Pleased to see Kawaguchi's blistering solo set surface from the archives. The bleak, lonesome root of enka runs through maxed out psychedelic guitar in surely one of the loudest sets ever played at the venue. Surprisingly delicate in parts, but it's obvious his work with Haino has had an ear splitting effect. “Kawaguchi Masami's machine gun guitar, which stutters in a polyglot tongue drawing equally from Rory Gallagher, Jerry Garcia and Lou Reed.” – The Wire "One of the greats of modern Japanese psychedelic rock, Masami Kawaguchi has been an influential figure in the Japanese underground scene for two decades. Known for bands such Miminokoto, LSD-March, Broomdusters, Los Doroncos and more recently with his New Rock Syndicate. Heʼs also a regular Keiji Haino collaborator in Aihiyo and more recently in Hardy Soul. Masami's voice is the true updating of the enka tradition: not the rehash or nostalgia, just the bleak lonesome heart which runs through enka core." --- Masami Kawaguchi / vocals, guitar --- Recorded live at Cafe OTO on Tuesday 13th March 2018 by Shaun Crook. Mixed and mastered by James Dunn. Artwork by Oli Barrett.

Prior to Body/Head’s Matador release ‘Coming Apart’, Bill Nace quietly put out a limited 12” of the duo’s material on his own label, Open Mouth. Largely instrumental, with lattices of interwoven sustained guitar, “Where Did You Go?” is as much of a ‘song’ as the record holds, with Gordon ditching lyrics in favour of channelling improvising vocalists like Alice Coltrane. Long sold out in print, it’s a pleasure to share this one as a digital release. --- Bill Nace / electric guitar  Kim Gordon / electric guitar, vocals --- Tracklisting: 1. Turn Me On - 4.44 2. Be There Soon - 5.24 3. Take It Down - 0.524. Where Did You Go? - 8.22 --- Recorded at Brief Crossing Studio. Mastered by Mark Miller. 

Oxley's experimental electronics album. Anyone who has heard Pat Thomas do Black Top will hear Pat in this - high end keys, spoken word samples, worked with Matt Wand on drum machine and percussion, rather than Orphy Robinson.  In fact, Derek and Tony sit out and let them record "Duo MP" - a sparse, alien affair with fantastic tape loops. The following "TD Duo" is Bailey and Bevan all skittering and brittle, just as you'd imagine. Overall it's the quartet that really works, and you can tell how much fun they're having. A natural foreground to Derek's exeriments on Limescale, and again, Pat Thomas's work on Re-rectangle's And (with Steve Noble and Derek Bailey) and later his duo Black Top.  --- Matt Wand / drum machine, electronics, tapesDerek Bailey / electric guitarPat Thomas / electronics, keyboardTony Oxley / percussion --- Recorded on 8th April 1992 at WDR, Cologne, by Werner Srasser & Peter Eichenseher. Edited by Ulrich Kurth. Design by Karen Brookman. Painting ‘The Singer’ by Tony Oxley. Photography by Max Lautenschlager. Post Production by John Haddon. 

"Oxley and Bailey first played together in 1963. Although they come from the same city and share the same kind of background their meeting was, in a way, coincidental. Bailey - 10 years older than Oxley - after some years working away from their hometown, returned for what was initially intended to be a brief family visit. The musical situation he found there persuaded him to stay. Oxley and Bailey then worked together, continuously and intensively, for the next three years and developed, with Gavin Bryars who was then a bass player, their own particular approach to free improvisation. Since 1966, their working relationship, although intermittent, has continued in a multitude of different playing situations. Initially, during the late 60's and early 70's, much of it was in the context of Tony Oxley's small groups - quartet, quintet and sextet. From the late 70's on, it would sometimes be within Derek Bailey's improvisor's ensemble, Company. Throughout, and increasingly in the 1990's, they have played in duo. These recordings, a London studio recording made in 1977, and a concert recorded in New York 1995, are testament to the remarkable richness and sustained variety of their musical relationship." - Simon Kelly --- Derek Bailey / electric & acoustic guitars Tony Oxley / acoustic & electric percussion, violin --- Tracks 1-4: Recorded in Soho, London in February 1977 by Kevin Spencer. Tracks 5-10: Recorded at the Knitting Factory, NYC in September 1995 by James Mclean. PPhotographs of Derek Bailey &  Tony Oxley in concert (France, May, 1997) by Franz-Heinrich Busch. Post Production & design by Karen Brookman.

Diane Cluck was one of the earliest people to play at Cafe OTO, first performing in in June 2008, just a few months after we first opened. We’ve been lucky enough to have her return to OTO half a dozen times since.  This recording is taken from her sold out April 2014 residency where she performed over two nights with cellist Isabel Castellvi. Hang player Manu Delago also guests on four of the songs. --- Diane Cluck / voice, guitar, squeezeboxIsabel Castellvi / cello, voice, autoharpManu Delago / hang (7, 8, 17, 18) --- Recorded by James Dunn at Cafe OTO on Friday 11 April 2014. Mixed by James Dunn. Mastered by Rupert Clervaux at Grays Inn Road, London. Photograph by Dawid Laskowski.

Recorded live at Cafe OTO in March 2009 during Otomo Yoshihide's first residency here. This was one of only a handful of solo piano performances Otomo has given where he uses the instrument as a control matrix for harmonically rich feedback tones and devastating clusters of complex noise. Vinyl sold out long ago, so pleased to share this as a download finally! "For Otomo, the piano is a big box of potential sound. But since he’s an obsessive sort, he really digs into certain of its corners, and dig he does; when this record doesn’t sound like a gonzo feedback extravaganza, it sounds like he’s cutting through the side of the instrument with a hand-held saw. Whatever the means he used to make the piano sound like that, he’s laid utter waste to the instrument’s conventional sonic associations. There are plenty of people out there making pianos sound like something other than pianos, but I can’t think of anyone else doing it with so much punk spirit and so little reference to any familiar piano vocabulary." - Bill Meyer, Still Single --- Otomo Yoshihide / piano  --- Recorded at Cafe OTO by Shane Brown. Mixed by John Chantler. Mastered by LUPO at Calyx Mastering. 

Pleased to see Kawaguchi's blistering solo set surface from the archives. The bleak, lonesome root of enka runs through maxed out psychedelic guitar in surely one of the loudest sets ever played at the venue. Surprisingly delicate in parts, but it's obvious his work with Haino has had an ear splitting effect. “Kawaguchi Masami's machine gun guitar, which stutters in a polyglot tongue drawing equally from Rory Gallagher, Jerry Garcia and Lou Reed.” – The Wire "One of the greats of modern Japanese psychedelic rock, Masami Kawaguchi has been an influential figure in the Japanese underground scene for two decades. Known for bands such Miminokoto, LSD-March, Broomdusters, Los Doroncos and more recently with his New Rock Syndicate. Heʼs also a regular Keiji Haino collaborator in Aihiyo and more recently in Hardy Soul. Masami's voice is the true updating of the enka tradition: not the rehash or nostalgia, just the bleak lonesome heart which runs through enka core." --- Masami Kawaguchi / vocals, guitar --- Recorded live at Cafe OTO on Tuesday 13th March 2018 by Shaun Crook. Mixed and mastered by James Dunn. Artwork by Oli Barrett.

Prior to Body/Head’s Matador release ‘Coming Apart’, Bill Nace quietly put out a limited 12” of the duo’s material on his own label, Open Mouth. Largely instrumental, with lattices of interwoven sustained guitar, “Where Did You Go?” is as much of a ‘song’ as the record holds, with Gordon ditching lyrics in favour of channelling improvising vocalists like Alice Coltrane. Long sold out in print, it’s a pleasure to share this one as a digital release. --- Bill Nace / electric guitar  Kim Gordon / electric guitar, vocals --- Tracklisting: 1. Turn Me On - 4.44 2. Be There Soon - 5.24 3. Take It Down - 0.524. Where Did You Go? - 8.22 --- Recorded at Brief Crossing Studio. Mastered by Mark Miller. 

Oxley's experimental electronics album. Anyone who has heard Pat Thomas do Black Top will hear Pat in this - high end keys, spoken word samples, worked with Matt Wand on drum machine and percussion, rather than Orphy Robinson.  In fact, Derek and Tony sit out and let them record "Duo MP" - a sparse, alien affair with fantastic tape loops. The following "TD Duo" is Bailey and Bevan all skittering and brittle, just as you'd imagine. Overall it's the quartet that really works, and you can tell how much fun they're having. A natural foreground to Derek's exeriments on Limescale, and again, Pat Thomas's work on Re-rectangle's And (with Steve Noble and Derek Bailey) and later his duo Black Top.  --- Matt Wand / drum machine, electronics, tapesDerek Bailey / electric guitarPat Thomas / electronics, keyboardTony Oxley / percussion --- Recorded on 8th April 1992 at WDR, Cologne, by Werner Srasser & Peter Eichenseher. Edited by Ulrich Kurth. Design by Karen Brookman. Painting ‘The Singer’ by Tony Oxley. Photography by Max Lautenschlager. Post Production by John Haddon. 

"Oxley and Bailey first played together in 1963. Although they come from the same city and share the same kind of background their meeting was, in a way, coincidental. Bailey - 10 years older than Oxley - after some years working away from their hometown, returned for what was initially intended to be a brief family visit. The musical situation he found there persuaded him to stay. Oxley and Bailey then worked together, continuously and intensively, for the next three years and developed, with Gavin Bryars who was then a bass player, their own particular approach to free improvisation. Since 1966, their working relationship, although intermittent, has continued in a multitude of different playing situations. Initially, during the late 60's and early 70's, much of it was in the context of Tony Oxley's small groups - quartet, quintet and sextet. From the late 70's on, it would sometimes be within Derek Bailey's improvisor's ensemble, Company. Throughout, and increasingly in the 1990's, they have played in duo. These recordings, a London studio recording made in 1977, and a concert recorded in New York 1995, are testament to the remarkable richness and sustained variety of their musical relationship." - Simon Kelly --- Derek Bailey / electric & acoustic guitars Tony Oxley / acoustic & electric percussion, violin --- Tracks 1-4: Recorded in Soho, London in February 1977 by Kevin Spencer. Tracks 5-10: Recorded at the Knitting Factory, NYC in September 1995 by James Mclean. PPhotographs of Derek Bailey &  Tony Oxley in concert (France, May, 1997) by Franz-Heinrich Busch. Post Production & design by Karen Brookman.

Diane Cluck was one of the earliest people to play at Cafe OTO, first performing in in June 2008, just a few months after we first opened. We’ve been lucky enough to have her return to OTO half a dozen times since.  This recording is taken from her sold out April 2014 residency where she performed over two nights with cellist Isabel Castellvi. Hang player Manu Delago also guests on four of the songs. --- Diane Cluck / voice, guitar, squeezeboxIsabel Castellvi / cello, voice, autoharpManu Delago / hang (7, 8, 17, 18) --- Recorded by James Dunn at Cafe OTO on Friday 11 April 2014. Mixed by James Dunn. Mastered by Rupert Clervaux at Grays Inn Road, London. Photograph by Dawid Laskowski.

Recorded live at Cafe OTO in March 2009 during Otomo Yoshihide's first residency here. This was one of only a handful of solo piano performances Otomo has given where he uses the instrument as a control matrix for harmonically rich feedback tones and devastating clusters of complex noise. Vinyl sold out long ago, so pleased to share this as a download finally! "For Otomo, the piano is a big box of potential sound. But since he’s an obsessive sort, he really digs into certain of its corners, and dig he does; when this record doesn’t sound like a gonzo feedback extravaganza, it sounds like he’s cutting through the side of the instrument with a hand-held saw. Whatever the means he used to make the piano sound like that, he’s laid utter waste to the instrument’s conventional sonic associations. There are plenty of people out there making pianos sound like something other than pianos, but I can’t think of anyone else doing it with so much punk spirit and so little reference to any familiar piano vocabulary." - Bill Meyer, Still Single --- Otomo Yoshihide / piano  --- Recorded at Cafe OTO by Shane Brown. Mixed by John Chantler. Mastered by LUPO at Calyx Mastering. 

Recorded live at Cafe OTO in March 2009 during Otomo Yoshihide's first residency here. This was one of only a handful of solo piano performances Otomo has given where he uses the instrument as a control matrix for harmonically rich feedback tones and devastating clusters of complex noise. Vinyl sold out long ago, so pleased to share this as a download finally! "For Otomo, the piano is a big box of potential sound. But since he’s an obsessive sort, he really digs into certain of its corners, and dig he does; when this record doesn’t sound like a gonzo feedback extravaganza, it sounds like he’s cutting through the side of the instrument with a hand-held saw. Whatever the means he used to make the piano sound like that, he’s laid utter waste to the instrument’s conventional sonic associations. There are plenty of people out there making pianos sound like something other than pianos, but I can’t think of anyone else doing it with so much punk spirit and so little reference to any familiar piano vocabulary." - Bill Meyer, Still Single --- Otomo Yoshihide / piano  --- Recorded at Cafe OTO by Shane Brown. Mixed by John Chantler. Mastered by LUPO at Calyx Mastering. 

Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.  Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes   John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN. 

Pre-orders taken now. Release Date: 21.5.2018 Special discounted set of both OTOROKU Incus reissues. Two milestones of Briitish free improvisation remastred with new liner notes.  Derek Bailey / Evan Parker / Han Bennink- Topography of the Lungs LP  2018 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas [LUPO] Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exit, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970). The Topography of The Lungs comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve. DEREK BAILEY / EVAN PARKER - THE LONDON CONCERT LP Following on from the re-issue of Topography of the Lungs, OTOROKU is proud to follow up with another legendary free-improvised document, this one from the duo of Derek Bailey and Evan Parker, originally released on the INCUS label in 1975 "The London Concert is one of those rare recordings that capture musicians at a special moment of confluence, a moment when procedures are proving fruitful and before practice has hardened into dogma, when different visions are not yet turned into position papers (insert your list here). There are clearly moments in the London Concert when things that have not precisely happened before emerge from one partner, are caught and supported by the other in a way that, too, is still new 40 some years on, and which prods the initiator to hold and develop a particular line with the clear support of the other."  - Stuart Broomer The London Concert comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve and newly commissioned liner notes by Stuart Broomer.

Pre-orders taken now. Release Date: 21.5.2018 Following on from the re-issue of Topography of the Lungs, OTOROKUis proud to follow up with another legendary free-improvised document, this one from the duo of Derek Bailey and Evan Parker, originally released on the INCUS label in 1975 "The London Concert is one of those rare recordings that capture musicians at a special moment of confluence, a moment when procedures are proving fruitful and before practice has hardened into dogma, when different visions are not yet turned into position papers (insert your list here). There are clearly moments in the London Concert when things that have not precisely happened before emerge from one partner, are caught and supported by the other in a way that, too, is still new 40 some years on, and which prods the initiator to hold and develop a particular line with the clear support of the other."  - Stuart Broomer The London Concert comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve and newly commissioned liner notes by Stuart Broomer

Pre-orders taken now. Release Date: 21.5.2018 2018 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas [LUPO] Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exit, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970) The Topography of The Lungs comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve.

2016 Re-Press. Pre-orders taken now. Shipping 4.7.16. Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together. Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin. REVIEWS "On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times  "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic "These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music "Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE

Recorded live at Cafe OTO in March 2009 during Otomo Yoshihide's first residency here. This was one of only a handful of solo piano performances Otomo has given where he uses the instrument as a control matrix for harmonically rich feedback tones and devastating clusters of complex noise. Vinyl sold out long ago, so pleased to share this as a download finally! "For Otomo, the piano is a big box of potential sound. But since he’s an obsessive sort, he really digs into certain of its corners, and dig he does; when this record doesn’t sound like a gonzo feedback extravaganza, it sounds like he’s cutting through the side of the instrument with a hand-held saw. Whatever the means he used to make the piano sound like that, he’s laid utter waste to the instrument’s conventional sonic associations. There are plenty of people out there making pianos sound like something other than pianos, but I can’t think of anyone else doing it with so much punk spirit and so little reference to any familiar piano vocabulary." - Bill Meyer, Still Single --- Otomo Yoshihide / piano  --- Recorded at Cafe OTO by Shane Brown. Mixed by John Chantler. Mastered by LUPO at Calyx Mastering. 

Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.  Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes   John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN. 

The recordings of Gaelic Psalm singing presented in Salm: Gaelic Psalms from the Hebrides of Scotland are among the best ever captured. They document a living tradition, a form of religious singing from the Hebrides in Scotland, which is still practiced in Lewis. In Gaelic psalm singing, a precentor leads, and from here voices follow, moving together in great swells like the murmurations of birds. These recordings of Gaelic Psalm singing were originally made over two evenings in the Back Free Church on the Isle of Lewis in October 2003. The singing was spontaneous and totally unrehearsed. The recordings are now presented on vinyl for the first time by Arc Light Editions. This is music that is transcendent and together, about the individual and the earth, movingly spiritual with or without belief. The sound comes in great waves, swells of sound that break and roll around the space. The texture relies on the individuals: this is group singing where the individual is preserved, elevated, but together. A precentor leads off with the first lines of a psalm, and the congregation follows, some faster than others, and each one remains discernible. In his notes to the original release, Calum Martin writes that the form, called precenting (where one person puts out the line and the congregation responds) while not exclusive to Gaelic free church traditions, is in Lewis particularly influenced by the pibroch style of free ornamentation. It's through this, he says, that the distinctive emotional swell of sound emerges. The sound relies on the congregation's individual responses to the melody and the individual precentor's leading. The musical term is free heterophony. Arc Light Editions has worked directly with DR Macdonald at the Bethesda Hospice and Calum Martin on this release. A portion of the profits from this release go directly to Bethesda Hospice, in accordance with the original release. Comes in a kraftliner sleeve printed in white litho; Artwork by Jennifer Lucy Allan.

Limited edition of 250 copies. Screenprinted Sleeves (most of ours are in Gold ink) with an insert and photo of Marshall and Kash. Music is wonderfully relaxed, super-intimate, beatific bliss. Very highly recommended!! "The lovingly crafted fragment of Arkestra related artistry, in an edition of 250 copies, is a semi-secret treaure that deserves to be universalley enjoyed" Edwin Pouncy, The WIRE Nice story about the record's genesis here. Some footage of the recording session below:

Pre-orders taken now. Release Date: 21.5.2018 Special discounted set of both OTOROKU Incus reissues. Two milestones of Briitish free improvisation remastred with new liner notes.  Derek Bailey / Evan Parker / Han Bennink- Topography of the Lungs LP  2018 repress of the OTOROKU re-issue of the legendary English free improvisation LP 'The Topography of The Lungs' by Evan Parker, Derek Bailey and Han Bennink. This was Evan Parker’s first recording as a "leader" and was the first release on Incus, the label Parker founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas [LUPO] Lubich at Calyx in Berlin and features the original liner notes from Parker along with updated notes penned in 2014. "To talk further of the music we play is difficult. It’s criteria for success exit, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker’s original liner notes (1970). The Topography of The Lungs comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve. DEREK BAILEY / EVAN PARKER - THE LONDON CONCERT LP Following on from the re-issue of Topography of the Lungs, OTOROKU is proud to follow up with another legendary free-improvised document, this one from the duo of Derek Bailey and Evan Parker, originally released on the INCUS label in 1975 "The London Concert is one of those rare recordings that capture musicians at a special moment of confluence, a moment when procedures are proving fruitful and before practice has hardened into dogma, when different visions are not yet turned into position papers (insert your list here). There are clearly moments in the London Concert when things that have not precisely happened before emerge from one partner, are caught and supported by the other in a way that, too, is still new 40 some years on, and which prods the initiator to hold and develop a particular line with the clear support of the other."  - Stuart Broomer The London Concert comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve and newly commissioned liner notes by Stuart Broomer.

Pre-orders taken now. Release Date: 21.5.2018 Following on from the re-issue of Topography of the Lungs, OTOROKUis proud to follow up with another legendary free-improvised document, this one from the duo of Derek Bailey and Evan Parker, originally released on the INCUS label in 1975 "The London Concert is one of those rare recordings that capture musicians at a special moment of confluence, a moment when procedures are proving fruitful and before practice has hardened into dogma, when different visions are not yet turned into position papers (insert your list here). There are clearly moments in the London Concert when things that have not precisely happened before emerge from one partner, are caught and supported by the other in a way that, too, is still new 40 some years on, and which prods the initiator to hold and develop a particular line with the clear support of the other."  - Stuart Broomer The London Concert comes in a limited edition of 500 copies printed on reverse board with printed inner sleeve and newly commissioned liner notes by Stuart Broomer

In Tom Mudd's work, the conceptual and technological processes are paramount. For this particular release, both are embedded in the Gutter Synthesis algorithm and software which was created for and used in all six tracks. An inevitable consequence of this way of working is that masses of material can be created, which then requires both selection and editing. Once these decisions havetaken place a strange, apparently contradictory, perceptual shift takes place towards the material. The listener is confronted with complex, intense and emotionally charged musical events. This was not Tom Mudd’s intention as he’s not overtly concerned with personal expression. A deep interest in algorithmic computer processes is his guiding principal. Yet from this apparently cold approach to making music comes vivid, dramatic, sound art, packed with rich emotional layers that never operate at the level of the trite and illustrative. There is also a strong formal and structural quality to his pieces that allows, in the best possible sense, the listener to ‘immerse’ themselves in this challenging sound world. John Wall, London, December 2017Gutter Synthesis software Gutter synthesis is a purely digital synthesis process that creates very physical, acoustic-like sounds using a network of resonant Duffing oscillators. The software was created specifically for this project, and is included with the release as an equal part of the creative output. The downloadable version uses an interrelatedset of eight Duffing oscillators and associated filter banks.

Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts – at The Empty Gallery in Hong Kong and at Cafe OTO in London. Otoroku is proud to present the audio documentation of their first UK meeting. Recorded live at Cafe OTO in July 2016 the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.  Haino’s blues drenched guitar entices skittering notes from Butcher’s sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Light Never Bright Enough comes in a limited edition of 500 LPs and 500 CDs with matt sleeves and japanese removable obi-strip. --- Keiji Haino / vocal, guitar, flutes   John Butcher / saxophones and feedback --- Recorded live at Cafe OTO on the 9th July 2016 by Luca Consonni. Mixed by John Butcher. Mastered by Giuseppe Ielasi. Photography and design by ORGAN. 

PRAH Recordings is delighted to present an extraordinary new release from the violinist Aisha Orazbayeva, following on from recent, critically acclaimed collaborations with artist Tim Etchells (Seeping Through) and pianist Mark Knoop (for the Another Timbre label). Best known for her performances of music by postwar modernists, here Orazbayeva returns to the classical violin repertoire and boldly re-envisages Georg Philipp Telemann’s popular solo fantasias. Through a set of deeply personal interpretations, Orazbayeva brings her trademark palette of raw, delicate and extreme textures to Telemann’s baroque polyphony.  The recordings comprise six of the twelve fantasias, and were first used in a 2015 production for Pina Bausch’s Tanztheater Wuppertal dance company, "In Terms of Time" by Tim Etchells. Telemann was a key figure in the transition between the late Baroque and early Classical periods in western music. Like his other solo works, the violin fantasias (published in 1735) are often contrapuntal, demanding a weaving together of compound melodic forms by a single performer. While seminal works like this were at the heart of Orazbayeva’s classical training, she has since tended to work instead with contemporary composers and on experimental and improvised projects. With their deep explorations of extended technique, these activities inform the whole spectrum of her work - including her approach to older repertoire: “Some of the techniques used on the record are often used in works by composers including Luigi Nono, Salvatore Sciarrino and Helmut Lachenmann. What inspires me the most about pieces like Lachenmann’s Toccatina, Sciarrino’s 6 Caprices and Nono’s“La Lontananza Nostalgica Utopica Futura”is the way they radically change our perception of the violin which challenges musical expectations and conventions. This change in our perception of the violin is something that has become central to my everyday practice offering me more freedom to interpret new and old repertoire as well as my own music-making.“

2016 Re-Press. Pre-orders taken now. Shipping 4.7.16. Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together. Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin. REVIEWS "On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times  "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic "These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music "Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE

Ten Years Alive On The Infinite Plain is the quintessential work of artist/filmmaker/composer Tony Conrad. Comprised of both film installation and minimalist score for amplified strings, Ten Years leaps across genre and medium to connect his revolutionary structural filmmaking with the experiments in long-duration sound that Conrad had begun in the 1960s as part of the Theatre of Eternal Music."Ten Years began with image before sound," writes Andrew Lampert, "a row of quadruple projections arranged side-by-side, all the shuffling stripes cascading into each other. Over the next two hours the music throbbed and the projectors incrementally shifted inwards, their beams gradually uniting to form one pulsating, overlapping picture."For its 1972 premiere at New York's The Kitchen, Ten Years included Conrad on violin as well as Rhys Chatham and Laurie Spiegel performing on instruments of the composer's own making. Chatham played the Long String Drone – a 6-foot long strip of wood with bass strings, electric pickup, tuning keys, tape, rubber band and metal hardware – while Spiegel carried out an arrhythmic bass pulse throughout.Superior Viaduct is honored to present this previously unreleased recording of Ten Years Alive On The Infinite Plain's breathtaking premier performance. As Chatham recounts in the liner notes, "When I first listened to this recording after not hearing it for over 40 years, it transported me back to the early Kitchen and the heyday of early minimalism, played outside the Dream Syndicate."Track Listing:Ten Years Alive On The Infinite Plain (1:28:18)

"Japanese bluesman Kan Mikami is nothing less than an unalloyed force of nature. A skin-shredding blast of frozen wind from the poor, rural north of Japan that he calls home. In the late 1960s, like thousands of other Japanese young people Mikami made his way to Tokyo in search of a life different from that of his parents. Since then he has forcefully carved out a space for himself in the culture as a modernist poet, a raging folk singer, an author, a actor, an engaging TV personality, and one of Japan’s most uniquely powerful performers. For most of Mikami’s career as a singer, he has performed solo. Just him and his electric guitar against the world, creating jagged A-minor vamps to drive along the surreal wisdom of his lyrics. But he’s equally at home in more demanding improvisational contexts such as those provided here by John Edwards on bass and Alex Neilson on drums. Their dense propulsive textures seem to spur on Mikami, his voice arcing powerfully into fragmented spaces, his guitar darting, colliding, shedding jagged and angular splinters of sound. A pulsing, raging maelstrom of serrated-edged energy. Gruff, rough, honest and very, very real." - Alan Cummings --- Kan Mikami / vocals, guitar John Edwards / bass Alex Neilson / percussion --- Recorded live at Cafe OTO on 3rd April 2013 by James Dunn. Mixed by John Chantler. Mastered by Giuseppe Ielasi

Reception is the first comprehensive examination of how Robert Rauschenberg and John Cage embraced and employed radio in some of their most sophisticated and experimental works between 1942 and 1991. This includes Rauschenberg’s artworks Broadcast (1959) and Oracle (1962-1965), and Cage’s compositions, Imaginary Landscape No. 4 (1951), Water Walk(1959), and Variations VII (1966). Author, Alana Pagnutti’s discussion considers how (influenced by renowned Canadian media philosopher, Marshall McLuhan), they both used the medium of radio to foster and provoke new qualities of experience and elicit the participation of their audiences. The foreword is written by Angus Carlyle, co-director of Creative Research into Sound Arts Practice (CRiSAP) at London College of Communication (UAL). As the UK prepares to switch off FM radio in favour of DAB (digital radio) between 2017-2022 (a transition happening globally), Pagnutti’s thoughtful and engaging book serves as a timely prompt to re-examine these radio-works before advances in technology change them forever. ‘Pagnutti makes us into fellow witnesses. After finishing the book for the first time I looked at the index, it was like reading a glittering recipe for some magical potion, the very thing I had only just inhaled.’  – Richard Wentworth To celebrate the launch of this book the first ever UK performance of Cage’s, Water Walk (1959) was hosted by Cafe Oto, London, in July 2017.

"In May 1977 Derek Bailey gave me a press ticket for Company Week - a series of concerts of improvised music in London. I made some notes at the time, but there seemed to be nowhere suitable to publish the extended commentary I eventually produced. So I wrote it into a dummy book and it to Derek. Most of it is reproduced here." Peter Riley 1994  Original copies of this rare and invaluable document. 

A Secret History of the Esoteric UndergroundRevised & expanded edition464 pages, hardback/paperback, 216mm x 156mmFully illustrated in colour with 240 images. * Full colour throughout* Two new chapters and a significant number of new images* Cover by Mark Titchner  Strange Attractor Press are proud to announce the release of a new revised and expanded edition of David Keenan’s seminal secret history of the UK’s esoteric underground, England’s Hidden Reverse. Based around hundreds of hours of interviews with members of Coil, Nurse With Wound and Current 93 as well as contemporaries, friends and associates, EHR illuminates a shadowy English underground scene whose work accented peculiarities of Englishness through the links and affinities they forged with earlier generations of the island’s marginals and outsiders, such as playwright Joe Orton, writers like death decadent Eric, Count Stenbock, ecstatic mystic novelist Arthur Machen and occult figures like Austin Osman Spare and Aleister Crowley.While functioning as an obsessively researched biography of the three interrelated groups EHRalso works to track the trajectory of their influences, explicating a reverse current that runs counter to the mainstream. Written over a period of six years and first published in 2003, the book flits between John Balance and Peter ‘Sleazy’ Christopherson of Coil’s original Threshold House in Chiswick and the old boys’ school they later moved to in Weston-super-Mare to Steven Stapleton of Nurse With Wound’s goat farm and visionary art environment in Cooloorta in Southern Ireland to the roof of a house in Muswell Hill where David Tibet of Current 93 receives a vision of Noddy crucified in the sky. From there it moves further back and faster; to eye witness accounts of early Whitehouse performances; to the formation of Throbbing Gristle and the birth of industrial music; to the last moments of the visionary painter Charles Sims; to Angus MacLise, ex-of the Velvet Underground, casting his poem Year as a work of elementary magic; to Shirley Collins, AE Housman and Denton Welch’s visions of England in eternity.Long out of print and with the first edition demanding serious money from collectors, this much-anticipated expanded edition comes completely redesigned, with many new and previously unseen photographs and ephemera. It also comes with two new chapters, a final summing up of how the Reverse has changed gear since the book was first published and a new Chapter Zero entitled Crime Calls For Night where Keenan presents a daring argument that traces the transgressive urge that animates industrial culture all the way from Palaeolithic cave art through rock n roll and punk rock and up to contemporary noise music.About the AuthorDavid Keenan is an author and critic based in Glasgow Scotland. He has been a regular contributor to The Wire magazine for the past 20 years. From 2005 to 2015 he co-ran Volcanic Tongue, an online retailer and magazine dedicated to the enthused presentation of contemporary underground music. His debut novel The Comfort Of Women will be published by Strange Attractor in 2016.

Stereo Sanctity is a large and personal selection of Thurston Moore's poems and lyrics, both with Sonic Youth and as a solo artist, written between 1981 and 2014 and appearing in published form in 2015 for the first time. Signed and numbered by Thurston MoorePublished by Ecstatic Peace LibrarySoftcover, 304 pages152 x 229 mm

From scouring flea markets and eBay to maxing out their credit cards, record collectors will do just about anything to score a long-sought-after album. In Vinyl Freak, music writer, curator, and collector John Corbett burrows deep inside the record fiend’s mind, documenting and reflecting on his decades-long love affair with vinyl. Discussing more than 200 rare and out-of-print LPs, Vinyl Freak is composed in part of Corbett's long-running DownBeat magazine column of the same name, which was devoted to records that had not appeared on CD. In other essays where he combines memoir and criticism, Corbett considers the current vinyl boom, explains why vinyl is his preferred medium, profiles collector subcultures, and recounts his adventures assembling the Alton Abraham Sun Ra Archive, an event so all-consuming that he claims it cured his record-collecting addiction. Perfect for vinyl newbies and veteran crate diggers alike, Vinyl Freak plumbs the motivations that drive Corbett and collectors everywhere. About the Author: John Corbett is a music critic, record producer, and curator. He is the author of Microgroove: Forays into Other Music and Extended Play: Sounding Off from John Cage to Dr. Funkenstein, both also published by Duke University Press, and A Listener’s Guide to Free Improvisation. His writing has appeared in DownBeat, Bomb, Nka, and numerous other publications. He is the co-owner of Corbett vs. Dempsey, an art gallery in Chicago.

* This book is a monster. It's huge. Hence price and postage. So you know...  free improvisation: what goes on? how does it work?                                                                      how can you write about it? Musicswas published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation. Steve Beresford, David Toop,  Annabel Nicholson, Evan Parker, David Cunningham, Lindsay Cooper, Eddie Prevost, John Russell, Derek Bailey, Hugh Davies, Peter Riley and many, many others contributed to the writing, graphics and photography. Musicswas a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition & audio culture. It came out six times a year and ran for twenty-three hand-assembled issues. The journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point.  Overlapping with thelondon musicians’ collective (lmc), the publication first launched in Spring of 1975, with the tagline:an impromental experivisation arts magazineand a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the academic ministrations of John Cage, Cornelius Cardew and K. Stockhausen and indigenous and non-European music.Musicswas significant in the discussion of traditional Asian instruments as paths of equal value for the performance of musics. Produced by what was effectively an anarchist collective with few publishing skills and no support, the magazine’s roughness, marginality and scarcity has kept it from those who are active, even prominent in the field.  Musicsis an entree to the arcane world of the 1970s London improviser’s scene and presents scores, dialogues, debates, positioning, arguments, accolades, critiques, absurdist/dada notions, and a bit of pranksterism - all with collective enthusiasm. Founding Editor David Toop: “with rose-tinted affection I recall mass paste-up sessions with spray mount… a page of reviews of electronic music by women, written by Lily Greenham in 1978… in the same issue are five beautifully written and illustrated pages about listening in Greece. An Aural Sketchbook by Dave Veres was just one example of pieces about listening practice and field recording; others include Found Sounds by Michael Leggett, Sounds in Kyōdo by Kazuko Hohki, New York Sounds by Fred Frith and Sounds Heard at La Sainte-Baume by Hugh Davies. There are also invaluable accounts of groups such as The People Band, Feminist Improvising Group, CCMC, Los Angeles Free Music Society, MEV and the Dutch musicians associated with Instant Composers Pool. Interspersed among all this loamy archival material are a few essays of grinding tedium, snarky barbs of wit, barely decipherable photographs…” Musics Introduction: Steve Beresford / Foreword: David Toop isbn: 978-0-9972850-5-5 / Publisher:ecstatic peace library Pub date: 1 September 2016 Flexi-bound cover, Swiss-bound, 800 pages

On occasion of the very special residency by Anthony Braxton we have a screenprinted poster available, designed by Oliver Barrett, printed on thick, quality paper in a limiited edition of 100 numbered copies.  From original listing:  Ever since Cafe OTO first opened its doors in 2008, Anthony Braxton has been up at the top of the list of people we wanted to host here. One of the fundamental figures in the music of the late 20th century, his work as a saxophonist and composer has set trailblazing precedents by tapping into and expanding new conceptual and instrumental possibilities. To this day, Braxton remains a towering force in new music and we're over the moon to welcome him to OTO for a very rare three night residency with his ZIM Sextet as we celebrate our 10th year. Anthony Braxton / saxophones, compositionsTaylor Ho Bynum / cornet, brassAdam Matlock / accordionDan Peck / tubaJacqueline Kerrod & Miriam Overlach / harps

On occasion of the very special 2 shows by this insane trio we have a limiited screenprinted poster - DESIGNED BY BRÖTZMANN and printed on thick, quality paper in a limiited edition of 100 numbered copies.  From original entry:  Delighted to welcome back the dynamic, corruscating pairing of Peter Brötzmann on reeds and Heather Leigh on pedal steel – this time expanded to a trio with the addition of the one and only Keiji Haino! The duo of Brötzmann and Leigh have established a fierce rapport in the past couple of years – weaving a powerfully frenetic interplay reminiscient of some of the all-out blast of Brötzmann's Die Like A Dog quartet. Add Haino's incendiary propensity for masterfully fluid improvisation and you have the makings of a very special evening indeed.

Screenprinted on thick, quality paper. Design by Maja Larsson. Limited poster to celebrate the two day residency by the legendary and uncompromising Patty Waters.  From original listing:  Patty Waters must be acknowledged as a vocalist who has tested the limits of the human voice’s capabilities. Since her brief recording career in the mid-6O’s – after Albert Ayler brought her to the attention of ESP Disk – and despite performing very rarely, her influence has spread far beyond the realms of avant-garde and jazz. She has received much critical acclaim for her two ESP Disk recordings - Patty Waters Sings and Patty Waters College Tour. Waters' interpretation of Black is the Color of my True Love's Hair still remains a bold testament to the power of human expression. With a repertoire ranging from hushed piano solo ballads – in which her voice can fade to a whisper, barely audible – to performances using her voice as an instrument, conveying an incredible range of emotions, Waters is a singular artist and we're delighted to host her for a very rare two-night residency alongside Burton Greene (piano) and Tjitze Vogel (bass). “One of the best fucking singers alive.” – Rolling Stone “Praised by people like Miles Davis. her range moves easily from intimacy to introspection to rage. and her evocation of “Black is the Color of My True Love's Hair” has no parallel In musical history.” – San Francisco Sentinel “Hear her voice with the ears of wolves. A sound contour never before heard in American music and poetry. It transcends virtuosi vocalizing. It is presented as Shamanic ritual. The most perfect realization of Jazz song as siren song. Compels a revisioned understanding of the lure of the sweet woman's voice as a passage to paradise.” – Village Voice

Special poster bundle from our archive – three randomly selected posters/prints for just £10 (£8 members)! Pictured is just a small selection from our poster archive, stretching right back to some of the first shows at OTO in 2008. Screenprints, risographs and high quality prints for shows from the likes of Sun Ra Arkestra, Jandek, Konono No.1, Matthew Shipp, The Necks, Okkyung Lee, Tenniscoats, Awesome Tapes From Africa, John Butcher, Yoko Ono, Thurston Moore and many, many more. Posters will be randomly selected and we'll try to include a good range of prints in each package.

Special poster bundle from our archive – five randomly selected posters/prints for just £15 (£12 members)! Pictured is just a small selection from our poster archive, stretching right back to some of the first shows at OTO in 2008. Screenprints, risographs and high quality prints for shows from the likes of Sun Ra Arkestra, Jandek, Konono No.1, Matthew Shipp, The Necks, Okkyung Lee, Tenniscoats, Awesome Tapes From Africa, John Butcher, Yoko Ono, Thurston Moore and many, many more. Posters will be randomly selected and we'll try to include a good range of prints in each package.

Screenprinted on thick, quality paper. Design by Maja Larsson on the occasion of the special one night event featuring Loren Connors at Cafe Oto.  From original listing:  Thrilled to welcome back one of the most singular guitarists of our time for a very special solo performance - his first European show since 2011. Loren Connors' singular adaption of the blues is a distinct personal vision combining the Delta bottleneck sound and the ancestral blues voice (appearing as distortion, baying hounds or multi-tracked guitar), with hauntingly unexpected sounds. Outside of his three decades of solo work, Connors has also collaborated with the likes of Suzanne Langille, Jim O'Rourke, Darin Gray, Alan Licht, Christina Carter, Keiji Haino, San Agustin, Jandek and many others, as well as leading the group Haunted House. Loren's set will be preceeded by a screening of ‘Gestures’ – a short film on Loren Connors by Vincent Guilbert.