Brötzmann/UuskylaA Crack To Beauty LP (MLR 013)

music by Peter Brötzmann tenor sax, tarogato and Peeter Uuskyla drums
recorded live in concert at Folk, Gothenburg, Sweden February 12, 2015

Peter Brötzmann and Swedish drummer Peeter Uuskyla, a veteran of saxophonist Bengt Nordström’s groups, first recorded together in 1999 with bassist Peter Friis Nielsen, and have since met numerous times in trio and duo settings. Previous to A Crack to Beauty was a 2LP set: Red Cloud on Silver, on the young Swedish label Omlott, which has also released Uuskyla’s solo music as well as reissuing part of their previous duo disc, Born Broke, as a single LP titled Dead and Useless. Uuskyla is an incredibly limber drummer, economical and swinging in constant funky inversions that ratchet the saxophonist towards a jittery stratosphere. That’s not to say that Uuskyla can’t embrace the calm, metallic ache that pervades Brötzmann’s music, matching bitter pathos with brushy piles and accented silence. On the second movement of the title piece, unaccompanied tenor – the theme for Fred Hopkins that Brötzmann often references – appears midway through, before Uuskyla answers with darting rollicks. It’s a plaintive respite amid sheer, rolling, grooving sound. Brötzmann’s largesse is given a thick, expertly carved pathway here, and though he’s found numerous long-term drummer partners over the decades, each bringing something different to the whole, this particular pairing is one that I find extremely rewarding.
Clifford Allen, Ni Kantu on Red Cloud on Silver (Omlott MLR 006/7) 2015


Bengt ”Frippe” NordströmNow’s the time / Solo Fripping 7″ (MLR 7001)

Same recordings as the bonus 7″ included with Winged Body but this comes in 50 copies with handmade covers. You better be quick on this one.


NeutralNeutral – LP (MLR 012)

We are very proud to release the new Neutral LP! It will arrive in March so here´s your chance to get your copy before it sells out. LP comes in heavy gatefold cover. Limited to 500 copies.

We will ship the same day it arrives to us from pressing.

In a sweaty art space open to no one and just a stone’s throw away from the Utmarken venue where it all in more than one way kind of began, Neutral did their first show in front of maybe 25 people. The free jazz drummer Peeter Uuskyla opened the night with a shimmering set of absurd, life-elevating bliss and Neutral just ripped it all apart. There and then sort of Gothenburg underground ground zero, or more like ground nothing. New beginnings and grey waves of something very exciting. It’s been close to 2 years now but it’s one of those nights that I will remember forever. Since then I’ve seen Neutral on several occasions and it’s always been a pleasure, always refining their craft but at the same time shredding the improvement to tiny pieces with every heartbeat. It’s like they are taking one step forward and two steps back with every minute they produce, and in a very rare and weird way getting better and more interesting doing so.

The untitled second album, following up Grå Våg Gamlestaden (Omlott, 2014), does just that. It takes everything that made the debut album so special and puts it in a rusty meat grinder, taking a piss on the deconstructed mess and puts it together again, piece by piece. The formula might be almost identical, but the final outcome is different. Where the debut was immediate and fairly easy to resonate with, the new album is almost impossible to penetrate at first. You can sense that there’s something resembling a ragged beauty somewhere, but it’s hard to reach. It’s like Neutral deliberately placed various obstacles along the way, fucking with everyone’s expectations and rightfully so. Still, after each time spent with those 35 minutes things will slowly unfold themselves and there you are, pleased with one of the most fully realized and beautiful recordings to ever come from the shitfaced Utmarken camp of misunderstood geniuses. Yeah, I actually heard them all. Neutral manages to connect the dots between everything from Chrome and Siltbreezian gold from the 90’s to the more experimental sides of Dome, while throwing in some tape work that could only originate from Gothenburg and brutish guitar playing bringing JFK, Skullflower and maybe even rock-era Ramleh to mind at times. Let’s not forget the mysterious field recordings scattered along the way, and Sofie Herners dry, talked vocals, leading at least this listener to the realization that there’s no end to this fucking winter.

– Matthias Andersson, January 2016


Anna HögbergAttack – LP/CD (MLR 011)

Anna Högberg – alto saxophone, Elin Larsson – tenor and soprano saxophone, Malin Wättring – tenor and soprano saxophone, Lisa Ullén – piano, Elsa Bergman – bass, Anna Lund – drums

Attacking the now. The instant. The music. Attacking your image of what. Is. Music. Attacking the past. The history. What is now. Attack is all. Don’t hold back. Ever.
Curiousness and initiative is all. And attack. The attack mode.
6 Swedes attacking it all with a front of 3 sax players not holding back.
Attacking the mystery of it all. 6 defined personalities and creative voices with feet and
minds in jazz, improvised music and related experimental matters.
Togetherness. A real unit of creativity. Of poetic beauty.
Anna Högberg as a modern free jazz standard bearer keeping it all together – her rich alto sax leading the ensemble into layers of high octane outbursts and sensational melodic
variations. Her tone being able to cut landscapes open, to melt your brain as we know it.
Check the two tenor sax axes out! Elin Forkelid Larsson and Malin Wättring knows how to attack matters – how to structure solos and ensemble work with intense warmth and melodic
beauty. Seldom have I heard such warm and rich sounding tenors in Scandinavia. The time is here. The attack attack!
Drummer Anna Lund punctuating the flow… attacking it all. Laying fundaments of possibilities for the others. The attack attack!
Pianist Lisa Ullén adding her thorny, but detailed phrases to the picture. The picture of the attack attack.
And last but not least. The attack attack of deep sounding bass maestro Elsa Bergman. With an unusaul imagination of how to position her own language and bass lines into a collective
of attacking free jazz. Freeing the jazz. Attacking the jazz.
The attack attack!
/Mats Gustafsson


mlr010OUT NOW!!!!
Peeter Uuskyla featuring Bengt ”Frippe” NordströmWinged Body – LP + 7″/CD (MLR 010)

Simon Cecil: vocals on LP side A1, A2, Nema: vocals on LP side A1, A2, violin A3, A4, side B, Bengt Nordström: tenor sax on LP side B and 7″ side A, clarinet on 7″ side B, Peeter Uuskyla: voice and drums on LP side A and B, drums on 7″single side B, Björn Alke: bass on 7″ single side B

Archaic Sounds, Natural Music & Joy

This album is about a way to simply make raw, basic, natural and joyful music.

This album is also about and with the Swedish saxophone visionary Bengt Nordström, ”Frippe” who first of all talked to me about making and playing natural music.

The legend of Bengt Nordström (1936-2000) tells how he picked up the clarinet and the saxophone after being deeply touched by the music of Tony Scott and Sonny Rollins.
Then meeting Ornette Coleman and Albert Ayler changed his musical vision; so much that he no longer fit into the contemporary jazz scene in Sweden. Frippe spoke of a totally spontaneous, improvised, creative music at a time when everyone else was trying to master
bebop. Because of this, he was left to play alone for many years. He became ”the outsider”; that nobody wanted, or had the nerve to play with. During intermissions at clubs, like the ”Golden
Circle”, he took the opportunity to play small solo concerts and recorded himself.

He released small editions of his work on his own ”Bird Notes” label. Although the recordings were mostly solo sax, on rare occasions, he was joined by Don Cherry on trumpet, bassist
Sven Hessle or bassist Björn Alke who would show up to play duets with him. His collection had two releases: Albert Aylers; ”Something Different!!!!!!” (BNLP 1) and Bengt Nordströms
own; ”Natural Music” (BNLP 2). The other recordings were not numbered or catalouged but were released as LPs and EPs.

It was not until the mid 70s that Bengt Frippe Nordström formed his own band, the ”Miljövårdsverket”. After some years of trying different constellations, the musicians, bassist Björn Alke (1938-2000), violin player Lars Svanteson (b. 1949) and myself, drummer Peeter Uuskyla (b. 1951), became established as a ”working unit” and cut the albums ”Now ́s The Frippe Time” (Dragon Records DRLP 82), ”The Environmental Control Office” (Ayler Records aylCD-021/022), ”Frippe ́s Protocol” (aylDL-086) and ”Creative
Addition” (aylDL-116).

This album is also about me talking to my children Nema (b. 1993) and Simon Cecil (b. 1990) to continue making natural music with your own voice, body and whatever music instruments you use. This album is recreated, created and recorded 2015, 7″ vinyl side A recorded 1967 and side B recorded 1987. Hope you like it!

Peeter Uuskyla



Konstrukt & Joe McPheeIf You Have Time (MLR 009)

New studio album with Joe McPhee (US) and Konstrukt (Turkey)

Limited to 400 copies, hurry up!