Led Bib's sixth album, Umbrella Weather, rejuvenated a band set to quit rather than settle for half-measures. It's Morning sails further out from the post-Zorn, punk-jazz clichés their assaultive energy has attracted, into explicitly psychedelic territory. The texture of Sharron Fortnam's sugary, soaring croon proves as crucial an addition as her lyrics (Jack Hues fills both roles too). ‘Fold’ is the epic centrepiece, a throbbing, crackling reverie in analogue space age limbo, born of Floyd and Kubrick, layered with post-production creativity, and inviting lysergic dislocation. “If someone leaves, the band can't exist any more,” leader Mark Holub told Jazzwise in 2017, but Toby McLaren's sudden hiatus makes Dinosaur's Elliot Galvin keyboardist for now. From his spectral, Wurlitzer warp in the ceremonial opening, Atom Story’, to classical codas, he's an imaginative asset. It's Morning's redemptive brightness confirms the romantic ideals behind Led Bib's former violence.

Jazzwise spoke to Mark Holub:

For this album to be worthwhile, did you have to push forward into new terrain?

Sort of. I felt what we were doing as improvisers had changed, and gone into this ‘song-y’ direction. I'd been thinking about bands having an improvisational language that sets boundaries, and how we can expand that. What if we took the established Leb Bib sound of 15 years, and did something different?

Are you reaching back more than before to your former language of underground rock?

I think so. That is definitely where I'm coming from, from my youth – Zappa, Pink Floyd, the Grateful Dead. And I was really thinking about making a journey through a record. I was thinking about Dark Side of the Moon, and Sgt Pepper. I wanted it to be an experience.

Did you have any input into lyrics?

I said to Jack and Sharron that I saw it as an anti-protest protest record. I wanted it to be a thing of beauty, transporting people somewhere else. It's almost an epitaph record. If I died tomorrow, I could leave this for my kids, and say, I tried to make the world a little brighter.

“Anti-protest protest” in the sense of not wanting to be abrasive and add more division to the world, but have the music stand for something better?

Yeah. Dylan was talking about this in the 1960s. That once we choose a side, we're becoming like the other side. I spend my time with avant-garde musicians, and everyone tends to have roughly the same opinion, and lives the same sort of life. And now, having children in kindergarten, I spend time with people who are really different to me. It's eye-opening. We need to communicate with one another.

Does this record have a psychedelic aspect, in the sense of dislocating the listener?

I think so, yeah. I also did this film element, which will play during gigs, a bit like Ken Kesey's Acid Tests. It is about transporting the listener somewhere else, in an all-encompassing experience. Art Blakey talked about how music should blow the dust off of everyday life. And that is what we're trying to achieve.

Elliot Galvin shows his intricate, quicksilver mind on this record – which is just right for you.

Yeah. It was at the last minute that Toby [McLaren] wasn't going to do the session. I was thinking not to do it at all. I was really nervous, because Led Bib with a singer, then to not have Toby – well then, what is this project now? The session had much more sense of adventure than anything we've done before.