The De Lisle Carbine. Produced between 1942 and 1945 it may have been the quietest of all silenced firearms. It was designed around a Lee-Enfield, used .45cartridges and had an integral silencer.
No prizes for guessing the artwork here is by Geoff Campion as his signature gives that away. Not often you see his signature on his comics work.
This was a back page feature from Battle No. 337, dated 17 October 1981. Treasury of British Comics.
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Before and after photos. I bought a batch of old Enfield No4 Mk1 U.S. Savage manufactured guns that were missing juuust a few parts. I was able to bring one of them back to life after scavenging my parts bin. The bore is really nice on this one! I really enjoy bringing old project guns back to life; we shall see how well she shoots.
A great man once said "nothing is written". Unless it's the case of @ivan-fyodorovich-k, then there is much to be written, and even less time to write it.
And you were right, it compliments the SMLE very well
Plinking with a .303 Lee-Enfield No. 4 Mk. 1* in an abandoned gravel pit off Round Bottom Road, near Newtown, Ohio, in 1962. Cost of the rife, $15., ammunition, 6 cents per round, high frequency hear loss from shooting a high powered rifle without hearing protection, priceless.
Jeff Parker ETA IVtet — Mondays at The Enfield Tennis Academy (Eremite Records)
Photo by Mikel Patrick Avery
Mondays at The Enfield Tennis Academy by Jeff Parker ETA IVtet
Jeff Parker’s latest is a double album recorded live at the Los Angeles venue referenced in the title in the spring and summer of 2019 and the spring of 2021. In the context of the guitarist’s body of work, this quartet, with Jay Bellerose on percussion, Anna Butterss on bass, and Josh Johnson on sax, extends his minimalist approach. Both Johnson and Parker make extensive use of pedals that expand the sound, taking the place often filled by keyboards. The continuity of mood and tone in this trance-inducing set is remarkable, with, for example, nothing to distinguish the pre- and mid-pandemic dates.
The side-long tracks, averaging over 20 minutes each, are named only for the dates on which they were recorded and thus lack any point of reference beyond the music itself, which occupies a space somewhere between jazz and ambient similar to that explored by Parker with and alongside groups such as the Natural Information Society and tracing back to his time with Tortoise. The sound has a live feel but no audience noise. Apparently entirely improvisational, the music is nevertheless purposeful, evolving without reliance on crescendos or quick shifts in tempo or instrumentation.
A colleague at Dusted described this recording as “a groover not a smoover,” which gets to the heart of the matter: all four players remain committed to the collective project rather than relying on one another to support their soloing. To be sure, there are some fine solos, such as the elliptical guitar figure beginning around 2:45 on “2019-07-08 II,” the sax at around 11:00 on “2019-07-08 I,” and the back-to-back guitar and sax workouts in the first half of “2019-05-19” that develop organically with the support of the rhythm section. These and other moments, including the stately opening of “2019-05-19” after what sounds like glitchy organ and the emergence of a guitar (?) line that sounds like a Bitchin’ Bajas synth in synch with the drums around 13:00 on “2019-07-08 II” help shape the listening experience into a kind of journey.
Simultaneously soothing, playful, and thought-provoking, Mondays at the Enfield Tennis Academy is an outstanding recording with the potential to appeal even to those for whom Parker’s work with Tortoise or in other settings hasn’t resonated. The liner notes rightly compare the set to such landmark live recordings as Lee Morgan’s Live at the Lighthouse in which a band, rather than running through well-known pieces, uses the setting to make a fresh statement.
One thing about the US market in milsurp rifles that I’ve found consistently remarkable is that while prices of Kar98ks and Mosin 91/30s and M1903A3s etc. continue to soar with no apparent ceiling in sight, the humble Lee Enfield No. 4 Mk I, despite being one of the better bolt action service rifles in history, and probably the best all around bolt action rifle of WWII (yes better than the K98), as well as the platform of the best sniper rifle of WWII (yes better than the K98), has had relatively steady prices for the last 10-15 years.
When I first started buying guns a Lee Enfield No. 4 was in the $300-$500 range, and now I think you can still get them in the $500-$600 range. Compare to Mosin Nagants that have gone from $75-125 to $900 and Kar98ks that have gone from $250 to $1500 and M1903A3s that have gone from $400 to $1000 and so on.
This is I suspect driven by three factors
1. .303 is a little tough to find. Most gun stores have it but it’s not everywhere
2. The No. 4 is not especially beautiful, especially compared to its predecessor the SMLE
3. Most Americans do know that Britain fought in WWII, they just don’t care