Led Bib [Album Details]

Led Bib
Allmusic Biography : British avant-garde jazz ensemble Led Bib are a progressive, stylistically varied group touching on everything from swinging post-bop to skronky free jazz and a healthy dose of neo-prog and noise rock. Formed in 2003 by drummer/composer Mark Holub (with the bands first gig in February of the following year), Led Bib also feature bassist Liran Donin, keyboardist Toby McLaren, and alto saxophonists Pete Grogan and Chris Williams. Drawing on such inspirations as saxophonist Ornette Coleman, avant-garde firebrand John Zorn, free jazz icon Sun Ra, and even 60s psych rocker Captain Beefheart, Led Bib released their debut album, Arboretum, on Slam in 2005. The bands sophomore album, Sizewell Ten, dropped in 2007 on Babel. Since 2005, the group has logged some high-profile gigs, including a one-hour live broadcast on BBC Radio 3 and an appearance at the North Sea Jazz Festival. Led Bib released their third studio effort, Sensible Shoes, on Cuneiform in 2009, which was nominated for the Mercury Prize. In celebration of the groups tenth anniversary, Cuneiform issued two Led Bib albums in May of 2014: The People in Your Neighbourhood and the limited-edition vinyl LP The Good Egg, the latter recorded live at two London shows in 2013. In early 2017, Led Bib issued Umbrella Weather, their seventh outing, marking the bands debut for the London-based RareNoise Records.
	Album: 1 of 7 Title: Arboretum Released: 2005 Tracks: 10 Duration: 1:00:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover	1 Clatter (03:47) 2 Work Prospects (05:31) 3 Joyous Hangover (06:03) 4 Flashing Indicator (05:20) 5 Aural Assault (05:28) 6 1ére Gymnopédie (04:45) 7 Post Invasion Plan (07:14) 8 Debts (04:49) 9 Gnossienne No 1 (07:28) 10 Memories Cant Wait (10:17)
	Album: 2 of 7 Title: Sizewell Tea Released: 2007-01-16 Tracks: 10 Duration: 1:03:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover	1 Stinging Nettle (04:57) 2 Battery Power (05:36) 3 Shower (04:10) 4 Manifesto for the Future (04:41) 5 Spring (05:25) 6 The Keeper (06:31) 7 Forest Fire (07:58) 8 Chocky (10:03) 9 Lichen (06:19) 10 Heroes (08:16)
$Allmusic album Review : Led Bib are explosive enough to blow up your speakers -- after theyve done a number on their own speakers, that is. The British quintet plays hot-wired electric jazz-rock with two alto saxes wailing over (usually) electric keys and bass plus no-nonsense drums -- and, incidentally, drummer Mark Holub composes nearly all the bands material. Those saxes, belonging to Chris Williams and Pete Grogan and nicely positioned in the stereo field, are practically mirror images, matched in tone and intensity as they pair up in harmony, echo each other in counterpoint, or democratically divide up the soloing space. Theres a 90s New York downtown feel to their tone, phrasing, and interplay, recalling in particular the two altos of Ned Rothenberg and Thomas Chapin in Rothenbergs funked-up Double Band releases on the Moers label. Yet Liran Donins fuzzy rattling bass and Toby McLarens burning Fender Rhodes truly differentiate this group from the pack -- it sometimes seems like Donin in particular has decided that nothing could possibly elevate the proceedings more than playing through a demolished speaker, and McLaren makes the overdriven sound of Miles Davis fusion-era electric keyboardists seem like George Winston. The opening moments of "Yes, Again" waltz darkly, offering few clues of whats around the corner: the brief assault of an angular theme followed by a squeaky buzzing and pounding blast of ear-shredding keyboard and bass driven by rock-solid rhythms underpinning those siren-wailing saxes. Tempos shift, constrict, and loosen as the band uncoils, only to tighten back into the theme and stop on a dime just as your neighbors shout at you to turn the stereo down. The playful two-note sax blurt beginning "Squirrel Carnage" is joined by the rest of the bands clipped phrases and fractured rhythms, suddenly overtaken by that thick fuzz bass and Rhodes as the energy builds and McLaren unleashes a frantic solo followed by squalling saxophone and an abrupt tumble onto a free-form plateau. Led Bib are not afraid to abandon the rhythm, as they do for a short spell here, but they also relish bringing everything back together, assembling compositional puzzle pieces and ratcheting the energy level up, slamming into a tightly focused finale.<br><br> In contrast, the comparatively gentle opening to "Early Morning" could soundtrack the first stirrings of wakefulness after the sun has arisen; there is space enough to slowly gather ones bearings. The sax harmonies are lovely over understated accompaniment before the keys downward progression and rolling drums bring unsettling portents, and the saxophone burns increasingly hotter over a spacious slow vamp to the point of explosion -- there is calm again at the conclusion, but this particular morning has ultimately entailed more than a relaxed breakfast in bed with a croissant and juice. The squelchy keyboard voicings accenting "Sweet Chilli" nearly mimic the sound of a squeegee on a car window, while "2.4:1 (Still Equals None)" slows to a crawl and then stealthily tiptoes through episodic stops and starts with fittingly spooky and spacy electronics in homage to BBC Radiophonic Workshop explorer Delia Derbyshire, while the albums most accessibly tuneful and uptempo moment arrives with Grogan and Williams tight harmonies on the theme to "Call Centre Labyrinth." Led Bib let their pent-up energies loose with particular drama on album highlight "Water Shortage," which achieves nearly cinematic proportions as McLaren spins through cleanly articulated keyboard runs -- with acoustic piano voicings this time around. And the nine-plus-minute "Zone 4," written by Williams, is an ambitious closer, with its nearly martial rhythm and angular themes ultimately building through the customary explosiveness to a stirring finale with heartfelt playing by the saxophonists, aiming for the heavens as the drums roll and bass and keys swell beneath them. Yes, Led Bib can certainly bring the skronk, but on "Zone 4" they also bring heart and soul.$	Album: 3 of 7 Title: Sensible Shoes Released: 2009-05-04 Tracks: 9 Duration: 58:43 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover	1 Yes, Again (04:55) 2 Squirrel Carnage (07:10) 3 Early Morning (07:10) 4 Sweet Chilli (05:22) 5 2:4:1 (Still Equals None) (05:56) 6 Call Centre Labyrinth (07:00) 7 Water Shortage (07:11) 8 Flat Pack Fantasy (04:49) 9 Zone 4 (09:07)
Sensible Shoes : Allmusic album Review : Led Bib are explosive enough to blow up your speakers -- after theyve done a number on their own speakers, that is. The British quintet plays hot-wired electric jazz-rock with two alto saxes wailing over (usually) electric keys and bass plus no-nonsense drums -- and, incidentally, drummer Mark Holub composes nearly all the bands material. Those saxes, belonging to Chris Williams and Pete Grogan and nicely positioned in the stereo field, are practically mirror images, matched in tone and intensity as they pair up in harmony, echo each other in counterpoint, or democratically divide up the soloing space. Theres a 90s New York downtown feel to their tone, phrasing, and interplay, recalling in particular the two altos of Ned Rothenberg and Thomas Chapin in Rothenbergs funked-up Double Band releases on the Moers label. Yet Liran Donins fuzzy rattling bass and Toby McLarens burning Fender Rhodes truly differentiate this group from the pack -- it sometimes seems like Donin in particular has decided that nothing could possibly elevate the proceedings more than playing through a demolished speaker, and McLaren makes the overdriven sound of Miles Davis fusion-era electric keyboardists seem like George Winston. The opening moments of "Yes, Again" waltz darkly, offering few clues of whats around the corner: the brief assault of an angular theme followed by a squeaky buzzing and pounding blast of ear-shredding keyboard and bass driven by rock-solid rhythms underpinning those siren-wailing saxes. Tempos shift, constrict, and loosen as the band uncoils, only to tighten back into the theme and stop on a dime just as your neighbors shout at you to turn the stereo down. The playful two-note sax blurt beginning "Squirrel Carnage" is joined by the rest of the bands clipped phrases and fractured rhythms, suddenly overtaken by that thick fuzz bass and Rhodes as the energy builds and McLaren unleashes a frantic solo followed by squalling saxophone and an abrupt tumble onto a free-form plateau. Led Bib are not afraid to abandon the rhythm, as they do for a short spell here, but they also relish bringing everything back together, assembling compositional puzzle pieces and ratcheting the energy level up, slamming into a tightly focused finale. In contrast, the comparatively gentle opening to "Early Morning" could soundtrack the first stirrings of wakefulness after the sun has arisen; there is space enough to slowly gather ones bearings. The sax harmonies are lovely over understated accompaniment before the keys downward progression and rolling drums bring unsettling portents, and the saxophone burns increasingly hotter over a spacious slow vamp to the point of explosion -- there is calm again at the conclusion, but this particular morning has ultimately entailed more than a relaxed breakfast in bed with a croissant and juice. The squelchy keyboard voicings accenting "Sweet Chilli" nearly mimic the sound of a squeegee on a car window, while "2.4:1 (Still Equals None)" slows to a crawl and then stealthily tiptoes through episodic stops and starts with fittingly spooky and spacy electronics in homage to BBC Radiophonic Workshop explorer Delia Derbyshire, while the albums most accessibly tuneful and uptempo moment arrives with Grogan and Williams tight harmonies on the theme to "Call Centre Labyrinth." Led Bib let their pent-up energies loose with particular drama on album highlight "Water Shortage," which achieves nearly cinematic proportions as McLaren spins through cleanly articulated keyboard runs -- with acoustic piano voicings this time around. And the nine-plus-minute "Zone 4," written by Williams, is an ambitious closer, with its nearly martial rhythm and angular themes ultimately building through the customary explosiveness to a stirring finale with heartfelt playing by the saxophonists, aiming for the heavens as the drums roll and bass and keys swell beneath them. Yes, Led Bib can certainly bring the skronk, but on "Zone 4" they also bring heart and soul.
	Album: 4 of 7 Title: Bring Your Own Released: 2011-02-07 Tracks: 10 Duration: 51:42 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover	1 Moth Dilemma (04:17) 2 Is That a Woodblock? (04:44) 3 Little x (06:44) 4 Hollow Ponds (02:41) 5 Power Walking (04:06) 6 Service Stop Saviour (05:38) 7 Engine Room (05:29) 8 Shapes & Sizes (05:55) 9 Walnuts (05:50) 10 Winter (06:18)
	Album: 5 of 7 Title: The People in Your Neighbourhood Released: 2014-05-13 Tracks: 11 Duration: 1:12:21 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover	1 New Teles (05:18) 2 Giant Bean (07:05) 3 Angry Waters (Lost to Sea) (06:51) 4 This Roofus (05:29) 5 Recycling Saga (07:41) 6 Plastic Lighthouse (06:50) 7 Tastes So Central (08:30) 8 Imperial Green (03:08) 9 Curly Kale (04:55) 10 At the Ant Farm (07:38) 11 Orphan Elephants (08:56)
	Album: 6 of 7 Title: The Good Egg Released: 2014-05-13 Tracks: 4 Duration: 43:27 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover	1 Giant Bean (09:05) 2 Recycling Saga (07:52) 3 Shapes and Sizes (09:29) 4 Imperial Green (17:00)
$Allmusic album Review : Given the cohesion and discovery on Umbrella Weather, Led Bibs debut for RareNoise, one would never even surmise they almost split before recording it. After 2014s fantastic The People in Your Neighbourhood, everyone went their separate ways and worked on different projects with no future plans to record together. But drummer Mark Holub, who had moved to Vienna to form Blueblut with guitarist/sound artist Chris Janka, was itching to work with his old bandmates. He got in touch with them and sold the idea of a new Led Bib album. He invited alto saxophonists Chris Williams and Pete Grogan, bassist Liran Donin, and keyboardist Toby McLaren to Jankas Vienna studio, encouraging each man to bring new tunes. The end result has as much improv as their other recordings, but conversely offers their tightest and most musically focused date, while their trademark brand of fiery interplay, delightful skronk chaos, and dynamic force are all there in spades. That said, their (always) dizzying array of styles is articulated seamlessly, with scripted themes, complex rhythms, infectious grooves, knotty harmonic conversations, and unusually intuitive soloing.<br><br> While Umbrella Weather is unmistakably a Led Bib record, its playful senses of delight, curiosity, and discovery are fresh and new. Opener "Lobster Terror" contains all their sonic trademarks, but nods directly at the influence of Tim Bernes Snakeoil. The twin alto horns, playing either in tandem or answering one another through the middle, ride atop a ringing woody bassline and cymbal and hi-hat dance until the last third, when electric piano ushers in a majestic chorus line as horns and bass engage in an almost hummable melody before another group fracas takes it out. Theres a beautiful nod to Ornette Coleman & Prime Time during the intro to the ten-minute "On the Roundabout." Its extrapolated to embrace a dirty, distorted funky bass vamp and dual horn improvisations on Arabic and flamenco themes. Holub double-times the band and McClaren pastes electric piano, synth, and noise all through the middle. Led Bibs most explosive interaction occurs on "At the Shopping Centre," where skronk & roll is the m.o. While downbeat electronic wobble and airy lyricism introduce "Skeleton Key to the City," it eventually opens wide to embrace swinging post-bop and Mingus-style modernism. "Marching Orders" contains more than a hint of this bands love of Frank Zappa, early heavy metal, and swampy jazz-funk. Closer "Goodbye" commences as a lilting ballad in waltz time before opening into a celebration of energy, sound, and angular invention. Umbrella Weather is nearly 75 minutes long, yet goes by in a flash. While The People in Your Neighbourhood sounded like a veteran group reaching a creative zenith, this re-energized quintet is more colorful, playful, and inventive than ever before. This music is as much fun to listen to as it is serious and vital.$	Album: 7 of 7 Title: Umbrella Weather Released: 2017-01-27 Tracks: 12 Duration: 1:15:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic AlbumCover	1 Lobster Terror (05:37) 2 Ceasefire (05:33) 3 On the Roundabout (10:13) 4 Fields of Forgetfulness (05:42) 5 Too Many Cooks (02:10) 6 Womens Power (06:56) 7 Insect Invasion (06:50) 8 At the Shopping Centre (07:11) 9 Skeleton Key to the City (07:06) 10 The Boot (05:15) 11 Marching Orders (07:31) 12 Goodbye (04:58)
Umbrella Weather : Allmusic album Review : Given the cohesion and discovery on Umbrella Weather, Led Bibs debut for RareNoise, one would never even surmise they almost split before recording it. After 2014s fantastic The People in Your Neighbourhood, everyone went their separate ways and worked on different projects with no future plans to record together. But drummer Mark Holub, who had moved to Vienna to form Blueblut with guitarist/sound artist Chris Janka, was itching to work with his old bandmates. He got in touch with them and sold the idea of a new Led Bib album. He invited alto saxophonists Chris Williams and Pete Grogan, bassist Liran Donin, and keyboardist Toby McLaren to Jankas Vienna studio, encouraging each man to bring new tunes. The end result has as much improv as their other recordings, but conversely offers their tightest and most musically focused date, while their trademark brand of fiery interplay, delightful skronk chaos, and dynamic force are all there in spades. That said, their (always) dizzying array of styles is articulated seamlessly, with scripted themes, complex rhythms, infectious grooves, knotty harmonic conversations, and unusually intuitive soloing. While Umbrella Weather is unmistakably a Led Bib record, its playful senses of delight, curiosity, and discovery are fresh and new. Opener "Lobster Terror" contains all their sonic trademarks, but nods directly at the influence of Tim Bernes Snakeoil. The twin alto horns, playing either in tandem or answering one another through the middle, ride atop a ringing woody bassline and cymbal and hi-hat dance until the last third, when electric piano ushers in a majestic chorus line as horns and bass engage in an almost hummable melody before another group fracas takes it out. Theres a beautiful nod to Ornette Coleman & Prime Time during the intro to the ten-minute "On the Roundabout." Its extrapolated to embrace a dirty, distorted funky bass vamp and dual horn improvisations on Arabic and flamenco themes. Holub double-times the band and McClaren pastes electric piano, synth, and noise all through the middle. Led Bibs most explosive interaction occurs on "At the Shopping Centre," where skronk & roll is the m.o. While downbeat electronic wobble and airy lyricism introduce "Skeleton Key to the City," it eventually opens wide to embrace swinging post-bop and Mingus-style modernism. "Marching Orders" contains more than a hint of this bands love of Frank Zappa, early heavy metal, and swampy jazz-funk. Closer "Goodbye" commences as a lilting ballad in waltz time before opening into a celebration of energy, sound, and angular invention. Umbrella Weather is nearly 75 minutes long, yet goes by in a flash. While The People in Your Neighbourhood sounded like a veteran group reaching a creative zenith, this re-energized quintet is more colorful, playful, and inventive than ever before. This music is as much fun to listen to as it is serious and vital.