"Reissue of Derek Bailey and Tristan Honsinger Duo, originally released by Incus in 1976. Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterized by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing, and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always tripping himself up. You can hear Bailey reveling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars -- and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes "The Shadow". Throughout, the spirited interplay between laconic, analytic wit, and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive, and gripping.” --- Tristan Honsigner / cello, voice Derek Bailey / electric guitar, crackle box --- Recorded at Verity's Place 7th February 1976, except for A1 and B2 which were recorded at Tangent Studio 6th February 1976.

Delighted to present an utterly life-giving recording from the trio of Pat Thomas (piano), Olie Brice (double bass) and Gary Willcox (drums), recorded at OTO in June 2026 as part of a night celebrating the release of their album, The Day After, on Jazz in Britain's 'Jazz Now' label. Joined for this performance by the great saxophonist, Xhosa Cole, the group take the already lofty bar set by The Day After and raise it even higher. Matching each other note for note, beat for beat, the four musicians conjure the sort of rollicking, galvanising forward momentum that can leave you utterly breathless one minute, before sharpening to pin-drop focus the next. A priviledge to have been in the room and a pleasure to share, this is Jazz Now for sure. -- Recorded by Rory SalterMixed by Oli BarrettCover photo by Pete Woodman

Once there were 3 boys from the haunted bits of Michigan who found a dark tunnel in the side of a hill that had 'TRIP METAL' spraycanned on the walls. They went in on their skateboards and emerged as rabid beasts, their hair long and their mouths forever open. Many years later, in 2014, 3 men climbed out of an underground lair for a show at Cafe OTO. Upon hearing the first 'note' of the 'music', the crowd spat out their salted caramel brownies and stamped on them, screaming "WOLF EYES RULE." Mysteriously no iPhone footage of this evening remains, so all we have left is this brutal recording - yours for just £6.  (…\ /..)\….\ /…./ \….\ /…./ \…./´¯\/.¯`\ /… |….|..(¯¯¯\ /I….|….|…¯| \ \\I…..|´¯|´¯|..\…)\…..` ¯..¯ ´ ….'\__________ / |oo o o oo| |oo o o oo| |oo o o oo|

Selected works from John Chantler's time at Stockholm’s Elektronmusikstudion EMS.  --- John Chantler / reed organ, serge synthesizer --- Tracklisting: 1. ( part I ) 13:02 2. ( part II ) 08:44 3. ( part III ) 14:47 --- Recorded and arranged March 2016—November 2017 at EMS, Stockholm; ZKM, Karlsruhe; NOTAM, Oslo and 1703, Stockholm. Thanks to staff EMS, ZKM and NOTAM for their help and support. KM residency was supported by The Australia Council for The Arts. Elements of '( part III )' originally commissioned by Audiorama, Stockholm.

This is a recording of the ten minute piece kindly commissioned by Alan F Jones for the Organ for the Senses festival held annually at the Spreckels Pavilion in San Diego using their open air organ. The music was performed by Justin Murphy-Mancini and recorded by Alan Jones. This audio is from a rehearsal performance a few days before the public premiere on 27 May 2017. --- Justin Murphy-Mancini / organ --- Tracklisting: 1. Move Along, Nothing To See Here - 10:14 --- Recorded by alan jones/laminal audio at spreckels pavilion organ, san diego, may 2017

TRIM is an improvising quartet brought together by Dominic Lash (guitar) with Phil Durrant (modular synth), Steve Noble (percussion) and Rachel Musson (saxophones). After Musson was unable to make this show, Colin Webster was recruited on saxophone duties, resulting in two absolutely barnstorming sets under the freshly coined banner of TROM. You know how it is. Times are hard, things get stressful. Sometimes you’ve just got to blow off steam by blasting the doors off an unassuming Hackney music venue and sending the audience barreling down the street. Such was the case at OTO on 5th April this year, when Lash, Durrant, Noble and Webster summoned up the kind of utterly cathartic sonic scree that made a wonderful irrelevance of this having been their first ever performance as a quartet. Make no mistake, this is no one-note performance - the group cover a hugely varied amount of terrain over the two sets' combined near-80 minute run-time - but the sheer sense of exuberance on display here is hard to ignore. A rapidly rotating interplay sees all four musicians trading shapes that mutate and evolve with an almost breathless momentum. There's an exhilarating sense of new forms being created in realtime, forms that seem to blur and shift depending on your vantage point. Whatever angle you come at it, however, this one doesn't let up for a second. On this basis we look forward to welcoming back both TRIM and TROM here, with hopes for TRAM, TREM and TRUM too at some point in the future. -- Recorded by Billy SteigerMixed and mastered by Oli Barrett