Live recording of the debut London performance for the duo of Limpe Fuchs and Evan Parker - two giants of avant garde music. Having met at Fort Process Festival in 2016 and seen each other perform solo in a tiny underground bunker, the two then paired up for a couple of duo concerts - one at OTO, and one in Brighton for the Alternative Jazz Festival. Fuchs brings her unique menagerie of sounds to the space - variable wood and stone blocks (marble and serpentinite sourced from Sondrio in Upper Italy), ringing bronze pendulum strings and a variety of skin and bronze drums sound out alongside her own voice and a two toned harmonic violin. Fuch's huge set up, spread out across the stage area and unique to each performance, means the music to develops through movement - as each instrument is played, another is left in silence.  Their duo evolves in phases, navigated by Fuch's movement around the room, and Parker's intuitive  finding of endings, of pauses and of ways to engage with Fuch's personal rhythms is perfect. Surely the beginning of a regular duo? We hope so.  --- Limpe Fuchs / percussion, vocals, violin Evan Parker / saxophone --- Tracklisting: 1. Set 1 - 28:58 2. Set 2 - 20:13 3. Set 3 - 16:02 --- Recorded liveat Cafe OTO by James Dunn on Monday 28th May 2017. Mixed and mastered by James Dunn. Artwork by Oli Barrett - original photograph by Edith Stocker. 

Krutch is Newcastle duo Yeah You's black-hearted return to Slip: poisonous, weaponised pop, spat out on the roam. Father-daughter Mykl Jaxn-Elvin Brandhi's defiantly other improvisations tangle up defouling sermons with ragged beats, gnashing bass, and ear-worm synths. Recorded in a black Renault Clio in Holland and Germany, and at Aurora, Budapest throughout early 2017, Krutch is the 'You at a freshly terrifying apex, filtering the desperation of black metal through an unerring pop nous.

Previously-unreleased recordings from live sessions at the Logos Foundation, Ghent, Belgium, recorded in 1974, 1979, and 1981. This double LP, the first release in a vinyl-only series, includes the following recordings: a 1979 performance by Max Eastley and Logos Ensemble(Max Eastley, Godfried-Willem Raes, Moniek Darge, and Rob Keymeulen playing xylophone bars, Aeolian flutes, springboard, sanzas); a 1974 performance by Feminist Improvising Group (Georgie Born: cello, bass guitar; Lindsay Cooper: bassoon, oboe, sax, flute; Maggie Nichols: voice, piano; Sally Potter: voice, sax; Irène Schweizer: piano, drums); a 1974 performance by COUM (Genesis P-Orridge, Paul Woodrow, Cosey Fanni Tutti, Joseph L/R Rose) and Logos Ensemble (Godfried-Willem Raes, Moniek Darge, Luc Houtkamp, and others); and a 1981 performance of guitar improvisations by Derek Bailey. Logos Foundation, founded in 1968 by Godfried-Willem Raes and based in Ghent, Flanders, Belgium, is a unique professional organization for the promotion of new music and audio-related arts by means of new music production, concerts, performances, composition, technological research, and other activities related to contemporary music.

Musicians:  Antonin Gerbal (FR) – drums,  Joel Grip (SW) – double bass,  Pat Thomas (UK) – piano,  Seymour Wright (UK) – alto sax Four of the most idiosyncratic and creative voices at the margins of jazz, imagine their way into and around the music and philosophy of Ahmed Abdul-Malik. This is music to listen, dance and think to. A new jazz record, from a new jazz band. [Ahmed] make music about the music of Ahmed Abdul-Malik. They excavate, re-inhabit and use a-new the now overlooked documents, and fragmentary plans, of his mid-20th century synthetic vision to produce a new jazz imagination for the 21st century. Ahmed-Malik (1927-1993) was a NYC bassist, oudist, composer, educator and philosopher. A potent(ial) influence on Coltrane and Monk (we imagine), he was also a significant composer in his own right. (Ignored into creative obscurity, he spent his final decades teaching, and performing seldom). His albums Jazz Sahara (1958) and East Meets West (1960) fuse aspects of Arabic and East African musics and thought, his committed long-term relationship with Sufi Islam, and then-modern jazz and thinking – in revolutionary and vital ways. The product is exciting, radical, raw, and beautiful. But, as well as honouring these traditions, Abdul-Malik invented and imagined a lot*. Abdul- Malik’s straddling, synthetic and inclusive vision is one of the great projects of the imagination in jazz. He mixed sounds and ethics, meanings and beliefs in open, experimental ways without dogma. And so do [Ahmed]. They visit and (re)think his compositions and the process potential in them. They play the notes, but use them, and the ideas in and about them, as vehicles for their unique imaginations, instrumental approaches and ideas. Through his compositions they re-imagine and re-synthesize, moving from what they know into newly creative space. They imagine themselves into the future, free of the dogma, clichés and cloy neo-classicisms of current ‘improvised music’ and ‘free jazz’. * Kelley, R.D.G. (2012) ‘Ahmed Abdul-Malik’s Islamic Experimentalism’ in Africa Speaks, America Answers: Modern Jazz in Revolutionary Times. Cambridge: Harvard University Press: 91-119 talks about this in his brief but fascinating study.

Incredibly pleased to finally release this from the archives! Kumio Kurachi is truly one of the most original figures in Japanese music, and his music exists within its very own colourful world. Recorded across two nights way back in 2009, Kurachi is joined by Taku Unami and London improvisors Steve Beresford and Angharad Davies. These two shows still remain as Kurachi's only concerts outside Japan. "Kumio Kurachi depicts our mind and feelings with unthinkable and bizarre words which can be embarrassing to listen to. And yet he manages to create a world which is so familiar to us - small events of our everyday life that we don't pay much attention to. Whether it is a conversation between a funeral service conductor and his helper that you overheard in a supermarket (Supermarket Chitose), or about the people affected by a dam construction (A Dam with 30,000,000 Teardrops), his songs are fragments of our human behaviours and experiences. His lyrical world is made even more unpredictable by his unique guitar style which is apparently inspired by the koto. The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can't escape from." - Midori Ogata --- Kumio Kurachi / guitar Taku Unami / guitar Angharad Davies / violin Steve Beresford / piano --- Tracklisting: 1. Train Song (poetry reading)2. Instrumental l3. Asahi4. Cling Film (Saran Wrap)5. Full of Miso (Miso Ga Ippai)6. Instrumental ll7. A Dam with 30,000,000 teardrops (30,000,000 Tsubu Dam)8. Best Camera9. An Event On An Island (Tsudoe Nokonoshima) ft Unami, Beresford10. Slow Walker (Yukkuri Aruku Hito) ft Unami, Beresford11. Supermarket Chitose ft Unami, Beresford12. Here Comes Tatamiya (Tatamiya Ga Kita) ft Unami, Beresford, Davies13. Steel Tower (Tettou) ft Unami, Beresford, Davies14. Soshu Yakyoku (蘇州夜曲) <cover> written in 1940. Lyrics by Yaso Saijo (西條八十) Music by Ryoichi Hattori (服部良一)15. Blues of Blue Natchan (Natchan Blue) --- Mastered by James Dunn from the original recording made by Pete Coward - thanks Pete! Artwork by Kurachi & Oli Barratt. Massive thanks to Midori Ogata, without whom this wouldn't have happened.

Delighted to release Brazilian composer-performer Manuel Lima's set from June this year. Features a live re-working of his brilliant release on Editions Verde (EV006: 36 English to Portuguese Lessons), plus some plus new & gold material. Lima works between language, sound & performance to make absurdist cocktail of confusion & absurd recontextalisation. Following randomly generated instructions dictated to him from a Python script, Lima fuses sound from Youtube videos, analogue synthesiser and cassette recorder, alongside English to Portuguese translation phrases to delightful effect. Synonymy slips, and simple translations evolve & mutate to the sound of Jorge Ben, baroque lute and submerged speech.  --- Manuel Lima / analogue synth, mixer, cassette recorder --- Tracklisting: 1. 30.6.18 - 15:50 --- Recorded live at Cafe OTO by Paul Skinner on Friday 30th June, 2017. Mixed and mastered by Manuel Lima.