One of the final Incus releases and one that was written up in The Penguin Guide to Jazz as ‘an essential document of modern music’. Otoroku is proud to release the first ever vinyl re-issue of Evan Parker’s legendary recording The Snake Decides. Featuring 4  solos recorded in 1986 in St. Paul's Church, Oxford by the late Michael Gerzon. The Snake Decides is a groundbreaking example how far the language of a particular instrument can be taken. From Brian Morton’s liner new notes: “The Snake Decides attracts a certain array of adjectives - intense, radical, fearsome, hypnotic, virtuosic – and occasionally allows a more ambitious reviewer to avoid platitude by talking more specifically about 32nd harmonics, circular breathing, multiphonics and Gerson's exact choice and placement of microphones. But this misses a point, too. Listening to this record, either for the first or the fortieth time, is an arousing experience.” Remastered by Giuseppe Ielasi and housed in a reverse board sleeve with new liner notes by Brian Morton this is the ultimate document of one of the most important recordings in all of Parker’s extensive and exploratory catalogue. Edition of 500 copies.

Limited bundle consisting of Evan Parker's 'The Snake Decides' along with Derek Bailey and Evan Parker's legendary 'The London Concert'  Note: this is a pre-order. We will ship mid-Nov.

David Maranha’s recordings stretch back over 20 years with the Portuguese avant trio Osso Exótico, as well as collaborations with Z’ev and Minit. A followup to Marches Of The New World (2007), Antarctica is made up of two side-long excursions into monolithic drone-rock. In the vein of Tony Conrad & Faust, “Venus In Furs,” La Monte Young and Terry Riley, Maranha’s ensemble is driven by keyboards, strings, and hypnotized-heartbeat percussion. Like the great white expanse of the titular continent, it can be taken in simply as a glorious wash of sound; listen to it closely, however, and you’ll hear the smallest details jump out in high relief: a feather can move a mountain." "They started playing this album and there was this really heavy, slow, dragging rhythm to it, a bit like John Cale's viola drones, times a hundred. It sounded so warm that it was like embers from a bonfire." - Elias Rønnenfelt  “The keening violin nicely shorts out most higher thought, the buzzing organ evaporates the rest, and the music’s stolid trudge will lure your pulse into locked step. The textures are raw, the sound hypnotic, the effect nicely time-stopping.” – Bill Meyer, Dusted “Favoring intensity over sheer volume, Maranha and co achieve a focused minimalism that riff based drone rockers aspire to but cannot reach.” – Nick Southgate, The Wire “Sottilli le variazioni tra la prima e la seconda facciata (niente titoli): batteria che dipana un 4/4 lento e mortuario, organo che naviga e gorgoglia, violino dissonante che disgena, stira e allunga refrain insistiti, un suono che avvolge e stranisce i sensi colpendo al cuore con movimenti di nostalgia irrimediabile (splendido il lavoro di basso di Pilia e di chitarra di Wanke nel secondo late, un letterale capolavoro) che delineano scenari di ghiaccio immoto, solitudine – bianchissimi.” – Stefano I. Bianchi, Blow Up

Glorias Navales are five member ensemble based in Santiago, Chile. Their jam is somewhere between Chilean folk music (ala Violeta Parra) and ramshackle post-Velvets psychedelia. Crafted on acoustic guitars, rabel and bombo chino (drum), this recording teases out lines from their stunning debut LP 'Cofradia Nautica' on Graham Lambkin's KYE, taking new, fuzzed out trips along the way. This particular show made Clive Bell's end of year list. --- Tracklisting: 1. 12.4.17 - 41:19 --- Recorded live at Cafe OTO by Shaun Crook on Wednesday 4th April 2017. Mixed and mastered by Jimmy Dunn good again. 

In the spring of 1998, guitarist Jeff Fuccillo (Irving Klaw Trio, Wham-O, Hochenkeit) met avant-folk guru John Fahey while opening for his trio at a gig in Portland, Oregon. Fahey was sufficiently impressed, and booked studio time to record Fuccillo for his label. On the day of the session, Fuccillo arrived prepared to make a solo acoustic guitar album. To his surprise, Fahey had brought along a pile of samples — random snatches of music, all manner of sound effects — and without warning, began shooting them out into the studio room through the monitors, effecting a guerrilla collaboration of sorts. Disturbed Strings captures the highlights of that day: veering from hardscrabble stringrattling to modal melodicism, the album is ample testament to Fuccillo’s wide-ranging inventiveness as an improvising guitarist, as well as a window into an aspect of Fahey’s artistry not previously represented on record. Released in an edition of 542 copies, with artwork by Fahey and Judith Lindbloom. “Damn, what a great record!… The hepness of the way this guy bends and hammers strings makes it impossible to peg stylistically, seeming as it does, to owe equal debts to Derek Bailey, Robbie Basho and Jandek.” – Byron Coley & Thurston Moore, Arthur “…an enticing introduction to Fuccillo’s ‘solo’ art, and something that Fahey completists will need to own.” – Brian Olewnick, Bagatellen “…fascinating and stylistically dizzying…” – Ethan Covey, Dusted

WHATSAPPITE is the batty collaborative debut from Mancunian long-time sparring partners Otto Willberg and Odie Ji Ghast: a bewildering assemblage of feral double bass and vocal vignettes spliced with rabid interjections from a handpicked cast of eccentrics. Willberg and Ghast’s cuts ditch polish, finesse and good taste in favour of animal propulsion, taking base, off-the-cuff melodies and rhythms on a skew-wiff joy ride. Bolstered by brain farts from Gwilly Edmondez, Elvin Brandhi, THF Drenching, Rachel Margetts, Sam Andreae, Arshon, and Biz, WHATSAPPITE marries proper abandon with unabashed ears for a hook. --- Artwork by Odie Ji Ghast. Mastered by Owen Roberts. Tapes dubbed by Otto Willberg.