful music. The drummer Luke Flowers is perhaps best known as part of Cinematic Orchestra, and Halsall describes him as 'one of the best drummers in the world' and hails him for 'playing the music exactly as I heard it in my head', Keiko Kitamura is a Japanese Koto player who is becoming an increasingly important part of the Gondwana Orchestra, her role is similar to Gladwin's in that the koto helps free up the music while also bringing a real sound of the East. Finally, flautist Lisa Mallett brings a love of Indian music to the orchestra, much travelled on the continent she brings all of her knowledge and experience to play offering a unique texture to Halsall's dreamy melodies.

The album opens with the title track, When The World Was One, an expansive ascending tune that nods to Art Blakey and McCoy Tyner and draws the listener in before giving way to the dreamy, meditative A Far Away Place which features great work from Gladwin on harp and draws on Eastern influences alongside the music of Alice Coltrane and Yusef Lateef. Falling Water which features the beautiful soprano of Nat Birchall nods to classic spiritual jazz as well, but mixes in the more contemporary influences of Nostalgia 77 and Cinematic Orchestra, while the hard-driving Patterns conjures an up-lifting celebratory vibe with fine work from pianist Modi to set the mood. The beautiful Kiyomizu-Dera is inspired by Halsall's travels in Japan and in particular his visit to the Buddhist temple of the same name. Likewise Sagano Bamboo Forest is named for another place that left a deep imprint on Halsall and aims to capture his feelings as he worked through the vast maze of bamboo trees. Finally the album closes with the self-explanatory Tribute To Alice Coltrane a grooving tribute to one of Halsall's key influences. Driven by a powerful bass line and featuring wonderful work from Mallet on bansuri flute and harpist Gladwin, the band all really find their way into Halsall's groove before the leader plays a beautiful wistful solo of his own and it is the oneness of the Gondwana Orchestra that makes it such a powerful vehicle for Halsall's music as the leader takes you on his very own journey through his musical and spiritual world.

LA-based producer, composer, songwriter and multi-instrumentalist James McAlister is a rare creator, and highly sought after collaborator. Perhaps best known for his work with Sufjan Stevens , McAlister has also appeared on record with Lorde amongst many others, and is a regular contributor to Aaron Dessner 's projects, including the latest albums from Taylor Swift, folklore and evermore . His regular work with film music includes The Two Popes, The Big Sick, and Ron Simonsen 's recent films. In 2018 he joined Stevens, Casey Foubert , St. Vincent and Moses Sumney for the Oscar performance for music from Call Me By Your Name, where he played piano and a bottle of cupcake sprinkles. With nearly countless projects to his name, it was in 2017 that his collaboration with Stevens, Nico Muhly, and Bryce Dessner entitled Planetarium was released by 4AD. Around the same time McAlister started a deep dive into a personal sonic realm that has manifested as an ambient project under his own name. 2018 saw the release of Three Breaths , the first offering from this exploration. 2021 will see the second installment, an album called Scissortail which vividly puts McAlister's evolving master craft on display. It is a collection of moving, meditative, immediately satisfying and quietly stunning work. It is the sound of an artist letting go entirely of pre-conceptions or expectations, instead mining the depths of that very real and abstract place of sound, texture, color and feeling. Some songs arrive almost intuitively, while others feel mechanically made, fed through the framework of synthesizers and the patchwork of recording gear. And with that comes a compelling duality to the work; a machine grace informing the on-going but subconscious dialogue between energy and material, sensitivity and asceticism.

Sun Milk was recorded in two months, a much quicker process than the three years spent on their previous release, Flowers. The band recorded the album at the Pharmacy, Vroom’s home studio in Toronto, located above an actual pharmacy. It was the first album to be recorded after Little Kid solidified their live lineup, with Boothby, Vroom, and Germain having played together for over two years. Every song except “Like a Movie” began as a full-band live take, with overdubs performed democratically, with both Boothby and Germain layering guitars. It was also the first record to feature Lunn’s vocals, who joined the band shortly after the album’s release.

The result is a deeply affecting document of personal crisis, mirroring the dramatic changes in Boothby’s life—a breakup, living alone for the first time, beginning a new career. The lyrics have less Christian content and more personal overtones than other Little Kid records. “It was a relief when these songs came out,” says Boothby, “processing recent changes in my life, trying to take ownership of my identity and choices.” This lends a confessional warmth to the songs, a feeling of reconnecting with an old friend, sharing stories. Highlights include the off-kilter opening track “The Fourth” and the lovely, meandering “Ugly Moon.” The centerpiece of the album is “Slow Death in a Warm Bed.” A meditation on why people stay in flawed relationships, the song builds in calming repetitions until the guitars explode in the last minute, climaxing in a full-fledged distorted freakout. It’s one of the most beautiful and harrowing songs in Little Kid’s catalog.

The drifting, gentle “Dim Light Coming Down” features some of Boothby’s best lyrics. The narrator describes a person seeing “the likeness” of their own dead father “floating high above the road,” a mystical encounter rendered in the most plainspoken of terms. But Boothby quickly undercuts the moment: “But you'd been drinking when you saw him/And your mind was moving slow/Like your ears were full of cotton/So what he said you'll never know.” It’s a thwarted encounter that becomes more powerful for that very fact. Just before the song reaches its slow-building climax, Boothby sings, “Coming down/There’s a bright light/A gentle sound/Opening wide.” The transcendence does finally arrive, but it’s in the coming down, the hangover, the regular life that comes after the big moment. There's little wonder why it's become a live staple for the band.

The record is a high point in a remarkably consistent career. Looking back at Sun Milk, Boothby believes it’s one of the strongest in Little Kid’s oeuvre. “It’s probably my favorite,” says Boothby. “In general, I love slow songs, and this album is full of them. I like the structure of seven long songs—can’t think of too many albums with only seven songs. It gives the album an interesting flow.”

18 track vinyl album recorded live at at Brighton Concorde 2,
15th December 2003, and featuring Wurzel from Motorhead on Guitar.
Band Line-up: Sir Max Splodge OBE - Vocals Mat Sargent - Bass Harry Monk -
Drums Johnny Chunders - Guitar Wurzel (Motorhead) - Guitar
Also Available on CD+DVD Cat No. SECDP216 ‘Two Pints Of Lager And A Packet
Of Crisps Please’.
Full mailout to relevant music press and radio.
Full promotion across social media platforms Advertising in Record Collector,
Viva le Rock, Shindig

With Uma Elmo, his fifth album as a leader for ECM, Danish guitarist Jakob
Bro presents a new trio featuring Norwegian trumpeter Arve Henriksen
and Spanish drummer Jorge Rossy.
Astonishingly, given the trio’s musical synergy, the first time these three musicians ever performed together was for the album’s sessions at the Swiss Radio
studio in Lugano, with ECM founder Manfred Eicher producing.
Uma Elmo reaffirms the observation about Bro’s work by London Jazz News
that “there is no hurry to this music, but there is great depth.” Among the
album’s highlights is opener “Reconstructing a Dream,” a darkly lyrical reverie.
“To Stanko” is Bro’s hushed tribute to the late, great Polish trumpeter Tomasz
Stanko, who featured the guitarist in his quintet for the ECM album Dark Eyes.
Another homage to a late elder is “Music for Black Pigeons,” which was given
its evocative title by saxophone sage Lee Konitz.
Listeners will recognize Henriksen’s whispering, poetic sound from his 2008
ECM album Cartography, as well as his collaborations for the label with Trio Mediaeval and Tigran Hamasyan. Rossy is well known to jazz fans on both sides of
the Atlantic, particularly for his decade-plus tenure in Brad Mehldau’s careermaking first trio.
As for the leader, DownBeat aptly noted in its review of his previous ECM album, Bay of Rainbows, that “Bro’s guitar is luminous... his music both hypnotic
and dramatic.”
Jakob Bro: guitar
Arve Henriksen: trumpet, piccolo trumpet
Jorge Rossy: drums