Thanks John Shand for a lovely review of Thursday’s launch!!
Sadly, due to social distancing we’ve had to cancel the 8th birthday celebrations and the album launch of Julian Curwin’s ‘Midnight Lullaby’.
However, the Midnight Lullaby band will perform live, streamed by Johnston Street Jazz on May 7 at 8pm! Check it out at the Johnston Street facebook (can be viewed even without an account).
It’s been 8 years since the birth of Romero Records, and to celebrate we’re putting on a massive party – featuring Umlaut’s first Sydney show in years, the album launch of Julian Curwin’s ‘Midnight Lullaby’ (featuring Stu Hunter, Lloyd Swanton and Jess Ciampa) and much more excitement!
All happening May 7 at Lazybones Lounge. Keep updated via the facebook event.
Romero Records is excited to announce ‘Midnight Lullaby’, the latest album from guitarist/composer Julian Curwin. Although he has been producing recordings for over 20 years, this is the first release under Curwin’s own name.
In essence a collection of dark lullabies, it is a subtle blend of jazz, classical, film music and latin sounds. The album features an all-star ensemble of pianist Stu Hunter (The Migration, Tina Harrod, Moniker), bassist Lloyd Swanton (The Necks, Ambon, The catholics) and percussionist Jess Ciampa (Spaghetti Western Orchestra, The Tango Saloon, Brandenburg Orchestra).
‘Midnight Lullaby’ will be released very soon, keep your eyes… open.
Just six months after their Easter-themed EP ‘Arunachala’, more new music from Umlaut… and this time it’s Halloween!
Meditative and charmingly addictive forays into experimental pop from the mind of Mr Bungle saxman Bär McKinnon, with some help from Melbourne legend Angus Leslie (Sex On Toast).
‘Kintsugi’ is more of a vocal affair than Umlaut’s previous releases, think Bungle with a bit of Beach Boys, Beatles and Badalamenti.
‘Crossing’ by Julian Curwin & Jane Sheldon has received a glowing review in The Sydney Morning Herald. 5 stars! Next performance: September 27 at Django Bar…
Out of the deluge of new music bursts an unexpected vision of beauty to rival Joseph Canteloube’s Chants d’Auvergne. Part bucolic dream and part sonic rainbow (arching from the 13th century to now), this has guitarist Julian Curwin and soprano Jane Sheldon composing settings for assorted French, Spanish and English poetry of lost or unrequited love. The 14th century Chanson d’amour and La froidor, for instance, impale you on the anguish of love unrequited, made all the more poignant by the bell-like, boy-soprano purity and innocence of Sheldon’s voice against Curwin’s classical guitar. The title track and El Sol both have otherworldly wordless singing, the former deploying an exotic counter melody and ghostly electric guitar laced with viola (Shenton Gregory) and percussion (Jess Ciampa), who also deftly colour other pieces. Rimbaud’s Ophelia, surely among the greatest pieces of Shakespeare-inspired poetry, now floats in musical pathos, and the one song in English, Unseen, Unknown, is by Shakespeare’s contemporary Mary Wroth. The music, gently bathing in the prevailing medieval ethos without descending to pastiche, is performed with an artistic rigour worthy of Jordi Savall. I know no higher praise.