Lance Austin Olsen - amplified copper plate, shruti box, guitar, bamboo flute, found tapes, amplified objectsErin Cunes - voiceDan Godlovitch - octatrack sampler credits released April 13, 2025Score and mix by Lance Austin OlsenMastered by alan Jones at Laminal AudioCover image by Lance austin OlsenDesign by Matthew BrandiProduced by Mark Wastell"Lance Austin Olsen's "Death in the Urban Jungle" is a singular electroacoustic composition that blends scored structure with improvisational energy across one extended track. Working with a highly tactile set of materials-amplified copper plate, shruti box, bamboo flute, guitar, and found tapes-Olsen layers physical sound with the haunting voice of Erin Cunes and the digital manipulation of Dan Godlovitch's Octatrack sampler. The result is an immersive piece that unfolds slowly and deliberately, marked by long stretches of near-silence punctuated by sudden sonic intrusions. Silence here is not absence, but a charged space that heightens every gesture and breath. From resonance to rupture, the composition explores decay, tension, and transformation, evoking the slow erosion of the self within the constructed chaos of urban life. Listeners are advised to use headphones to fully engage with the nuanced depth of this stark and poetic work." (Squidco)

Henry Dagg is a composer, improvisor, sound sculptor and builder of experimental musical instruments who formerly worked as a sound engineer for the BBC. His works include the Sharpsichord, a pin barrel harp commissioned for the English Folk Dance and Song Society, and a pair of steel sculptural musical gates for Rochester Independent College.“What he’s doing is a very serious body of work. Henry’s not an ordinary commercial artist/musician; he seeks perfection, and he’ll get it at any cost.”— Brian Pain, Rochester Independent CollegeEvan Parker improvises on the tenor and soprano saxophone, and has performed live and recorded extensively across the UK and internationally. He has pioneered or substantially expanded an array of extended techniques for the saxophone.“The UK’s greatest exponent of free jazz.”— Mike Hobart, Financial TimesHenry and Evan improvised together for the first time as part of the Free Range series in Canterbury, Kent, on December 2, 2021. For the performance, Evan played soprano saxophone, and Henry developed a new electronic instrument called the Stage Cage, to both process Evan’s live sound as well as generate its own sounds.The Stage Cage includes four valve test-oscillators, a pair of ring modulators, frequency shifter, chromatic zither, and a variable tape delay system (consisting of two quarter-inch tape machines, eight feet apart – the first machine records, and the tape runs past moveable playback heads to the second machine, allowing several replays). Henry's main performance interface is a ‘dynamic router’: a five-key controller, which is the bridge between most of the components of the Stage Cage.Towards the end of the performance, the tape machines were stopped, their reels reversed and set to play: the improvisation from then on was overlaid by a reverse reproduction of what Henry and Evan had already been performing, with the reverse recording itself also being subjected to various treatments.The live recording was subsequently developed by Henry for this 56 minute album. Evan notes in the accompanying booklet interview: “I would say it will sound better now, because of the post-production work that Henry’s done, using the live recording as – basically – tracks to be part of a new mix, a new project, which obviously overlaps hugely with what we did in the room, but it should be more detailed and better balanced in certain parts. Some post-production decisions that technology makes possible, where they led to improvements, Henry used those possibilities. It should be better than being at the event …”For the CD and digital release, the recording has been mastered by Adam Skeaping, and a conversation between Henry, Evan and performance artist Karen Christopher is included in a 20 page booklet.______________________________________________________“This 56-minute improvisation demonstrates the fearless sonic imagination of both Parker and Dagg, always searching for unchartered territories and with great attention to detail and a totally free and unpredictable spirit, but their own way of suggesting a cohesive and coherent improvisation. Its arresting atmosphere visits abstract musique concrète, otherworldly, deep-space ambient journeys, and a careful but sometimes subversive and kaleidoscopic investigation of the soprano sax tones and overtones, live and processed ones.”— Salt Peanuts, on THEN THROUGH NOW______________________________________________________Music by Henry Dagg and Evan ParkerOriginal recording by RouteStockProduction by Henry DaggMastered by Adam Skeaping Photographs by RouteStockDesign by David Caines Gatefold sleeve, with 20 page bookletOriginal live recording: Fruitworks/Fond Coffee, Jewry Lane, Canterbury, as part of the Free Range series, December 2, 2021. freerangecanterbury.orgAlbum launch event & benefit for the venue:The Hot Tin, Faversham: November 20, 2022

Available in print for the first time in 50 years, Behind the State Capitol: Or Cincinnati Pike has long enjoyed cult status. It is the record of a poet whose life has been shattered by poverty, drug addiction, and mental illness. Wieners creates a complex schizo-analysis of language, capitalism, incarceration, and state power, while reflecting on unpopular themes of aging and loneliness in the gay world. It is also a paean for his beloved city of Boston, as he witnessed its destruction by the onerous forces of urban renewal. Considered by many to be his masterpiece, the book was met variously with indifference and outrage when it was published in 1975. In 1982, most remaining copies of the book were destroyed in the arson fire of Fag Rag/Good Gay Poets offices.Already known as a "poet’s poet" from The Hotel Wentley Poems (1958), Ace of Pentacles (1964), and Nerves (1970), in 1972 Wieners moved to 44 Joy Street on Boston’s Beacon Hill, where he was involved with anti-war and gay liberation movements, the Beacon Hill Free School, and organizations devoted to the rights of people with mental health conditions. Out of this milieu emerged Behind the State Capitol, described by its author as “cinema decoupages; verses, abbreviated prose insights.” The book would be John Wieners’s last major poetical statement. He was forty-one.This facsimile edition contains new afterwords by Wieners’s friend and scholar James Dunn, and the poet’s biographer, Robert Dewhurst.  Softcover, 227pp The Song Cave, New York, 2025 (originally published 1975)

Sung Tieu employs sound as a critical tool to dissect how social and political power manifests within sensory realms. Through layered compositions, the artist examines the emotional and psychological effects of controlled environments, transforming space into an immersive auditory experience that highlights the structures of surveillance, bureaucracy and institutional design. Civic Floor examines the evolution of prison architecture, tracing the shift from the radial model developed in Britain in the 1840s to the emergence of galleried and courtyard layouts in the 19th and 20th centuries. It also explores more contemporary approaches, including the “new generation” prisons of the 1990s, which prioritised control through sophisticated spatial and psychological strategies. Tieu’s soundscape mirrors these architectural developments, blending mechanical rhythms, bodily sounds, ambient drones, and distorted frequencies to evoke the alienation and rigidity inherent in such systems. The work’s immersive soundscape disorients while enveloping the listener, amplifying the psychological weight of these spaces and their design principles. Sung Tieu (b. Hai Duong, Vietnam) is an artist based in Berlin. Her work draws on her personal experiences and research into global capitalism and its impacts, addressing themes of imperialist violence, class divides, and displacement. She often reflects the voices and experiences of Vietnamese diaspora communities in Germany. Together with Henrike Naumann, Tieu will represent Germany at the 61st Venice Biennale in 2026.

This recording from the earlier years of Cafe Oto documents the impossible pairing of four contemporary giants. Its one of those miraculous one off groupings that reminds us why the venue opened in the first place.’ “The magic of the first minutes – an alto solo by Joe McPhee of true purity – soft-spoken, masterful and accomplished – brought back to mind the blissful Coleman/Haden duet last year at the Royal Festival Hall. ‘Ornette gave me freedom to move in a certain way,’ said McPhee. He searched hesitantly and carefully for his words, all the more surprising from such an articulate musical (or, as he might say ‘muse-ical’) practitioner and campaigner. Coleman’s 80th birthday coincided with McPhee’s stint at Cafe Oto. McPhee and his co-musicians delivered an intense performance which was both creative and restrained. With Evan Parker ‘s tenor in tow – a collaboration going back to the late 70s – and Lol Coxhill, sitting with head bowed intently, a soprano master – it could have gone anywhere, yet they worked off each other, often in the higher registers, building up almost bird-call like interactions and trills. Earlier, Chris Corsano‘s drumming presented a dense bedrock for McPhee to play against, and his solo spell was a crisp exercise in sonic curiosity. McPhee picked up his soprano mid-way through the second set, heightening the lyricism of the three saxophones. Then, being a devotee of Don Cherry, he switched to pocket trumpet, allowing him to interject, and punctuate the concentrated sound layers built up by the quartet, and lead the music out through a different door”- Geoff Winston (londonjazznews.com) Recorded 10th March 2010, this is also a document of the only time Lol Coxhill and Joe Mcphee shared the stage. The recording is a little rough, but hey, so was your birth! Limited to 500 copies packaged in mini gatefold sleeve.

Incredible X3 CD Box of archival, Angus Maclise works,  fully restored and remastered by Jim O'Rourke in 2023. The 3CD box comes with a miniature poster, a sheet of track list, and each CD comes with a paper sleeve which reproduces the original cassette sleeve artwork. Angus MacLise, the first drummer for the Velvet Underground, was a poet, composer, and a member of The Theatre of Eternal Music alongside La Monte Young. The "Tapes" 3CD Box is the first-ever reissue of a 3-cassette compilation that Pleasure Editions originally released in 2015, limited to only 100 copies. The 3CD box set comes with a miniature poster and track lists, and each CD has a paper sleeve that reproduces the original cassette card artwork. This comprehensive 3CD box set is over three hours in length and includes session recordings with Tony Conrad and William Breeze (of Coil, Current 93, and Psychic TV), mystical recordings from the filming of Ira Cohen's "The Invasion of Thunderbolt Pagoda" (1968), shortwave experiments, and sounds of Tibetan Buddhist monks recorded by MacLise. The "Tapes" compilation features excerpts from the archives of the Angus MacLise Papers, which are held at Columbia University Library. The archives contain over 100 hours of reel-to-reel tape recordings of live improvised music, theatrical performances, and sound experiments created by MacLise and his associates during the 1960s and 1970s. MacLise produced the original recordings in his own unique style, characterized by rough and peculiar editing. The release is curated and sequenced by Will Cameron and Mark Iosifescu.

Digital will become available 31st OctoberSLIP is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other. Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’: “I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option [to notation]. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”  In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space. After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity.  They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances. It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In SLIP, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

New release from South Korean sound artist, Suk Hong 홍석민, following on from his Pedigree album on the label in 2024. Listeners familiar with Pedigree's intricately multifaceted layers of texture and meaning will find much to love here, but Comedy! immediately establishes itself as an altogether more unsettling work. Recorded over an eight month period from October 2024 to May 2025, the album's title and its three parts represent Hong's sentiments over the crisis precipitated by South Korean President Yoon Suk Yeol's declaration of martial law and its subsequent withdrawal at the end of 2024. From the album's outset it is clear that we too, are in uncharted territory. Taking the same serpentine, collagic approach used to such great effect in Pedigree, the layered and juxtaposed sounds here walk a consistently fine line between soothing and discomforting, eerie and familiar; seemingly blurring the lines between exterior and interior reality in a heady miasma of dream and memory. Soft, muted piano refrains run up against chittering, chattering repetitions both synthetic and mechanical; animal noises - human and bestial - are interwoven with fragments of voice and action but seemingly never enough to allow the listener to create a full picture. It's clear that something significant is happening, but it is outside our ability to make an objective assessment, let alone affect the outcome. As with Pedigree, Hong moves restlessly from one sonic environment to the next, revealing details so intimate that at times it seems that the recording device must have been not so much a physical microphone as a disembodied presence, flitting from place to place; an endlessly curious eavesdropper finding hidden meanings in every encounter. Through it all, ebbing and flowing, runs a calm, strangely distant tone-wash, halfway between blissful reverie and fretful disorientation. By the album's close, we may find ourselves a great distance from where we set out, consoled and unnerved in equal measure. Yet just as our thoughts begin to coalesce, the album ends as abruptly as it began. There is to be no easy resolution here, instead we must live with the ceaseless puzzles and contradictions of life as it unfolds.

“In a concert, I show something with a beginning, a middle and an end. But, there is no end. Of course, there is no end. Because I am the music, and I am still here.” - Sophie Agnel  ‘Learning’ - Sophie Agnel’s first solo LP, feels like the dark, physical inversion of her excellent ‘Song’ which came out on Relative Pitch earlier this year. Sinking her unique sound into vinyl for the first time, the LP arrives as Agnel recovers from a brain tumour - a shocking discovery that will require Agnel to start again with the piano. It’s a terrifying prospect, but Agnel has been here before, having reorientated herself almost entirely away from her early classical training over the last 4 decades of her work.  ‘When I was young I had very good ears, oriole absolute. Then later I began to make strange sounds with my piano, to do different kinds of music. I was more interested in the sounds than the melody, for example. I remember once I sat down in a shop to try to read the scores of Schubert and there was a light [emitting] a very strong bzzzzzzz. And I couldn't listen to my oriole internal - I couldn't read the score. I was entirely subjugated by the sound of the light. And I understood that something had changed. Ten years before I could read and not hear the light. Now I understood that my ears were completely different. I was more open to the sounds of life.”  Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel quickly grew tired of the classical world. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the pianos outside and inside.”If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Having absorbed the language of the European avant-garde, Agnel is known for pulling the piano’s interior outside of itself by tipping her handbag into it. But these ‘strange sounds’ don’t just come from Cage - they also share the poetic force of Cecil Taylor and ‘Learning’ demonstrates that Agnel’s work on the piano's keyboard is just as important as what she’s littered on its strings. The record lets loose her ability to unleash a formidable sound mass and then rope it back to one single, clarifying note. With one hand, Agnel plays 88 tuned drums and on the other an enormous guitar - with the LP rotating through oncoming trains, and blues harmonica and feedback. It’s single minded stuff, borne out of a dedication to a wholly personal language of gesture, accumulation and deft reduction. “Maybe when I’m 80 I will not need anything,” Agnel says in a recent film made at her home. “I will do the same but with one note, and one finger. Maybe it's enough.” — ‘Learning’ arrives in a reverse board sleeve designed by Jereon Wille. Recorded live at Cafe OTO by Billy Steiger on 6th June 2023 and 4th June 2024. Mixed by James Dunn and Benjamin Pagier. Side B edited by Benjamin Pagier. Mastered and cut by Loop-O. Front photograph by Aimé Agnel. Typography and layout by Jeroen Wille.

"Vibrating the piano’s strings and manipulating the soundboard, Agnel spends a good portion of the live concert as often inside the instrument as on the keyboard. Moving from cord-strumming and  outside wood raps, backed by ratcheting bass string scrapes, irregular drum ruffs and gong resonation, she creates a dynamic introduction backed by irregular drum ruffs and below-the-bridge double bass rubs. “Part 2” captures the heart of the matter as Agnel’s opposite end keyboard slides emphasize both gentle plinks and pedal point thickness with the repeated and nearly identical patterns often interrupted by glissandi and string reverb. Meantime Edwards’ buzzing arco stops and Noble’s sharp cymbal cracks follow a parallel line. Occasionally there are brief Edwards-Agnel duets involving elevated keyboard emphasis and low-pitched string abrasions. But her piano command is such that elsewhere she creates call-and-response between her own strings and keys from opposite edges of the keyboard. A mid-track silent interlude leads to rhythm section intensification with Noble’s door-stopper-like reverberations and chain rattles making more of a impression than Edwards’ constant string swabbing. Meantime Agnel’s processional strokes and stopped piano keys preserve the exposition until she winnows the narrative down to isolated single note stabs. Double bass string shakes and drum hand patting similarly descend until the pianist’s key slapping signal the finale. A terse encore allows a patina of swing to peek through the otherwise bumping variations from all as a final cymbal splash marks the concert end." - Ken Waxman https://www.jazzword.com/ Sophie Agnel plays the whole piano. Its body matters as much as its strings. The keyboard's lid is just as good closed as it is open - in fact it’s best slammed open and closed rapidly. Joined by bassist John Edwards and drummer Steve Noble, Three on a Match explodes the piano trio - each player sparking off the other so quickly that it’s impossible to figure out who lit the flame.  Recorded at OTO in 2023, this was the second two night residency for a trio that has fast become one of our favourite improvising groups. Each individually brilliant, Agnel, Edwards and Noble’s enduring connection is in their seriously playful approach to their instrument - in their way of looking at it as a whole and then tearing it apart, breaking it down into its raw materials - wood, brass, steel.  Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel is classically trained and had a turn in modern jazz. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the piano’s outside and inside.” If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Steve Noble surrounds his drum kit with whistles, tubes and towels alongside gleaming brass cymbals and gongs. Their stage is a heady mix of high and low - the grand piano and the gong alongside rubber balls and tiny bells; players half stood up, reaching in, bending toward - relentlessly working their instrument to unburden its sound from genre.  Free improvisation is always a leap of faith, a test of commitment, and these three players are completely unafraid. The music switches deftly from super taut string manipulation to extremely loud percussive collisions. The trio can play microscopic mutations on a bass note and then scale up on the turn of a pin to plunge into huge, black chords and ricocheting sonority - dissolving the boundary between body and sound. The crescendo of Part Two is shaped by such cumulative repetition that it feels like a confrontation - a controlled test for breaking point. What happens if we keep going?   As so we left Part Three as the last encore of the residency. It’s a totally exhilarating, skittering reprise - short and energetic - delivered with the kind of grounded abandon you hope to see improvisers play with but rarely do.

Available as a 320kbps MP3 or 24bit FLAC or WAV. Edition of 300 standard LPs, 100 LPs with screenprinted artwork inserts and 200 CDs 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.

The 4LP boxset version holds nearly all the music performed over the two nights, minus 5 minutes we were forced to cut to fit the music onto 4 discs. It will arrive in a handcovered and screenprint boxset, limited to 250 copies and will include a full booklet of photographs from the residency by Dawid Laskowski. Please note the artwork may differ slightly from the mock up.  Your order will be packed with care and delivered via a tracked service.  The 2LP version is an edit of the music played on both nights. It will arrive as a gatefold 12" printed in reverse board outersleeves and will include a pull out with photographs from the residency by Dawid Laskowski. The 2CD version contains both sets from both nights. The discs will be housed in a digipak on reverse board and will include photographs from the residency by Dawid Laskowski. It is a huge honour to publish Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again. Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core. The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble. There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked after at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.” Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that. It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply. --- Peter Brotzmann / reeds John Edwards / double bass Steve Noble / drums Jason Adasiewicz / vibraphone  --- Recorded live at Cafe OTO by Billy Steiger on 10th and 11th February 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Photos by Dawid Laskowski. Pressed in the UK by Vinyl Press. Artwork by Peter Brötzmann. Design by Untiet.

A vital, utterly cathartic set from the trio of Camila Nebbia (saxophone), Andrew Lisle (drums) and Caius Williams (double bass) recorded at OTO in April 2025. Convened as a group at short notice, after pianist Kit Downes had to pull out of the original line-up alongside Camila Nebbia and Andrew Lisle, the trio nevertheless display the kind of instant symbiosis that feels honed over many years. Nebbia’s playing doesn’t let up for a second, showcasing her astonishing range on the saxophone from deeply sonorous exhalations, to delicate textural work, to a full-throated caterwauling that pins you back in your seat. Andrew Lisle’s highly dextrous, intricate drumming spans the whole gamut from skirring, scampering percussive clusters to the kind of forceful, unruly assail that borders on the rambunctious. And beneath it all, Caius Williams demonstrates exactly why he’s one of the most in demand bassists working today; crafting seeking, probing lines that provide the foundations whilst tipping the entire structure above off into new directions at the same time. The three of them cover a huge amount of ground, ricocheting from skittering downhill runs to a sort to bruising melodicism, to the kind of gleeful clatter that would have had Ayler sitting up. When all three get going it’s the kind of jubilant cacophony that can’t help but lift you off your feet, and in places it really swings, albeit the kind of swing that might require a swift trip to the chiropractor afterwards. The sheer, unbridled energy on display here might sometimes leave you gasping for breath, but this is no one-note onslaught. At times the trio pull it down so low you could almost here a Kernel bottle-top drop, with scattered harmonic notes weaving in and out of a raft of sighing, sloughing cymbals, the bass drawing out the atmospherics from down low. By the end, it's clear that the three of them have left nothing in the tank. Here's hoping it's not long before we see them back here. -- Recorded by Rory SalterMixed and mastered by Andrew Lisle

Free to download for one and all – if you're a member the download will not remove a credit. Oh Xmas Tree (trad)Jingle Bells (trad)Snow (Newman)Let it Snow (Styne / Cahn)Blood On The Snow (Gilfedder/ Wells)Black Xmas (Wells)Frozen Vaults (Wells)In The Bleak Midwinter (trad)Snowed In (Gilfedder / Wells)Hark The Herald Angels Sing (trad)Oh Come All Ye Faithful (trad)Winter Wonderland (Bernard / Smith) The NJTOS are, on this recording and in order of appearance;Bill Wells, Kate Sugden, Isobel Campbell, Aby Vulliamy, Lorna Gilfedder, Chris Geddes, Gerard Black & Audrey Bizouerne. Jingle Bells is performed by Göteborgs Indiekör conducted by Niclas Pettersson and arranged by Carl Magnus Juliusson, Fredrik Lindberg & Erik Karlsson from an arrangement by the NJTOS.https://www.youtube.com/watch?v=uWWiAJgxUUI Blood on the Snow was released as a track on ‘Bill Wells Presents Lorna Gilfedder’ which is available on 7e.p.https://7eptokyo.bandcamp.com/ Apart from Frozen Vaults, all the other tracks are previously unreleased. The NJTOS Christmas Album is available on Karaoke Kalkhttps://karaokekalk.bandcamp.com/ Snowflake cover image by Jad Fair.Come all ye faithful! Just one more to round out the year, and we couldn’t be happier with this one. Back in 2010, Counterflows head honcho Alasdair Campbell asked composer and multi-instrumentalist Bill Wells to curate and arrange a ‘black xmas’ gig at the Tolbooth in Stirling. Of the tunes Wells arranged, most were released as The National Jazz Trio Of Scotland's Christmas Album (Karaoke Kalk), featuring members of Francois & the Atlas Mountains, Golden Grrls and The One Ensemble. Speaking to Bill recently, it turns out that there are a number of previously unreleased tunes, radio sessions and alternate mixes from the time around the record. After a touch of Bill's magic mixing, we're lucky to have an 'alternate' The National Jazz Trio of Scotland Christmas Album to share with you - all of which (with the exception of Frozen Vaults) are so far unreleased. Of course, you'll recognise these tunes of old, but the bright, crisp meloncholy that Wells and the extraordinary voices of Isobel Campbell, Aby Vulliamy and Lorna Gilfedder bestow upon each green bough of 'Oh Christmas Tree' might just put tears in your eyes as you blearily look into a bauble this year.  Classic cockle warmers 'Hark The Herald Angels Sing' and 'Oh Come All Ye Faithful' have been given a cool version of the Wells / Wilson treatment - it's the Beach Boy's Bus on it's way to a Faroe Islands - its frozen lakes iced and glassy yet incredibly warm and inviting. And yet, in the middle of it all, on Wells' original 'Blood on the Snow', one voice asks, 'what will they do back home / how will they deal with it / when will they get the news / that you didn't make it?', stopping the merriment in its tracks and tuning it's listener to the silence of snow. It's delicate, fragile stuff, direct and unflinching in its delivery.

2. otta - tonsättarcentrum123456789 (18:40) otta’s performance unfurled like a conversation with the piano, building on motifs and altering the layout of the preparations inside the piano to suit each individual exploration. Preparations that otta utilised include Athen Kardashian & Nina Mhach Durban’s ‘I never held emotion in the palm of my hand’ (a keyring holding locker keys, a plastic surfboard and dolphin and a small Lotto game, used as a rattle and to dangle over and between the strings), Alia Hamaoui’s peachskin velvet I & II (plastic name tags with pewter cast peach pips attached), Natalya Marconi Falconer’s Between Debris and Thing (an aluminium cast of a fennel husk), and one part of Pheobe riley Law’s shape placing (a unique morph of steel and rubber coating, laser cut into interesting flat shapes). Ellis Berwick’s Electreight (a bike bell sat on its own inverted base) is often returned to by otta as a flourish to mark beginnings and ends of different phrases. A large section of the performance involved bringing Joe Moss’ vibrating Loot Box up to one of the stereo microphones hanging above her head to create a consistent buzzing, whilst she continued to improvise on the piano below. The playful performance felt like an evolving improvised dialogue with the materials at hand, with otta adapting to the effects the preparations made to each refrain. 3. Gentle Stranger - just enough dirt (22:18)  Gentle Stranger’s performance differed from the other two in that there were three musicians or “six hands”  playing on the piano, with Alex McKenzie taking over the high end melodic section of the piano, Josh Barfoot  staying towards the lower end, controlling the majority of the percussive rhythm section of the piece, and Tom  Hardwick-Allan using extended piano techniques, singing and moving the preparations around the inside of the  piano whilst the other two played the keys. Hardwick-Allan began the performance on a tiny red toy piano  (prepared with Olivia Albanell’s Fat Wasp and Ellis Berwick’s Piammer) a metre or so stage left of the grand. The  two pianos were connected by a group phone call that echoed and fed back inside the body of the piano, with  Barfoot and McKenzie’s phones sat inside Hayett Belarbi-McCarthy’s Dear Obsolescence (antique silk) & Verity  Coward’s Wodge (a fake wodge of £20 notes) respectively. The phones were the first of many objects the trio  secretly brought to Cafe OTO that broke the rules for Preparations initially laid out by Joseph Bradley Hill. The  objects included a megaphone, a metronome, a cassette tape and mini-amplifier, an electronic mouse deterrer  and, technically, Hardwick-Allan’s shoes which fell off as Barfoot and McKenzie carried him from one side of the  piano to the other, dropping him onto the piano keys in the process. The performance moves through roughly  eight stages using these objects and the 23 already inside, with each section a different take on the prepared  piano’s possibilities. The performance reaches its end with a wail by Hardwick-Allan into the resonant body of  the piano (the sustain held down by a weight placed their earlier), followed by a ‘wedding song’ sung through a  megaphone from underneath the piano. Hardwick-Allan’s first touch of a key on the grand piano then became  the performance’s last. Three live performances from the third iteration of Late Works’ prepared piano event, Preparations, that took place at a sold out Cafe OTO on 23rd June 2025. For the event, 23 artists were asked to create a sculpture / ‘preparation’ each for the grand piano (shown on album cover above). Three pianists/groups  then had to construct individual live performances with the adaptable unit of preparations. Featuring artist and multi-instrumentalist Stanley Welch, singer and producer otta and experimental ‘post-clown’ trio Gentle Stranger, the playful live album shifts from a vaudevillian theatricality (Welch) to a motif-driven dialogue (otta) to dynamic, rule-bending episodes (Gentle Stranger), together demonstrating the diverse musical range of the  prepared piano. For this third iteration of Preparations, the pianists performed on the grand piano with preparations made by artists/musicians Olivia Albanell, Fan Bangyu, Hayett Belarbi-Mccarthy, Ellis Berwick, Zoe de Caluwé, Patrick Cole, Verity Coward, Mandeep Dillon, Natalya Marconini Falconer, Alia Hamaoui, Ellen Poppy Hill, Joseph Bradley Hill, Athen Kardashian & Nina Mhach Durban, Pheobe riley Law, Vita Lerche, Joe Moss, Eleni Papazoglou, Alexandra Phillips, Gillies Adamson Semple, Thirza Smith & Dominic Watson. The concept (by Joseph Bradley Hill) looks to the piano as an exhibition space, inviting the pianists to activate the sculptures as musical instruments/noise objects. The artists were given two main instructions: the preparation must sit comfortably on an open palm and not damage the piano in any way. Other constraints were organised with Cafe OTO based on their piano, which included using non-perishable materials. The pianists were given one hour each with the piano to work out how they would prepare it for the performance, and were encouraged to use as many of the sculptures as possible. The open nature of the event allows the audience to approach the piano in between sets and explore the effects every sculpture had on the piano for themselves. You can find out more about the rules at www.lateworks.co.uk/preparations 1 - Stanley Welch - Mothers, Dogs and Clowns (27:34) Stanley Welch’s set opened and closed with a tribute to David Bowie, or more specifically Bowie’s nose, the subject of Dominic Watson’s preparation David Bowie (Market Square, Aylesbury) (a pewter cast of the nose of a David Bowie statue). Welch then continued playing almost non-stop through the nearly 30 minute set, shifting through section after section of percussive, theatrical, almost vaudevillian sounds. Throughout, Welch used Joseph Bradley Hill’s Roller (With Hidden Paolozzi) to dampen the bass strings, and the main preparations that punctuated the performance were the lid of Joe Moss’ Loot Box slamming open and shut, and Vita Lerche’s Piano Bell sliding along the strings. A brief whistling interlude added to one of the more romantic refrains in the centre of the piece, and as Welch rattled towards the end, works by Vita Lerche, Gillies Adamson Semple, Patrick Cole, Eleni Papazoglou and Zoe de Caluwé were shifted onto the bass strings to provide him with a dense padding that converted to a loud thumping noise he used to great effect (and to close his performance).

Delighted to present a hallucinatory offering from Ciaran Mackle, recorded as part of a bill of similarly mind-expanding artists at OTO in September 2025, that featured Rory Salter, Regan Bowering and Vespertilio folia ferens - aka the duo of Luciano Maggiore and Seymour Wright. In this set, performed entirely on a Bastl Microgranny granular sampler, Mackle contorts two parallel lines of highly-processed monophonic guitar samples, with each seemingly trying to clamber on top of the other at the same time. With the drama of a coat-tailed concert pianist, Mackle begins with a single chord, which immediately proceeds to unravel in a staggering, punch-drunk procession of woozy mellotron-infused notes. Melodic sequences circle back and forth, over and around each other in a way that would seem to evoke a kind of sonic amnesia, if not for the relentlessly insistent way that these sequences seem to be clamouring for our attention. Despite the spiralling, intertwining paths that each melodic line treads, there seems to be an inherent urgency for both to reach their destination. Each new phrase barrels forward with a dogged persistence that initially seems at odds with the many backtracks and digressions, but slowly but surely carves out its own inherent sense of logic. All too soon the destination is reached, and with a final emphatic flourish we find ourselves some distance from where we started out. -- Recorded by Billy SteigerMixed and mastered by Oli Barrett

A live document of Elvin Brandhi, Kenichi Iwasa, Microcorps and Ziúr’s improvised set, recorded at OTO during Brandhi’s 2024 residency. Between 15-17 August 2024, improvising lyricist, producer and sound artist Elvin Brandhi brought three nights of unfolding, spontaneous and mind-bending world building to her Café OTO residency, bringing together collaborators from across the globe to take part in multifarious live actions and exploding group improvisations. On day three, Brandhi combined the quartet of Kenichi Iwasa, Ziúr, Microcorps and herself, for an expansive set, knitting processed voices, electronics, horns and percussion. This live recording from the night captures the group moving through choral bursts of atomised group vocalisations that melt into strands of interwoven electronics and live percussion, where automatic compositions spring fourth to be regurgitated into new mangled forms. -- Elvin Brandhi / voice and electronicsKenichi Iwasa / bass clarinet, trumpet, electronics and voiceMicrocorps / modular system, electronics and voiceZiúr / voice, percussion and electronics Recorded at Cafe OTO 17/07/24Mixed by ZiúrCover assembled by Elvin Brandhi from artworks by the whole group.

The release includes a short film created by Matthew Revert especially for this set, now synced with the mixed audio and available to download as an MP4 file.Phenomenal, preternatural solo set from Melbourne-based writer, musician and designer, Matthew Revert, recorded at Cafe OTO in April 2025. Performing as part of a heady lineup alongside longtime collaborator, Vanessa Rossetto and Tom Betteridge, Revert conjures an eerie, crepuscular atmosphere halfway between the Brothers Quay and The Black Lodge, layering up looped chimes and tones, shimmering scrapes and scratches, twittering electronics and low, discordant hums, which all tumble together with a ceaseless momentum. Through it all a muffled voice provides a through-line, with repeated phrases that stumble and cycle back on themselves with hypnotic insistence. References to things both mundane and profound emerge from the murk, with the nagging potency of a half-remembered dream. The cumulative effect is at once disorientating and uncanny in its specificity, leaving you under the distinct impression that this message is being addressed directly to you; that it would, in fact, hold great meaning to you alone, if only you could remember how you got here. Note to self... -- Recorded by Rory SalterMixed and mastered by Oli BarrettCover image by Matthew Revert

Limited run of very special Chen Tiemei (Old Heaven Books) designed tea towels, in collaboration with Dusty Ballz - purrfect for serving dinner and managing spillages. Screenprinted using Chen Tiemei's design from our 2025 OTO Billboard in Dalston, showing some of the highlights you can look forward to here in 2026! 5oz heavyweight 100% cotton tea towel w/ hanging loop. Printed in the UK. Please place any Christmas orders by 10am on the 19th December to ensure delivery by Christmas - Royal Mail have advised us that is the last day for the 48 hour tracked service. We will be open for collection / last minute shopping through to 5pm on 22nd December, and then we'll close until the 27th.

Edition of 100 four-colour screenprints. Print adapted from Chen Tiemei's design for our 2025 OTO Billboard in Dalston, showing some of the highlights you can look forward to here in 2026! Printed on heavyweight Takeo Satogami Mouse Gray 198gsm paper by www.tartaruga.co.ukSize: 59cm x 29 cm

Printed on the Stanley / Stella Creator 2.0 tee -- nice unisex cut on fairwear black organic cotton. Set-in sleeve1x1 rib at neck collarInside back neck tape in self fabricTwin needle topstitch at sleeve cuff and hem CompositionShell: Single Jersey, 100% Cotton - Organic Combed Ring Spun / Heather Haze: 70% Organic Cotton - 30% Recycled Cotton, Combed Ring Spun, Fabric washedWe have collaborated with long term Cafe OTO friend Han Bennink to design the first ever OTO t-shirt. These are made on good quality fair trade Stanley/Stella tees - more info under the design detail.  The Dutch drummer and multi-instrumentalist Han Bennink has had a colossal impact and influence in the fields of free jazz and improvised music - not just as a percussionist but also as an organiser, designer and visual artist. Bennink trained at the Gerrit Rietveld Academy in Amsterda and was strongly influenced by the anti-art of Dada. Out of what he calls 'a kind of involvement with things', Bennink reuses seemingly worthless objects from his immediate environment, such as broken drum skins and sticks. They are given a second life in his sculptures and installations. For his drawings and collages, Bennink draws on his personal memories and intuition. Birds and airplanes often return in these, symbols of the same freedom that he personifies during his performances. His artwork graces the covers of several corner stone recordings released on FMP, ICP, Incus, hat ART, psi and more. "It simply has to be beautiful and preferably appeal to an emotion as well. In [Bennink's] case that emotion doesn't have to be very dramatic or deeply hidden. You could rather call his art, his visual art anyway, light-footed, the way poems by Rutget Copland and Hans Verhagen can be." - Hans Sizoo, Jazzwereld nr 16. Photo by Corral

The Dutch drummer and multi-instrumentalist Han Bennink has had a colossal impact and influence in the fields of free jazz and improvised music - not just as a percussionist but also as an organiser, designer and visual artist. Bennink trained at the Gerrit Rietveld Academy in Amsterda and was strongly influenced by the anti-art of Dada. Out of what he calls 'a kind of involvement with things', Bennink reuses seemingly worthless objects from his immediate environment, such as broken drum skins and sticks. They are given a second life in his sculptures and installations. For his drawings and collages, Bennink draws on his personal memories and intuition. Birds and airplanes often return in these, symbols of the same freedom that he personifies during his performances. His artwork graces the covers of several corner stone recordings released on FMP, ICP, Incus, hat ART, psi and more. "It simply has to be beautiful and preferably appeal to an emotion as well. In [Bennink's] case that emotion doesn't have to be very dramatic or deeply hidden. You could rather call his art, his visual art anyway, light-footed, the way poems by Rutget Copland and Hans Verhagen can be." - Hans Sizoo, Jazzwereld nr 16.  Reprint of the now classic OTO tote, designed by Han Bennink and screenprinted onto a heavyweight canvas. Available in natural or black.  100% Cotton Canvas - 270gsm (8oz/yd²)Can be carried by hand or over the shoulder39 x 42 x 13 Double sided print - back says Cafe OTO - Han Bennink Photo by Corral

The Dutch drummer and multi-instrumentalist Han Bennink has had a colossal impact and influence in the fields of free jazz and improvised music - not just as a percussionist but also as an organiser, designer and visual artist. Bennink trained at the Gerrit Rietveld Academy in Amsterda and was strongly influenced by the anti-art of Dada. Out of what he calls 'a kind of involvement with things', Bennink reuses seemingly worthless objects from his immediate environment, such as broken drum skins and sticks. They are given a second life in his sculptures and installations. For his drawings and collages, Bennink draws on his personal memories and intuition. Birds and airplanes often return in these, symbols of the same freedom that he personifies during his performances. His artwork graces the covers of several corner stone recordings released on FMP, ICP, Incus, hat ART, psi and more. "It simply has to be beautiful and preferably appeal to an emotion as well. In [Bennink's] case that emotion doesn't have to be very dramatic or deeply hidden. You could rather call his art, his visual art anyway, light-footed, the way poems by Rutget Copland and Hans Verhagen can be." - Hans Sizoo, Jazzwereld nr 16.  Reprint of the now classic OTO tote, designed by Han Bennink and screenprinted onto a heavyweight canvas. Available in natural or black.  100% Cotton Canvas - 270gsm (8oz/yd²)Can be carried by hand or over the shoulder39 x 42 x 13 Double sided print - back says Cafe OTO - Han Bennink Photo by Corral

NEW OTO tote, designed by Han Bennink and screenprinted onto a heavyweight canvas. Available in natural or black. Only done 100 each of these!  100% heavy cotton canvas10oz / 283gsm canvas420mm x 370mm x 110mm / 16.5in x 14.5in x 4.3inLong Handles: 600mm / 24in

@xcrswx is the duo of Crystabel Efemena Riley (human/drum-skin) and Seymour Wright (saxophone) both also working with digital, analogue and ANDROID technologies – live and in the studio. Together they create sound works, and ideas that they explain, are to do with: “(REFERENCES) a span of human traditions, technologies and applications from the menstrual-bloody origins of cosmetics through evolution of reeds/drumskin ritual/musics, to Samsung and Audacity tools and attachments, Crunchyrolls and sub-woofer succulence. It’s committed, collaborative work that draws on decades of other association (past and present: X-Ray Hex Tet, Maria & The Mirrors, GUO, أحمد [Ahmed], XT trios with Anne Gillis and RPBoo) and (MORE REFERENCES) glamour/talent, clean-beauty, smart-boards, teaching-teams, stages, studios and solos, but in terms of what comes out is a sui generis, exciting, radical, extreme, tender, physical and fresh synthesis, of beats, layers, and patterns of raw and polished sound”.*MOODBOARD is @xcrswx’s first 12” LP, following on from FIXES a 10” split (with Lolina) from 2023 and CALLTIME/HARD OUT, a 7” single from 2020 it completes a trilogy of releases on Feedback Moves. It extends the previous releases in exciting, new ways – presenting things on a scale where everything is greater, with extremes wider, rawer and deeper than on previous recordings. MOODBOARD is one long-form piece played across two sides, and, a suite of discrete, overlapping songs – OKIE EFE, NPC, P2W, REFERENCES, MORE REFERENCES, UFFIZI, THE CREATIVE DECK, OKIE EFE IVẸ – pulsing with the intensity of one of @xcrswx’s extraordinarily intense, physical, caring and socially-situated live shows, but employing hi- and lo-tech studio assembly, intervention, and re-invention to keep these two sides very much, and meticulously, produced – a record made. Released 2025 - Feedback moves

“Dec. 2015: I received an invitation from Old Heaven to participate with FaUSt to the 3rd edition of “Tomorrow Festival” at B10 Live, Shenzhen, China! A few months later, May 2016, we were on our way to the most exciting concert experience. A loooong flight-haul and then, such a warm welcome, such a perfect organization… the most charming, dedicated, competent crew around us… the largest cement mixer I ever used on stage, and an audience so vibrant, so focused. I was and still am in memory, overwhelmed by the endless energy of all the people I met: technicians, promoters, music fans, the so-creative Knitting Ladies, my old-time friend Keiji Haino, and my comrade Maxime. The music we created together had been accurately recorded. As Old Heaven proposed to release this concert, I immediately was enthused by the idea. Even more so when I heard the perfect mix of Liu Ying. Two tracks were beautifully post-produced, edited and mixed by Amaury Cambuzat. I loved the B10 Live performance and place it in my top ten FaUSt concerts ever and I love this album, I do. ” —— JHP / art-Errorist --- Recorded at the 3rd Tomorrow Festival on May 14, 2016. B10 Live, Shenzhen, China. Published by Old Heaven Books & B10 Live, Shenzhen 2022. Tomorrow Festival Series OH 036 录音 Recording：曾君 Zeng Jun；罗绿野 Luo Lvye混音 Mixing & 母带处理 Mastering：刘英 Liu Ying编辑 Editing & 混音 Mixing：Amaury Cambuzat（track 06/C2 & 08/D1）制作人 Producer：涂飞 Tu Fei统筹 Coordinators：李书琴 P.G，尹思卜 Yin Sibo设计 Design：Nino摄影 Photography：艾飞 Effy，大米，惠子@DAFA，肖蔚鸿 Xiao Weihong，子弹，左氏文化特别鸣谢 Special Thanks：黄可 Huang Ke，李秭林 Li Zilin，邹佳伟 Zou Jiawei Jean-Hervé Péron - 人声 Vocals / 贝斯 Bass / 原声吉他 Acoustic Guitars / 小号 Trumpet / 水泥搅拌机 Cement MixerWerner “Zappi” Diermaier - 鼓 Drums 特邀嘉宾 Very Special Guests：Maxime Manac’h - 键盘 Keyboards / 吉他 Guitar/ 煤气罐 Gas Cylinder / 手摇风琴 Hurdy-Gurdy灰野敬二 Keiji Haino - 人声 Vocals / 电吉他 Electric Guitars / 电子设备 Electronics魏籽 Wei Zi, Tina, 郦亭亭 Li Tingting - 针织行为表演 Knitting PerformanceB10 Live, Shenzhen, China!

Tracklisiting: Side A - Raga Chandrakaush 21:57 Side B - Raga Khamaj 30:34Nikhil Banerjee was an Indian classical sitarist of the Maihar Gharana. A student of the legendary Baba Allauddin Khan, Pandit Nikhil Banerjee was known for his technical virtuosity and execution. This very special release is a live recording of his performance at KPFA Radio in Berkeley, California, on the 9th of July, 1967. It is the first time Banerjee has been released on record and published in China. The original recordings were on two reel-to-reel tapes. In 1988, American record label Raga Records released the recordings on both CD and cassette. By chance Old Heaven's producer Tu Fei came to possess the reel-to-reel tapes and decided to release this vinyl version, hoping to present the contents to the audience as authentic as they are and pay tribute to the great musician Nikhil Banerjee. Special thanks to Chen Yun, professor Tejaswini Nirajana and her friends Deepak Raja and Meena Bannerji, for it would not be possible for us to contact with Nikhil Banerjee’s daughter Mita Tagore and get her authorization without their kind introduction. Mita has been very supportive of this release in China and has given us important suggestions during the process. We would also like to thank our friend from Morocco, Habi (Habib Rkha). He is an enthusiast and expert of Indian classical music who cleared up much confusion for us.  The woodcut artwork on the cover is by long-term collaborator of Old Heaven, artist Liu Qingyuan. Released by Old Heaven Books, 2020.

李带菓 Li Daiguo：古筝 Guzheng, 低音提琴 Double Bass, 大提琴 Cello, 塔不拉鼓 Tabla, 模拟合成器 Analog Synthesizer, 中国鼓 Chinese Drum, 锣 Gong, 踩镲 Hihat, 地鼓 Bass Drum 录制于2021年11月 云南·大理Recorded in Dali, Yunnan in November 2021 录音/混音 Recording & Mixing: 李带菓 Li Daiguo母带 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei统筹 Coordinator: 陈铁梅 Chen Tiemei / 尹思卜 Yin Sibo封面木刻作品 Front Cover Woodcut Artwork: 刘庆元 Liu Qingyuan设计 Design: 林溪 Lin Xi（来信收悉工作室）

David Murray — 萨克斯 Saxophone Kahil El'Zabar — 打击乐 Percussion / 卡林巴 Kalimba / 人声 Voice 录制于第十届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2023 年 10 月 27 日 Recorded at the 10th OCT-LOFT Jazz Festival, B10 Live, Shenzhen October 27th, 2023

Tracklisting: A. Part 1 - 22:44B. Part 2（Featuring ここ）- 16:33C. Part 3 - 25:42D. Part 4 - 22:37The Meaning of Blackness, More Decorous than DutyHaving become faster than everything A smile that was never birthed into the light (Live at the 3rd Tomorrow Festival 2016 @ B10 Live) This release from Shenzen's Old Heaven Books documents a blistering live performance, recorded in B10 as part of the 3rd Tomorrow Festival. Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances, Haino has staked out a ground all his own, creating a language of unparalleled intensity that defies any simple classification. Haino lets loose a 90 minute performance maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic wall of noise intensity that he's known for. This is both an essential historical document and a classic performance in its own right. Keiji Haino considers this live album as an integral work that cannot be separated. Released by Old Heaven Books, Dec 5th 2019

Documentary recordings of Hartmut Geerken and Michael Ranta’s November and December 1976 tour of the Middle East and East Asia. Geerken is known for his long relationship with Sun Ra (including compiling a discography), but he wears many other hats too: musician, film-maker, archivist. Ranta is a percussionist best known for his famous “Improvisation Sep.1975” collaborative record with Toshi Ichiyanagi and Takehisa Kosugi. This is a CD reissue of an LP boxset, originally released in 2010 as the last release on the now dormant Italian label Qbico. The tour started in Iran before moving east to India, Bangladesh, the Philippines, Korea, and ending in Japan. At their show in Osaka, they played together with Toshi Ichiyanagi. This edition includes the concert with Ichiyanagi, solo performances by Ichiyanagi and Shoko Shida, as well as a rare Delhi performance that was originally only included in the highly limited 6LP edition of the Qbico set. All the tracks overflow with rich multi-dimensionality, providing a glimpse of Ranta and Geerken’s depth as performers.

For over four decades, composer-performer David Rosenboom has developed unique circuitry and software for making musical models of the wondrous natural world come alive. Traversing the raucous and the sublime, ROUNDUP TWO presents live performances with vacuum tube analog computers, solid-state manifestations of chaos and harmony, musical interventions on political tunes, virtuoso performers interlinked with hybrid processing, and more. ROUNDUP TWO is an essential, historical document containing important examples from a sixteen-year period in this innovative artist’s extraordinary, pioneering work."Several of these pieces appeared in an audio, cassette package released in 1987 by Slowscan editions, ‘s-Hertogenbosch, The Netherlands, titled Roundup, A Live electro-acoustic retrospective (1968-1984). For Roundup Two, all those pieces have been re-mastered from tapes in audio archives that were in various states of preservation. Several that were originally presented only in excerpts are now presented in complete, unedited versions, and other works not on the original Roundup have been added." - David Rosenboom

Infant Tree is excited to present a new solo release by Crystabel Efemena Riley, recorded In July 2024 at Ormside Projects, as part of Susu Laroche’s Seraph FM series. Crystabel performs on a kit constructed of recycled skins of drums and shells, specifically centered in the space. This performance inter-connected with an exploration of metal smelting and sculpting that was happening in tandem in her work as a make-up artist uniquely preoccupied with the the infinitely recyclable and ritualistic nature of these materials. This later overlaps into the sonic space. Listening to the recording, the crossing rhythms ricochet from skin to speaker, creating complex and exciting patterns. The materiality of the instrument feels totally entwined in the audio, with the space, the sound system and everyone in it. Crystabel's interest in patterns on skins — human and drum, started during the late noughties when she toured Japan and Europe using drums, make-up and electronics in power-noise/post-club trio Maria and the Mirrors. Her interest in dimensional patterns existing on (and off) different surfaces has continued to evolve through exploring the idea of 'care and uncare' of various skin surfaces. Crystabel has been a long-term collaborator with Sue Lynch who welcomed her into the Horse Improvised Music Club and later played in the London Improvisers Orchestra. She is currently working on the multi-format project @xcrswx with Seymour Wright who's last release was a split vinyl with Lolina. She also performs as part of the X-Ray Hex Tet with Edward George, Pat Thomas, Billy Steiger, Paul Abbott and Seymour Wright, who released an album on Reading Group in 2024.

Bayawan:The Call of the Wild and Free "Bayawan" is the common name for Muqam music used by the Dolan people. Bayawan, or Dolan Muqam, is a unique form of folk music and one of the most important cultural heritages of the Uyghurs in Xinjiang, China. Generally speaking, Muqam is a form of large-scale suites which include songs, dances, and instrumental sections, in which the development of music often features a significant degree of improvisation. The Muqam of the Uyghurs is characterized by its diversity of musical styles. Apart from the classical Twelve Muqam, there are also multiple folk Muqam traditions with distinct regional characteristics, including Kumul Maqam, Turpan Muqam, Dolan Muqam, and Ili Muqam. Among them, Dolan Muqam is often considered as the wildest, if not the uncanniest tradition that still exists. "Dolan" is the name of a people, typically considered as an ethnic sub-group of the Uyghurs, who historically inhabits the banks of the Yarkand and Tarim rivers on the northwest edge of the Tarim Basin. Dolan Muqam has been circulating by and large in the Dolan region—which now mainly includes Makit County and Maralbexi County in Kashgar Prefecture, and Awat County in Aksu Prefecture—and its influence has also reached places such as Kargilik, Poskam, Kuqa, Korla, Turpan, and Kumul. The Dolan people refers to the Muqam music they play as "Bayawan", which literally means "the desert and the wildland". Bayawan, in their common language, is not something to be sung, but rather to be "shouted out". It is said that there were originally twelve sets of Dolan Muqam, three of which have now been lost. Each set of Dolan Muqam is approximately six to nine minutes in length. The remaining nine sets last about one and a half hours in total. Dolan Muqam is marked by its simple, unadorned instrumentation, strong and intense grooves, and a distinctively hoarse, air-rending style of singing. The lyrics draw from folk songs and oral poetry, maintaining an overall sense of rugged raw beauty. A unique and rare cultural treasure worldwide. In May 2023, the Mekit Dolan Muqam Group performed at the 7th Tomorrow Festival in Shenzhen. Taking this chance, we invited the artists to a session at Liu Ying Studio, which gave birth to this one-of-a-kind record. This was our great good fortune. We wish these magnificent sounds and voices travel far and reach more ears.

Beautiful entry via Old Heaven from Czech avant-garde violinist, singer, and composer Iva Bittová

Recorded at the 8th Tomorrow Festival, B10 Live, Shenzhen May 25th, 2024

Insole is publication of critical writing and imagery based in New York. It is edited, designed, and produced by Ravi Ghosh and Marié Nobematsu-Le Gassic. VOL. IContributorsMaddy BremnerRegan BoweringEilidh DuffyCharles GainesZoë HopkinsAmber Jamilla Musser Each copy of Insole is printed and assembled by hand.Softcover, 30pp Insole, New York, 2025

by Raschka using ‘watercolour, ink and torn paper’ it’s a playful book that’s lovely to hold, read and admire. The book examines 29 poetic forms, explaining their rules, giving examples and sometimes breaking the rules. Each page also includes a wonderful little pictorial explanation that aids the understanding of some of the more obscure forms. As well as examining the forms, the book introduces young readers to a wide collection of mainly contemporary US poets and should whet their appetite to explore new writers and to look more closely at poems in a fun way.Illustrated by Chris Raschka   Softcover, 61pp Candlewick Press, 2005

Contents  Foreward by Robert Ashley  Landscape with David Behrman  “Extending our nervous systems”  Drifting Harmonies (Paul DeMarinis) Landscape with Philip Glass “I’m making the rules”  Music of the Moment (Peter Gordon) Landscape with Alvin Lucier “With and without purpose”  Stretching Our Imagination (Jill Kroesen) Landscape with Gordon Mumma  “I’m using the by-product of my culture”  The System Is the Composition Itself (Maggi Payne) Landscape with Pauline Oliveros “I can feel myself changing” Shedding Another Skin (Margaret Ahrens) Landscape with Roger Reynolds  “I’m always interested in new experience”  Extending Instrumental Techniques (Paul Robinson) Landscape with Terry Riley  “Music is my spiritual path” Terrry Is a Solo Act (Craig Hazen) Landscape with Robert Ashley  Sound Changing Its Own Behaviour (Robert Sheff) Epilogue  Robert Ashley Documents the Aether (Tom Johnson) Essayist’s Biographies Composers’ Selected Discographies  Index of Names

Some think Eric Dolphy was an otherworldly apparition. His stellar career lasted little more than 5 years. He was one of the most important pioneers of the jazz avant-garde of the 1960s. As a multi-instrumentalist, Dolphy played flute, bass clarinet, alto saxophone and clarinet. He also composed and arranged. His brilliant solos in performances with the Mingus Band, among others, are milestones in jazz and music history. Guillaume Belhomme traces his biography in sketches. “For having been an innovator, Eric Dolphy became an original. The depth of his message then caught up with him. At the source he created, a lineage of individual musicians that has not yet faded out of sight has continuously drawn, searching, perhaps, for ways to cross to the other side, beyond the obvious and the easy.”Guillaume Belhomme “Finally we have an English translation of Guillaume Belhomme’s wonderful biography of Eric Dolphy. I can read just enough French to know that it is a heart-felt homage to the great man. This translation will make a fuller appreciation possible.” - Evan Parker

23 Sentences from DESERT PLANTS MORTON FELDMAN: Something that is beautiful is made in isolation. CHRISTIAN WOLFF: I try wherever possible to discourage competitive sort of careerism. JOHN CAGE: So that it takes an old fogey like myself to suggest again as Thoreau did all of his life, revolution. PHILIP CORNER: A lot of people hang up to restrictions which are not only in the external institutions. They are in your own mind. PHIL GLASS: The quintessence of harmonic music is in cadence for me. STEVE REICH: You must love music or be a duck. ROBERT ASHLEY: If you record a conversation with fifty people in the United States about their ideas, and if you get into each conversation really deeply, that when you get to the end, you will have one of me, one of Steve Reich, but you will have fifty of yourself. ALVIN LUCIER: But when you stutter, you scan the language. You are scanning your past. JOAN LA BARBARA: You know, instead of trying to direct the voice, I try to let the voice direct me. PAULINE OLIVEROS: I’m aware of my own physiology. And then I’m hearing it as a whole, and I’m aware of the various rates that are going on, the kinds of breaks in concentration that occur and how they are corrected. DAVID ROSENBOOM: What I’m looking at really is the existence of regularly pulsing energy. RICHARD TEITELBAUM: I played the same synthesizer for ten years. Me and it are very close to each other. LARRY AUSTIN: Ives’ main thing, I feel, was the concept of layering and getting us out of the idea that the sounds always had to come from the same place; that is, right in front of you. JAMES TENNEY: I realized in writing these pieces that this was one way to avoid drama, which I’m still trying to find ways to avoid. J. B. FLOYD about NANCARROW: Somebody actually brought up what was going to happen to the piano roles after he died; and he said, “Why? Do you want one?” LA MONTE YOUNG: You can always say that you wanted La Monte Young, but it was impossible. He was so mercenary, he wanted money. CHARLEMAGNE PALESTINE: I’m searching for sort of this golden sonority. CHARLES MORROW: The high art itself is a form of power consciousness, that in a way one listens to the high art in the same way that one walks around being a flirt. GARRETT LIST: The only way for a one-world kind of feeling is where each nationality, each locality, has its own strength; so that people don’t need to have to take from another place. FREDERIC RZEWSKI: It’s still true that most Americans care more about the price of meat than they do about the exploitation of Bolivian miners. JOHN MC GUIRE: But sooner or later I am sure that I will return to America. BEN JOHNSTON about HARRY PARTCH: He was really willing to be as direct and as simple and as corny as you like, as people are when they aren’t trying to be concert artists."Desert Plants" was a cult book in the seventies because it brought the first information about the US-American composer-performer scene to Europe. Numerous examples of sheet music and entire scores enrich this insight into a time of experimentation that needs to be brought back into consciousness. The book, which has been reprinted unchanged, is dedicated to Carol Byl, who at the time transcribed the tapes largely literally in order to maintain the "stream of consciousness". The cover picture was drawn by Michael von Biel. The edition is accompanied by a CD which makes the surviving sound documents available in restored form as mp3 files, including the famous telephone conversation with La Monte Young. Thus the original voices from 1975 can be heard – a contemporary document.   Walter Zimmermann's interview partners are Morton Feldman, Christian Wolff, John Cage, Philip Corner, Jim Burton, Phil Glass, Steve Reich, Robert Ashley, Alvin Lucier, Joan La Barbara, Pauline Oliveros, David Rosenboom, Richard Teitelbaum, Larry Austin, James Tenney, J. B. Floyd (about Conlon Nancarrow), La Monte Young, Charlemagne Palestine, Charles Morrow, Garrett List, John Mc Guire and Ben Johnston (about Harry Partch).

English-German Edition in two volumes 906 pages. These lectures, discussions were within the last years of Feldman's life, he died in September 1987, these were 1985 to 1987, for the "Nieuwe Muziek" in Middleburg, and the topics, subject matter runs the entire cornocopia of post war music, modernity, complexity, post-modernity, post-truth, post metaphysics. The discussion(s) are with all top-recorgnized composers Kaija Saariho, Iannis Xenakis, pianist Geoffrey D. Madge, Louis Andriessen, and not-so-well-known composers but important nonetheless as Konrad Boehmer and Bunita Marcus, Feldman's companion.Feldman was always a very engaging talker, conversationaist, he primed himslef with into-the-night discussions at the Cedar Bar in New York City, speaking with great painters de Kooning, Franz Kline, Pollock, Marc Rothko, Philip Guston his close friend.There is much anecdotal shibboleths here as well, as when a student who came to Alban Berg, and after some hours was not examining the student's composition. Berg said something like "how can you be a composer and not smoke cigarettes?". Time spent with Stefan Wolpe was also productive, right out of high school, and the house concerts of his works and others.

Limited edition riso done for Dali's residency. 25 white, 25 orange, printed by Good Press on uncoated "Arena Rough Natural" 200gsm and 230gsm Orange. Designed by Oli Barrett.

A2 screenprint for our four-day residency with 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. Designed by Sally Pilkington and printed on 175gsm colorplan paper by Tartaruga.

Edition of 200 two colour screenprints.Artwork by Peter Brötzmann.Printed with high quality 175 gsm paper by www.tartaruga.co.ukSize: A2 Artwork by Peter Brötzmann. Design by Untiet.

Edition of 200 hand numbered two colour screenprints. Artwork by Peter BrötzmannPrinted with black and white ink on high quality GF Smith Pale Grey Colorplan 175 gsm paper by : www.tartaruga.co.ukSize A2

Two color screenprint for our Music and Other Living Creatures series, designed by Silja Strøm and printed on 175gsm colorplan natural paper by Tartaruga.

A2 screenprinted poster for our shows with the great Arto Lindsay on 14th October 2023. Design by Oli Barrett. Printed by Tartaruga Press on high quality, 175gm claret colorplan paper. Edition of 100.

Pavel Eremeev: drums, electronics & feedbacks, mixing & mastering Artёm Galkin: guitars, bells, shankha, cover art Katya Shirshkova: harmonium on track 4 Wu Yilin: cassette design

A1、B3、B4为马木尔个人作品，B1是阿西木·东希（Əxim Dongxe ule）作曲，B5为塔塔尔民间乐曲改编，其余为哈萨克民间乐曲改编。 Track A1, B3 and B4 are original compositions by Mamer, track B1 is composed by Ashim Dongxeuly, track B5 is a Tatar traditional folk tune, the rest are based on Kazakh traditional folk tunes. “模仿者系列第六场：星空”现场录音，2024年6月19日录制于旧天堂书店。 Live recording from Mamer's solo performance 'The Imitator Series Ⅵ: Sky' on June 19, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series Ⅷ: Dirty' on June 25, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series Ⅺ: Fake Jazz' on July 3, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series V: Underground Factory' on June 18, 2024 at Old Heaven Books.

Staring Into The Sun is the latest ethno-folk cinema classic from Sublime Frequencies. Ethiopia is known to be one of the oldest areas inhabited by humans and presently has over 80 diverse ethnic groups. In 2009, photographer/filmmaker Olivia Wyatt explored 13 different tribes throughout Ethiopia in this visually stunning film on DVD with accompanying 136-page book of Polaroid photographs and audio CD of field recordings. Traveling from the northern highlands to the lower Omo Valley via bush taxi, Isuzu cargo trucks, and by any means possible, Wyatt brings together the worlds of Zar spirit possession, Hamer tribal wedding ceremonies, Borena water well polyphonic singing, wild hyena feedings and bizarre Ethiopian TV segments, presenting an enchanting look at these otherworldly images, stark landscapes and captivating sounds from the horn of Africa. The featured tribes are captured with an unflinching sense of realism and poetic admiration resulting in a visual and aural feast of the senses. 136-page hardcover photography book with one music CD and one film on DVD. 5 1/2 x 5 1/4 inches, landscape format. 117 color photographs and liner notes by Olivia Wyatt. Sublime Frequencies' most elaborate package yet. One-time limited edition pressing of 1,000 copies.

Matchless, 2024  A film by HajduKino productions. Produced, directed, photographed and edited by Stewart Morgan Hajdukiewicz. Audio recordings mastered by Rupert Clervaux for Matchless Recordings and Publishing. Sleeve design Myah Chun Grierson at Studio Cymbal. "Region 0" PAL format BluRay disc. ABN-DVD A BRIGHT NOWHERE – Journeying into Improvisation is an important audio-visual record of a landmark series of four concerts staged in London in 2022 when more than 30 musicians joined improviser, percussionist and animateur Eddie Prévost to mark his 80th birthday. The film takes a close look at improvisers who create music in the moment, free from the authority of a composer, score or conductor. Ranging from profound delicacy to subversive atonality, the “awkward wealth” of this music raises vital questions about artistic freedom, individual responsibility and what it means for people to make music together in the 21st Century. Featuring performances by John Butcher, Sue Lynch, Ute Kanngiesser, Marjolaine Charbin, Nathan Moore, Seymour Wright, Veryan Weston, Alan Wilkinson, John Tilbury and Eddie Prévost amongst others. Plus readings by musician and author David Toop. The film includes the last ever concert by AMM, the pioneering improvising group co-founded by Eddie Prévost in the mid-1960s.

This deluxe CD/DVD is packaged in a heavy duty tip-on style gatefold sleeve with a glued in 12 page accordion style booklet. Sonambients: The Sound Sculpture of Harry Bertoia is a deluxe CD/DVD package containing historic recordings made in Harry Bertoia's Sonambient barn.The DVD, a film titled Sonambients: The Sound Sculpture of Harry Bertoia, by Jeffrey & Miriam Eger, was shot in 1971 and follows Harry Bertoia in performance and interview throughout his Sonambient barn deep in the Pennsylvania woods. This film offers a rare opportunity to follow the artist in practice, listening carefully as he moves contemplatively through his sculptures and gongs. Interview footage offers rare insight into Bertoia's inspiration and process.A separate CD contains four exclusive, recently discovered audio recordings. Included are the two earliest known collaborative tapes from Harry and brother Oreste, morning and evening sessions dated October 12, 1969, as well as a collaboration between the Bertoia brothers and their sister Ave who sings in careful unison with the overtones being produced by the sculptures. With the passing of Oreste Bertoia in 1972, these recordings mark the last meeting of all three Bertoia siblings.A 16-page booklet includes many never before seen production stills shot by Jeffrey Eger. These iconic images capture the essence of the artist in practice. All of this is packaged in a heavy duty, tip-on style, gatefold sleeve printed with metallic inks at Stoughton Printing in California.

2xLP; DVD, libretto, large 16p Booklet in printed cardboard box A music drama composed by Sven-Åke Johansson and Alexander von Schlippenbach, performed and recorded at Hebbel Theater, Berlin, 12.11.1994 In the programme, Johansson describes his observations of construction workers who "spend a good part of their lives – when it rains or snows, while changing clothes and so on – in these so-called construction wagons, usually set up in the immediate vicinity of the construction sites." The drama thus at the core employs an approach very typical of him: observing everyday activities and reinterpreting them artistically. What makes it unique is the combination of art forms: (absurd) theatre, dance, song and free jazz all are equal parts. Never, one of these becomes a simple accompaniment of the other. They alternate and mix, eventually leading to a Babylonian confusion that becomes meaningful in itself. Despite or maybe even because of its uniqueness, this opera is one of Johansson's key works. "... Über Ursache ..." was performed three times between 1986 and 1994. The audio recording of the premiere at the Stuttgart State Opera was released by FMP as a standard double LP in 1989. The 1994 audio and video recordings from the Hebbel Theatre in Berlin are presented here for the first time, packaged as a lavish box set with two LPs, a DVD, a 16-page booklet with photos and liner notes by Johansson, Konrad Heidkamp and Peter Ablinger, plus 20-page libretto – an edition that this spectacular work has deserved for a long time.  Cello – Tristan Honsinger Harp – Anne Le Baron Percussion, Drums – Paul Lovens Piano – Alexander von Schlippenbach Saxophone, Clarinet – Wolfgang Fuchs Saxophone - Dietmar Diesner Vocals – Shelley Hirsch Vocals, Accordion – Sven Åke Johansson Libretto-text by Sven-Åke Johansson & Shelley Hirsch Design by Teresa Iten Cover and Drawings by Sven-Ake Johansson

Recording of Otomo Yoshihide's set at B10 Live, Shenzhen. --- 大友良英 Otomo Yoshihide / 吉他 Guitar / 人声 Vocals --- 录制于2014年4月28日，深圳B10现场. Recorded April 28, 2014 at B10 Live, Shenzhen

Directed by Ludo MichCamera: Ludo Mich & Rufus J. BohezMusic: Arthur and his group ‘Live’Editing: Robbe De HertSound: Jules GorisSubtitles: Jan MatthéOriginal flyer art: Georges ‘mafPrint’ Smits Duration : 14:54 min.Year : 1971English subtitledArthur Is Fantastic is a b/w Fluxus film that portraits Arthur Indenbaum and turns him into a work of art by obliterating the boundaries between art and life. Arthur Indenbaum was the son of an American diamond dealer who had come to Antwerp in the late 1960s to be trained in his father’s business. Soon, however, Arthur found his way into the lively art and music scene of Antwerp of the period where he liked to get high, hang out with friends and play music with his band ‘Live’. At the time Gallery Vacuum was an art space run by artists and musicians Luc Deleu, Filip Francis and George Smits, who were an integral part of Antwerp’s alternative scene. On 6 May 1970 Arthur, with his extraordinarily big physical build and fuzzy hair, was exhibited as a live sculpture in Gallery Vacuum during a one-night show in which Ludo Mich took part as well. Ludo’s film Arthur Is Fantastic not only documents this gallery event but also shows fragments of a day in the life of Arthur: we see him get up, take a shower, smoke his first joint of the day, have a huge breakfast, play the guitar and walk the streets of Antwerp before arriving at Gallery Vacuum. Apart from being a strong and humorous Fluxus work of art this film is in hindsight a loving document of the early 1970s.

"On the night of December 18, 2021, Mamer and his newly formed psychedelic folk band Mask were about to record a live album at Shenzhen B10 Live, a few audiences were invited. Before the recording, Mamer improvised on sherter for nearly 40 minutes. This album was therefore born.Xêrtêrmin / Sherter Solo may be, or should be the world’s first sherter solo album—although we don’t want to overemphasize it for the sake of sales. Most of the time, this ancient Kazakh instrument is used as a tenor dombra in ensembles, rarely as a soloist—but on this night, its old soul was awakened." - Tu Fei --- 切尔铁尔独奏: 马木尔 Sherter Solo by Mamer2021 年 12 月 18 日录制于深圳 B10 现场Recorded on Dec. 18, 2021 at B10 Live, Shenzhen制作人 Producer: 涂飞 Tu Fei录音 Recording: 曾君 Zeng Jun, 罗绿野 Luo Lvye母带 Mastering: 刘英 Liu Ying封面绘画 Album Cover Artwork: 张咏瑜 Zhang Yongyu摄影 Photography: 阿瓜 Wain设计 Design & 统筹 Coordination: 尹思卜 Yin Sibo曲目翻译 Tracklist Translation: 唐加力克 Karatorhay (哈译汉 Kazakh-Chinese), 骆炜湘 Lowi (汉译英 Chinese-English)旧天堂书店 & 深圳 B10 现场联合出品Published by Old Heaven Books & B10 Live, Shenzhen 2023

Rie Nakajima and Keiko Yamamoto are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, engaging debut album. Rie’s baby orchestra of rice bowls, toys, clock workings, balloons and motors is by turns haunted, teased, adorned and laid waste by Keiko’s chanting, rumbling, whispering and stamping on the floor. The production by David ‘Flying Lizards’ Cunningham deepens and spooks the mix, which brims over with energy and wit, intimacy and presence, grace and mystery. "Suddenly we are closer to music being made than we have been for many years or longer even, so alarmingly close as to feel warmth and discomfort, as if studying the sole of a foot from a few centimetres away or holding a private whisper within an enclosed hand and feeling its trembling desire to be free; but also so far away distant as to feel each vibrant, pungent ingredient within its box or jar or bowl or packet or bottle or air-tight translucent container or brown paper bag painstakingly stirred, shaken, scattered, poured into the heated cauldron of what we call recording, its imaginary rooms and its production, though my better self prefers not to speak about or analyse the notion of ‘the studio’, this being a working up of spaces that are social, a vision of something beyond us but not quite beyond us because its existence as a listening object is real enough to make us pause and question how it was lost or never found." - David Toop --- Keiko Yamamoto / voice, melodica, flute, recorder, floor percussion, toy dog (1-7, 9-12) Rie Nakajima / objects, whistles, flute, cards, taisho koto, xylophone, piano, abacus, drain horn (1-12) Billy Steiger / violin (2,4,7-9,11,12) Marie Roux / percussion, thumb piano (2,4,7,9,11,12) --- All composition by Nakajima/Roux/Steiger/Yamamoto apart from Yobu, Hebi, Iroha, Kitsune and Are Kore (Nakajima/Yamamoto) and Futari (Nakajima/Steiger). Words by Yamamoto except 5 and 11. Iroha is a Japanese classical alphabet. Sojarobai is a working song from Miyazaki, Japan. Produced by David Cunningham.  Cover image by Marie Roux. Sleeve design by Ayako Fukuuchi.

6 panel Digisleeve CD with sleevenotes by Lol, photos and illustrations Tracks 1-5 originally released in 1978 on LP as OG 525 - The Joy Of ParanoiaTracks 6-7 originally released in 1977 on LP as OG 510 - Diverse Lol Coxhill - soprano saxophone, loose floorboardMichael Garrick - electric pianoDave Green - bassJohn Mitchell - percussionPaul Mitchell-Davidson - bass guitarKen Shaw - electric guitarVeryan Weston - pianoColin Wood - celloRichard Wright - Spanish guitar "The idea behind the original two LPs which form this re-issue was to present collective example of certain areas where I function mostly as an improvising musician. My intention with The Joy of Paranoia was to create an album which presented my saxophone improvisations within several different situations. The tracks with Michael Garrick, though based upon familiar compositions, were played very openly. The duets with Veryan Weston were spontaneous. Joy of Paranoia Waltz is based upon a simple riff with four saxophone overdubs. The Wakefield Capers, with the exception of some established rhythmic settings by the members of Paws for Thought, is improvised."  --- Lol Coxhill / soprano sax Michael Garrick / electric piano Dave Green / bass John Mitchell / percussion Paul Mitchell-Davidson / bass guitar Ken Shaw / electric guitar Veryan Weston / piano Colin Wood / cello Richard Wright / span guitar (track 1) --- Recorded at Bretton Hall, Wakefield; Hatfield Music Centre; Mekon Studios, London; Fairway Tavern, Panshanger; Seven Dials, London. Tracks 1-5 originally released in 1978 on LP as OG 525, The Joy of Paranoia. Tracks 6-7 originally released in 1977 as OG510, Diverse.

Beautiful x2 CD reissue of Moholo's essential Bra Luis - Bra Tebs and Spirits Rejoice! Bra Louis - Bra TebsLouis Moholo-Moholo - drumsFrancine Luce - voiceJason Yarde - alto & soprano saxesToby Delius - tenor saxClaude Deppa - trumpetPule Pheto - pianoRoberto Bellatella - bassSpirits Rejoice!Louis Moholo-Moholo - drumsEvan Parker - tenor saxKenny Wheeler - trumpetNick Evans - tromboneRadu Malfatti - tromboneKeith Tippett - pianoJohnny Dyani - bassHarry Miller - bass "With the Octet having whetted his appetite for band leading, Louis Moholo-Moholo went on to develop an array of ensemble projects, the longest serving of which he dubbed Viva La Black. It was with Viva that Louis toured South Africa in 1993, and for Louis and some of his compatriots in Viva the tour was nothing less than a personal triumph, a return home after three years spent in exile. Why these studio sessions rested in the vaults for so long remains a mystery. It was a slightly changed band that Louis assembled in 1995: the fresh ingredient that would move Viva into the darker, earthier grooves of Bra Louis - Bra Tebs was singer Francine Luce, originally from Martinique and now one of the vocal treasures of the London improv scene. But here they are, at last." - David Ilic   "Full of striking themes and strong improvisation, and continues a tradition that goes back a long way in South African jazz: stripped-down, hymnal themes repeated like mantras, gradually intensifying into free-jam furores, or giving way to racing swing. Some of the songs are as quirkily gentle as a Norma Winstone record, some like Annie Ross in a free-improv band - and though Francine Luce's frantic variations might not work for everybody, she's sonorous and soulful on the brooding traditional song Utshaka, and on a defiant Motherless Child."

Recorded live at OTO in April 2017 includes long time collaborators Jason Yarde on saxophones, John Edwards on bass, and Alexander Hawkins on piano, with the addition of saxophonist Shabaka Hutchings. "Another crowded night, atmosphere charged, some new faces, lots familiar...From the first note the music spirals into the spirit world, summoned, a dance of beauty and life and death., and some of our friends are crying. They are strong and crying. We've been here before and it's always a shocking truth. This music is very real." "Experience the sensation of being blown away by the waves of emotion, whether overwhelmingly ecstatic or exquisitely refined. And most of all, perhaps, listen to the Louis Moholo Moholo Quartet to understand how, in this music, the individual and the collective can simultaneously attain equal importance: a most elevated state of being." – Richard Williams, The Blue Moment, review of Louis Moholo Moholo Quartet at Cafe OTO."

"One of the most notable things Parker and Stevens have in common is their way of absorbing and transforming influences from jazz. Stevens has often paid tribute to the music of people such as Eddie Blackwell and Ornette Coleman. Parker has his roots in the records of Coltrane, Dolphy and others. They have drawn on other musics to create a new language which is very personal and not in any way parasitic upon its resources. Other contexts will find Parker playing tenor saxophone and Stevens a conventional kit. In the duo, Parker plays only soprano and Stevens' kit is diminutive - no bass drum, two hi-hats, a childs snare. Evendently they have mapped out a very special area - extremely concentrated and intimate."  --- John Stevens / percussion, cornet Evan Parker / soprano saxophone --- Front cover illustration by Geoffrey Rigden, 1986. Corner to Corner recorded direct to U-Matic master using Schoeps and Neumann microphones on June 8 1993 at Angel Studio, London, by Kirsten Cowie. Longest Night recorded on the longest night of 1976 at Riverside Studios, London, by Adam Skeaping.