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New Events

Wednesday 11 September 2024

Confront Recordings present:


£15 £12 Advance £10 MEMBERS

Thursday 5 September 2024

Show + live stream:

Robyn's Rocket featuring MF Tomlinson + Daylight Studios + Launch of Robyn Rocket and people you may of heard of : Connection EP + live visuals by Rucksack Cinema and Samir

£10 £8 Advance £6 MEMBERS

Sunday 11 August 2024


IN HOUSE V: The Score is Not the End

£6 £5 Advance FREE FOR MEMBERS

Tuesday 27 August 2024

Kraak presents:

Younes Zarhoni + Maria Bertel & Nina Garcia + Firmaet Forvoksen + KRAAK DJs

£14 £12 Advance £7 MEMBERS

Latest Downloads

Otoroku is delighted to present an extraordinary set from harpist Rhodri Davies, an artist immersed in the worlds of improvisation, musical experimentation, composition and contemporary classical performance. He plays harp, bray harp, horse-hair harp, electric harp, and builds wind, water, ice, dry ice and fire harp installations and has released eight solo albums. In this solo harp performance, recorded at OTO in April 2024, Davies' inimitable playing style is showcased to full effect, with a sound that seems to span from Welsh harp to arched or ‘bow’ harp playing found in Sub-Saharan African traditions; Indian ragas to the circling, synthesized arpeggios of Laurie Spiegel, touching on the insistent player-piano pieces of Conlon Nancarrow along the way. Alternating between improvisations and improvisations with pre-written pieces across the set, Davies lets the distinctions between the two melt and spill over, giving space to breathe and expand. 'Gardd a Thŷ' for example (from Davies' Telyn Wrachïod release from earlier in 2024), is unfurled out to nearly twice its original album length, with Davies darting about each melody and motif like a moth around a flame. Each improvisatory section meanwhile, feels equally present and alive, with clusters of notes rising and tumbling around each other as insistent, repeated phrases ebb and flow like mantras to a rapt OTO audience. Ultimately, the overarching impression you are left with is that of Davies' intuitive and deeply felt relationship to the harp, embracing the instrument's traditions whilst constantly seeking new paths towards its future. A remarkable recording from one of the most vital artists currently working today. -- Recorded by Dan EhrlichMixed and mastered by Oli BarrettCover photo by Daryl Feehely

Cartographie de rythmes is a sound exploration guided by an imaginary map of rhythm, offering as many possible poles to navigate between. The first part of this cartography, Vitesses approchantes (Umlaut Records, 2021) for two percussionists - Sylvain Darrifourcq and Toma Gouband -, focused on the notion of phase shift through falsely repetitive motifs whose slight variations in speed generate sonic illusions. In this second part, Cardiaque, it is the relationship between text and music that constitutes a new crest line: how to listen to the language's rhythm while respecting the rhythm of the music. "Rhythm" does not mean the same thing while talking about music or text - and we would like to preserve the vitality of each field: like the beat created by two frequencies, the two rhythmic logics generate new interferences without losing their singularities. Julien Gaillard's texts are intertwined in a montage that allows us to travel from note-taking to poem. His voice mingles with that of Aurélie Maisonneuve and the tone of Fabrice Arnaud-Crémon's clarinet: together, they carry these textures made of truncated cycles, frames and breaks. The theme of the heart runs through the cycle: accelerations and phase shifts, thresholds between periodicity and arrhythmia, in the light of questions of breathing and heartbeat, take on a singularly organic dimension: the exploration of rhythm becomes an exploration of body states. --- Recorded in June 2022 at Athénor - Centre National de Création Musicale (Saint-Nazaire)Engineering and mastering / Ananda ChererDesign / atelier informationCare / Ronan Le RégentProduced by Athénor scène nomade - CNCM incollaboration with La Maison de la MusiqueContemporaine.

After the album Calques recorded live during a concert, Novembre returns with Encore, a double studio album,the result of a long maturation in terms of form, composition and playing. As they have been doing for more than ten years, Romain Clerc Renaud and Antonin Tri Hoang have constructed a complex poetic form, made up of multiple back-and forths between simple and gentle themes (Encore, Petit Matelot) or very fast ones (LetCo, Klaxon); between very short pieces (Miniatures) and large developments (Continuum). Everything is arranged by the play of contrasts and resonances: a piece is interrupted to be continued later (Please wait), a motif is metamorphosed by dint of repetition (Encore), a piece is played again, but as quickly as possible (Letco Flash). The second CD of the album illustrates another side of the art of montage. Marc Baron recorded Novembre while they were working on Encore, using the most varied materials and techniques (tape recorder, hydrophone, boom box, spring, tape loops). With this harvest he has constructed an electroacoustic piece that diverts, amplifies and transforms the music of Novembre. --- CD1 Compositions by Romain Clerc-Renaud and Antonin- Tri HoangRecording: Antony - July 2021Engineering and mixing: Erwan BoulayMastering: Pierre Luzy, Music Unit CD2Electro-acoustic piece by Marc Baron, produced in the studio in the summer 2018 from recordings of the band Novembre.Design: Galilée Al Rifai

"With Clippy EM272 mics clipped on my backpack, I commuted and recorded in various locations to capture what's bluntly obvious to all of us here, I'm certain of. It is about what's been passed down, the pedigree of our people, hastily constructed to pick up the phase of the west, that I've known for my entire life and a part of my life. No good or bad, but just the way it is. I see much beauty here in my city's streets, when the unfavored sides are seen in the same scope. They are inseparable." – Suk Hong Otoroku is delighted to present this enrapturing, multifaceted release from South Korean sound artist, Suk Hong 홍석민, recorded in and around Seoul. At first the rapid procession of sounds in Pedigree's four parts - both found and performed, worldly and domestic - can seem bewildering; streetscapes merge with dissonant organ sounds, snatches of conversation blend with the hum and rattle of transport, electronic tones trade space with grunting pigs and homely rituals. The sound worlds seem to flit from one headspace to the next, giving the listener just enough time to acclimatise to each sonic environment before changing up the scenery again. But give yourself over to the restless momentum and the true expanse of the composition becomes clear, ultimately revealing itself to be something both transportive and profound. With each listen, more is disclosed. The effect is akin to looking at reflections upon the surface of a body of water and then letting your eyes readjust to the world beneath, teeming with life. Pedigree seems to exist in this moment of tension between the surface and the depths, favouring neither but revelling in a state of endlessly unfolding transition. -- - All tracks by Suk Hong- Mastered by Oli Barrett- Cover photo by (stephan) – image licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license

Totally beautiful and rare piano performance from Loren Connors, joined on guitar by long time collaborator Alan Licht.  Celebrating thirty years of collaboration, Loren Connors and Alan Licht performed for two nights at OTO on May 5 and 6th, 2023. On the second night, with the stage lit in blue, Connors took up a seat on the piano stool whilst Licht picked up the guitar. What followed was the duo’s first ever set with Connors on piano - one of only a few times Connors has played piano live at all - here captured and issued as The Blue Hour. Its spacious warmth came as a total surprise live, but makes complete sense for a duo whose dedicated expressionism takes inspiration from a vast spectrum of emotion. Both opening with single notes to start, it doesn't take long before a surface rises and begins to shimmer. A run up the keys, the drop of a feedback layer on a sustained and bent note. The two begin to exchange notes in tandem and brief touches of melody and chord hover. After a while, Connors picks up the guitar, stands it in his lap and sweeps a wash of colour across Licht’s guitar. Sharp, glassy edges begin to form, open strings and barred frets darkening the space. When his two pedals begin to merge, Licht finds a dramatic organ-like feedback and it’s hard not to imagine Rothko’s Chapel, its varying shades of blue black ascending and descending in the room. When Connors goes back to the piano for the second side, the pair quickly lock into a refrain and light pours in. It’s a kind of sound that Licht says reminds him of what he and Connors would do when the duo first started playing together 30 years ago. It’s certainly more melodic than some of their more recent shows, and the atonal shards of At The Top of the Stairs seem to totally dissolve. What is always remarkable about Licht is that his enormous frame of reference doesn't seem to weigh him down, and instead here he is able to delicately place fractures of a Jackson C Frank song (“Just Like Anything”,) amongst the vast sea of Connors’ blues. Perhaps it's the pleasure of playing two nights in a row together, or the nature of Connor’s piano playing combined with Licht’s careful listening, but the improvisation on The Blue Hour feels remarkably calm and unafraid. There’s nothing to prove and no agenda except the joy of sounding colour together. Totally beautiful.  --- Recorded live at Cafe OTO on Saturday 6th May 2023 by Billy SteigerMixed by Oli BarrettMastered by Sean McCannArtwork by Loren Connors Layout by Oli BarrettScreenprint by Tartaruga Manufactured in the UK by Vinyl Press.  Edition of 300 standard LPs, 100 LPs with screenprinted artwork by Loren Connors printed as inserts. Also available on a limted run of 200 CDs.