This recording gathers all of the music from the final night of Otomo and Sachiko's first residency in 2009 which saw the pair joined by the long running trio of Evan Parker, John Edwards and Tony Marsh and special guest John Butcher. Butcher played duos with both Otomo and Sachiko and joined the quintet for a rousing sextet: stunning twin saxophone interplay, the unparalleled open-ness of the Marsh/Edwards rhythm pairing, Sachiko's deft high frequency interventions and Otomo's guitar at the centre - moving between abrasive textural invention and suggestive single note runs of ever-shifting melody. REVIEWS "As for indicating a place in the curiously sculpted bridges between improvised music and sound art, well, the simple singularity of these daring and committed performances should bear out their significance." Clifford Allen, Tiny Mix Tapes "This Quintet/Sextet album is recorded beautifully and it needed to be to capture all the nuance involved ... These are musicians at the top of their craft." Free Jazz Blog "...fresh and inspired. The recording stands as a finely-honed classic of classically approached free improvisation: the players dance and flow smoothly and effortlessly with and around the sounds of their partners." - Henry Kuntz Point of Departure Review

Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody  Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place. From Matthew Wright’s new liner notes:  The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout –  Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it! This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century. Edition of 1000 copies.

Trumpeter Don Cherry, an Ornette Coleman soulmate and a world musician decades ago, became one of jazz’s many early losses 10 years back. But saxophonist Pharoah Sanders, who joins him on this fizzing 1966 set, has since ascended to cult status, and he is still around to admire . In the 1960s, he knew no melodic fear at all, in which respect he was aptly partnered with Cherry. This is a quartet set, strongly influenced by the melodic approach of Coleman, but with a fierce abstraction of tone quite different from Coleman’s playful lyricism.Moreover, the rhythm team of Ed Blackwell on drums and Henry Grimes on bass provides a scintillating underpinning for the music that is worth listening to all on its own. Sanders’ mix of Coltrane’s yearning long notes, Ayler’s ghostly, fluttering wail, Coleman’s fast, bumpy phrasing and his own manic bagpipe screams certainly separates the faint-hearted from the stayers on the opening Awake Nu. But the conversation between Sanders and Cherry is light, lyrical and engaging on The Thing, and the saxophonist even gets into a stubborn, Sonny Rollins-like repeating Latin vamp on There Is the Bomb. An unflinchingly quirky classic

A live recording by two great bass players at the "Sons d'Hiver" festival on January 9, 1998.  "Though the basses often soar and sing here, the notion of fundamentals, of the deepest pitches, remains at the core of this music, bending our ears to the subtler vibrations, training them in the messages of a profound human history. This concert is a ceremony and seminar, roots and branches, essential human song welling through and out of fundament" - Stuart Broomer  --- Joelle Leandre / bass, voice  William Parker / bass --- Recorded at the festival "Sons d'Hiver", 9 January, 1996, at the Theatre A. Vitez, Ivry sur Seine by Jean-Marc Foussat. Illustration by LS Popova. 

“Two Duos” is pressed from cellist Okkyung Lee’s most recent OTO Residency; the first side a duo with Jérôme Noetinger on Revox B77 and the second with Nadia Ratsimandresy on ondes Martenot. Cut together, the two meetings seem to raise three cellos in the search for expressive voice: the cello, it’s magnetic reproduction, and the dual controls of the machine invented to expand on its musical qualities. On the A side Noetinger’s opening tape hiss establishes a current; an electrical partner who gives Lee room to slide across and stretch out. Progressively the cello is returned, duplicated and manipulated with increased velocity and distortion. Noetinger draws out the full extent of Lee’s extended technique; rewinding strands of Lee's horse hair and transmuting her percussive attacks into shuddering echos, before letting his own concrete interjections spin the duo's sonic tussle into an almost romantic daydream. On side B the ondes (invented by French cellist and wartime radio operator Maurice Eugene Louis Martenot and so loved by Bernard Parmegiani, Varese and Messiaen) seems shaken from classical tradition and those long, drawn out horrorscapes it has come to be associated with. In a duel with Lee, Ratsimandresy grasps the ondes’ extraordinary capacity for dexterity, nuance and speed, hounding Lee’s cello in a bid to drive her instrument out of the past and into the future. Two fantastic pairings and a testament to the freshness with which Lee and her collaborators continue to work with their instruments. --- Okkyung Lee / cello Jérôme Noetinger / revox b77 Nadia Ratsimandresy / ondes martenot --- Recorded live at Cafe OTO on Thursday 28th March & Friday 29th March by Paul Skinner and Shaun Crook. Mixed and mastered by Lasse Marhaug. Designed by Maja Larrson. ROKU027.

Saxophonist, poet and puppeteer, Ted Milton, brought his band Blurt to the 4th Tomorrow Festival with an unusual musical scene. He has recited 5 of his poems before the performance. The full set of 19 tracks, including poetry readings, are included exclusively in the special edition of the digital album. --- Ted Milton / 主唱 vocals, 萨克斯 saxophoneSteve Eagles / 吉他 guitarDavid Aylward / 鼓 drums --- 录音 Recording: 曾君 Zeng Jun / 罗绿野 Luo Lvye母带处理 Mastering: 刘英 Liu Ying制作人 Producer: 涂飞 Tu Fei摄影 Photography: 陈悦湘 Chan / 许益铭 Bug @ Dafa设计 Design : 尹思卜 Midori Yin

One way to spot a rip current in the ocean is to search for a rippled surface surrounded by still water. When many different currents are pulling in different directions, a rippling effect is created on the water's surface. This piece is for 4 unamplified electric guitars. It’s in a 13-limit tuning that I've been exploring in various contexts recently.  Over the the piece's duration, the guitars are tuned up or down at specific points, so that they cross each other, moving from a close cluster to a spread voicing over three octaves. As the frequencies push away or pull towards each other, the stillness is disrupted, sometimes only subtly, other times quite chaotically. At times many shifts happen at once, at other times the movement is against a backdrop of static pitches. -- Julia Reidy - 4 unamplified guitars -- Recorded in 2021 Mastered by Oliver Barrett Album cover photo courtesy of Adam Pultz Melbye

When we asked Mariam Rezaei to submit a Takuroku release late in 2020 she responded by saying “I want to do something, but I want to make sure it's something special”. Almost a year later Mariam decided to team up with vocalist Alya Al-Sultani, presenting a first time duo on turntable and voice, sending lightning fast sonorisations bouncing off the walls of OTO. Mariam and Alya come from different but overlapping disciplines. After growing up as a classically trained pianist, Mariam has built a reputation over time as a prolific turntablist, DJ and improvisor, never shying away from interdisciplinary and experimental projects. Alya meanwhile is a British-Iraqi soprano, but has spent the last few years integrating improvisational techniques, microtonal ideas and Eastern influences in her music. Together their dexterous lungs and nimble fingers birth forms that dance in and out of each other: shifting, soaring, dipping, diving, but never sitting still.Mariam takes Alya’s vocals as content to throw back into the mix, forming multiple layers of chops and edits that ricochet back and forth. Alya’s vocals move between tender refrains, textural flurries and righteous bursts of operatic expression, meeting Mariam digital fx, textural drones and sonic swells in ecstatic symbiosis. Alya’s repeated aphorism “I want you, female,” throughout the start of the set spells it out. This is music about desire and liberation: fiery, sonically rambunctious and forever reaching for new heights. -- Alya Al-Sultani - voice Mariam Rezaei - turntables -- Recorded in Cafe OTO by Shaun Crook on the 30th of June, 2021 Mixed & mastered by Oliver Barrett

For Erika.In memoriam William Thomson, potman, pub pianist who died of TB at 39, the grandfather I never knew. -- Text, 'Lessness' by Samuel BeckettMusic by John Tilbury --John Tilbury: voice and clavichord -- Recorded & mastered by Shaun Crook Cover art by Billy Steiger N.B. The play-back level should be quiet; the text should be comfortably intelligible.

Wild Rani's music emerges from the sonic dirtbin of two different experimental traditions; the laconic and dry no-wave synth and tape work of late 70/80’s UK acts like Cabaret Voltaire, and the gooey dirge of Michigan noiseniks Wolf Eyes. Both approaches infuse her sound world with an eerie aura, filling the space with slime dripped synths, discombobulating drones and flurries of flute and rattle-snake percussion. Becky’s words are pushed to the fore, spelling out her upheavals, desires and alienation in direct, matter of fact syntax. This is an incantation and excavation – dispelling the ghosts of 2020 and 2021 in aural form. Having this as part of our final set of releases is fitting: an ode to an extremely strange, dark time. -- Wild Rani - synths, vocals & various instrumentation  -- Mastered by Oliver Barrett

Since 2006 the Portugese duo of Marta Ângela and João Artur (CALHAU!) have been quietly labouring away on their wonderfully tilted practice, embracing music, text, film, and visual arts on a path that has included performances, exhibition projects and several artistic residencies. For this new release on Takuroku they take influence from medieval Galician-Portuguese songs/poetry of insult and mockery called cantigas d'escarnio e maldizert. A carnivalesque sense of play, pathos and absurdity haunts the 33 minutes run time as they shift between sung and spoken incantations, baroque organ dirges, junk-yard musique concrete, layers of tape mush and sonic trickery. Although medievil in theme, there is a particular timelessness to proceedings. One of the main instruments CALHAU lists is "the ghosts of an old cassette re-recorded thousand times during the last 20 years" - with sounds fermented and rendered into beguiling forms. Another is "a crappy electric organ from 1980 called ORION", which dispels both baroque and twisted sonics from its tired engine. When first listening to this it instantly brought to mind the late Ghédalia Tazartès, who sadly passed away this year. Similar to Ghédalia's work this is ageless, contradictory, old, new, sad, strange and often hilarious music. Music that fearlessly reveals its multiple facets to slowly unfurl its twisted, tender core. -- CALHAU are Marta Ângela and João Artur -- Mastered by Oliver Barrett

Patrick Ward’s performances are dynamic contractions of his gallery installations in which video sequences designed for multiple screens are 'stacked’ within a single frame. Following up his Retroversion/s performances at Cafe Oto Ward’s Video Evidence presents a collage of sounds sourced from old VHS tapes, incidental phone footage and barely viewed YouTubes. Edited and mixed in Tottenham, September 2021 -- Mastered by Oliver Barrett

We're very pleased to announce Pat Thomas's ‘The Elephant Clock of Al Jazari’ on our in-house OTOROKU label. Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists. In Pat's own words: The title for this album was inspired by the incredible automatic water clock invented by Badi' al-Zaman ibn al-Razzaz al-Jazari. Al Jazari refers to the fact he was born in Al Jazira which lies between the Tigris and the Euphrates in what is now Northern Iraq. Badi al Zaman means prodigy of the age. He is known by historians of technology as the father of modern robotics. The Elephant Clock at seven metres high is a testament to his engineering genius, it utilizes Greek water raising technology, combined with an Indian elephant, Egyptian phoenix, Arabian figures, Persian carpet and Chinese Dragons celebrating the diversity of cultures in the world. This and other marvels of engineering can be found in his Book of the Knowledge of Ingenious Mechanical Devices translated by Donald Hill (Pakistan Hijra Council). Over 50 devices are mentioned. Amongst them the first analog computer, his remarkable Castle Clock, however, the debt the world owes this muslim genius is found in his remarkable water raising devices, particularly water raising device number 4 where for the first time a crank connecting rod system is used. The crank is considered to be the most important single mechanical device after the wheel, by 1206 this is found fully developed in Jazari`s machines predating Francesco di Giorgio Martini by 3 centuries. 'For Al Haytham' is dedicated to the great polymath genius who wrote the great book on vision, the first person to give us a true understanding of how we see. 'Lubb' is an Arabic word meaning innermost consciousness whilst to conclude proceedings 'Done' is loosely based on a well known standard. - Pat Thomas 26th May 2017 --- Pat Thomas / piano --- Recorded live at Cafe OTO on the 4th May 2015 by Mark Jasper. Mastered by Giuseppe Ielasi. Photo by Fabio Lugaro. Design by Maja Larsson. 

OTOROKU is extremely proud to present a reissue of Evan Parker's legendary boxset "Collected Solos".  Originally issued in 1989 and long ago sold out, "Collected Solos" brings Evan Parker's first four solo LPs issued on Incus - "Saxophone Solos", "The Snake Decides", "Monoceros" and "Six of One" together, alongside a cassette featuring extra cuts from the sessions at FMP studios which didnt make it onto "Saxophone Solos" and an accompanying booklet written by the late writer, Paul Haines. Housed in a specially made and screenprinted box, and numbered in an edition of 250, the collection celebrates Evan Parker's remarkable commitment to a creative life and work. 

NOTE: The LP And CD have different audio from the same recordings. Outside of the 2CD release ‘Never Too Late But Always Too Early’ (Eremite, 2003) there has been scant documentation of one of the most dynamic pairings in all free jazz. Featuring unique material on each format Song Sentimentale rectifies this anomaly with a full blown audio account of the breathtaking communicative heights obtained by these three legends of the living. Over 3 nights in January 2015 the trio seduced a winter worn crowd with the kind of organic interplay only these three can conjure. Warm and urgent the material that covers both formats unveils a wide range of techniques and emotions. This is music on the edge of itself; a living, breathing and existing force documented for repeated visits. PETER BROETZMANN - TENOR SAX, B-FLAT-CL, TAROGATOWILLIAM PARKER - DOUBLE-BASS, GUEMBRI, SHAKUHACHI, SHENAIHAMID DRAKE - DRUMS, FRAME-DRUM, VOICE Recorded Live at Cafe Oto on the 27th, 28th and 29th January 2015 Recorded by James Dunn Mixed by John Chantler  Mastered by Andreas (Lupo) Lubich at Calax Photocollage by Dawid Laskowski Artwork by bro Design by Uniet/bro

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

Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism. The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.

Pat Thomas is one of the most extraordinary pianists of our time. In a first time duo with saxophonist Matana Roberts, the lyricism of his distinctly dexterous and curious approach to the piano paints pathways for Robert’s poignantly vocal saxophone. Together the two speak; locked grooves and neat switchbacks on the keys form dialogue with long deliberate lines on the alto, punctuated by Roberts’ ecstatic vocalisations.  The trio of improvised pieces which make up the record’s first side are rich phrases, pitched at each end of the piano and stretched and pulled by Pat. His simple, repetitive cycles yield space and colour for Robert’s song, then let sounds build to a flourish; an armed run on the keys and some wonderfully soft landings.    The second side, a whole part in itself, goes deeper - hammered armfuls of piano and torn top breath blasting from Roberts fall in a flutter of delicate keystrokes. Call and response halves collide in a wonderful thunder before finding the edge of another line to hang onto. There is a remarkable sense of purpose, precision and restraint at play, as well as a peaceful milieu, which no doubt stems from the two players' fierce individual intelligence, creativity and curiosity.  The record arrives housed in a screen printed Kraftboard sleeve, die cut to reveal photographs taken by Dawid Laskowski and Fabio Luguro. Mastered by Giuessepe Ielesi who also mastered Pat Thomas’ The Elephant Clock of Al Jazari, we pressed this on 180g black vinyl. You can’t press a work called ‘The Truth’ on much less, can you? --- Pat Thomas / piano Matana Roberts / saxophone --- Recorded by James Dunn live at Cafe OTO on the 8th December 2018. Mixed by James Dunn and mastered by Guiseppe Ielasi. Photographs by Dawid Laskowski and Fabio Lugaro. Design and layout by Maja Larrson. 

"Though music journalists made a big deal recently about the release of a 1965 rehearsal tape by Derek Bailey’s Joseph Holbrooke trio with Gavin Bryars and Tony Oxley, those early efforts were mere tentative steps along a cliff edge wearing a line safely attached to Coltrane. There’s still a whiff of jazz to Bailey and Parker’s work with the Spontaneous Music Ensemble up to and including 1968’s Karyobin but with the addition of Jamie Muir — the first great free improvising percussionist who didn’t start out as a jazz drummer — and the way-leftfield electronics of Hugh Davies, the MIC leapt right off that cliff.  These six tracks — tight, electric, pointillistic, brilliant, uncompromising and exhilarating — sound like nothing else that came before.  In a word, seminal." - Honest Jon's

2xLP set of performances documented by Alan Lomax during his final American field recording project, newly remastered and all previously unreleased on vinyl! This set brings together the standout recordings Lomax made in his attempt to document the last vestiges of the “local surround” in Mississippi, Appalachia, and Louisiana. Intimate performances by R.L. Burnside, Tommy Jarrell, Boyd Rivers, Napoleon Strickland and many more form a rich tapestry of distinctly American musical traditions. Double 12” 160g black vinyl LP with color tip-on gatefold jacket printed by Stoughton. Includes 8 page, oversize color insert with liner notes by Nathan Salsburg of the Alan Lomax Archive. Cover art by Joe Light. From 1978 to 1983, Alan Lomax and a video-crew travelled through the American South and Southwest, documenting its traditional music — miners, moonshiners, and Primitive Baptists in Kentucky; flat-footers, string bands, and Piedmont blues in North Carolina; Cajun cowboys, fiddlers, and zydeco stompers in French-speaking Louisiana; and fife-and- drum ensembles, gospel quartets, former railroad track-liners, levee-camp muleskinners, and players on the pre-war blues circuit in Mississippi. This footage ultimately totaled some 350 hours and was edited into Lomax’s “American Patchwork” series, which aired on American public television in 1991. But given the strictures of the form, hundreds of discrete performances and compelling scenes were left unseen and unheard. --- Mississippi Records, 2021

Black Truffle is pleased to announce Parampara Festival 13.3.1992, a stunning performance by Amelia Cuni captured live in Berlin almost thirty years ago. Milanese by birth and resident in Berlin for many years, Cuni lived in India for over a decade, studying the classical vocal style of dhrupad under masters of the form. Though perhaps known to many listeners primarily through her performances of the vocal music of John Cage and collaborations with Werner Durand and Terry Riley, she is recognised internationally as one of the great contemporary proponents of traditional dhrupad singing. These recordings document her performance at the 1992 Parampara Festival at the Haus der Kulturen der Welt, a landmark event celebrating the global spread of Indian classical music, bringing together Indian teachers with their international students. Accompanied by Gianni Ricchizzi on vichitra vina (a plucked zither played with a glass ball slide) and her own tanpura, Cuni stretches out for a languorous side-long performance of the late night Raag Bageshri, the limpid tones of her vocal improvisations illuminating the droning strings like flashes of the moon revealed by rushing clouds. Initially working patiently through a series of subtle dialogues between Cuni’s melodic extemporisations and phrases in response from Richizzi’s vichitra vina, the performance builds to a series of strikingly beautiful, virtuosic held notes from Cuni at the beginning of its second half, before picking up some brisker rhythmic articulation on the way to its conclusion. On Devino Amor, Cuni presents her own composition, a setting of mystical texts by the 13th century Franciscan friar Jacopone da Todi, elaborated through various traditional raags. Like the words used for most dhrupad compositions, the text Cuni has selected from da Todi praises divine love, thus linking her otherwise unorthodox use of Italian text to the dhrupad tradition. The result is a performance of a yearning intensity that communicates across any language barrier. On the final performance, Cuni and Ricchizzi are joined by Helmut Waibl on the two-headed pakhawaj drum for a piece using a 14 beat rhythmic pattern that sets in motion a cycle of tension and release, metrical dissolution and resolution, possessing a subtle grandeur. Illustrated with archival images of the performance and accompanied by new liner notes from Peter Pannke and Lars-Christian Koch, Parampara Festival 13.3.1992 invites listeners to lose themselves in Amelia Cuni’s unique approach to ancient tradition --- Black truffle, 2021

Black Truffle announce Undercurrent, the new LP from the long-running Milanese duo of Giuseppe Ielasi and Nicola Ratti. Following on from high-profile releases on Boomkat Editions and Shelter Press (SHELTER 080LP, 2017) in the last few years, the eight untitled pieces making up Undercurrent continue the pair's hypnotic and disorientating practice of improvisation based on tape loops. Often sitting halfway between electro-acoustic technique and beat-based production, the music of Bellows obliquely recalls aspects of hip-hop, dub, and techno while skewing their rhythmic foundations. While consistent with the distinctive language the duo has developed over the last decade, Undercurrent moves away from the explicit references made to club music in their recent releases. It presents a suite of pieces that are markedly more minimal, at times reminiscent in their haunted introspection of the legendary Tolerance records on Vanity Records. The pieces here often dwell for minutes at a time on single repeating tones, reverberating like distant bells in desolate landscapes of looped tape hiss. Where previous releases were primarily based on samples, Undercurrent uses recordings of the duo playing various instruments (guitar, drums, synthesizer) cut into tape loops and then used as the bases for song-length tracks, each of which establishes a central repeating motif while also opening up on close listening to reveal multitudes of improvised detail and subtle shifts in tone, texture, and tempo. Beginning with the mournful sliding tones and obscured fragments of field recordings on the opening track, the album moves from lush synth pads to super-minimal pings and haunted drone. On "6" and "7", spacious, hanging guitar figures give the music an elegiac quality recalling the work of Dean Roberts and Ielasi's own earlier guitar-based music (such as the classic Gesine (HAPNA 021CD), released on Häpna in 2005). The record subtly builds to its final track, which works the barest of elements -- a slowed-tone loop of steel drums, a distant whistle, beeping electronics -- into a piece somehow imbued with a quiet grandeur, a fitting conclusion to a record that, like all of the duo's work, is both sonically exploratory and immediately accessible.

French musician & performance artist Manon Anne Gillis came to Japan to perform in 2016 following the 2015 release of the 5-CD archive box set from Art Into Life, which was a compilation of earlier recordings. Now at last, for the first time in 27 years since 1994’s “Euragine” in CD format, her long-awaited 7th solo album is completed. As she still continues to progress and evolve musically, this work is constructed primarily around primitive hiss noise and error sounds. Here she has woven a musical tapestry that is more blurred, obscured, and noise-oriented than her earlier work. With the strong cohesiveness of her disquieting singing voice in a thunderous roar bellowing from the inner depths, the repetition of the dense glitch sounds, and the nostalgic concept of the obscure rhythm track (track 5) will remind us of her days when she went by the alias Devil’s Picnic.

Fully immersive electronic music by US composer Maggi Payne, inspired by the arctic winds. Maggi Payne's sound worlds invite the listeners to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile and visible.The music is based on location recordings, with each sound carefully selected for its potential—its slow unfolding revealing delicate intricacies—and its inherent spatialization architecting and sculpting the aural space where multiple perspectives and trajectories coexist. With good speakers, some space in your schedule, and a mind-body continuum willing to resonate with Payne’s electroacoustic journey, but then it will take you to places that other music can’t reach.From the sounds of dry ice, space transmissions, BART trains, and poor plumbing she immerses the listener in a world strangely unfamiliar. Maggi Payne is a composer, video artist, recording engineer, photographer, and flutist and is Co-Director of the Center for Contemporary Music and a faculty member at Mills College, in the San Francisco Bay Area.

"Consisting of Mats Gustafsson (sax), Ingebrigt Haker Flaten (bass), and Paul Nilssen-Love (drums), this trio plows through nearly 40 minutes of improv across three tracks." "The Thing is still archetypal free jazz/rock of the 21st century - it’s a group you might recommend to someone who wants to explore a more adventurous genre, although they work for experienced listeners as well. I’m surprised how this band wins me over again …. and again." Free Jazz Blog --- Mats Gustafsson / tenor & baritone saxophone Ingebrigt Håker Flaten /  electric & double bass Paal Nilssen-Love / drums, percussion --- Recorded July 2nd and 3rd, 2017 by Øyvind Gundersen at Studio Paradiso, Oslo Mixed October 2017, by Andreas Werliin at Repeat Until Death, Stockholm Mastered by Lupo at Calyx mastering, Berlin Liner notes by Brian Morto. 

This is an archival recording of the first time meeting for vocalists and electronic musicians Anat and Kamura. Recorded live at the Hundred Years Gallery as part of the Earshots concert series on 04/10/2014 -- Anat Ben-David / voice and electronicsAtsuko Kamura / voice and electronics -- Daniel Kordik & Edward Lucas: recording / master / designAndrej Chudy: photograph

A collection of solo recordings made on (24 March 2018) at the Cafe Oto Project Space, and from the back seat of a car in three South London locations. Available from 27 July as a CD and download. "Just as American Primitive is a recognised and recognisable genre of music played by guitarists in thrall to John Fahey, so there is an equally distinct, though unnamed, school of guitarists dedicated to perfecting and developing the innovations of Derek Bailey. Northern Irish guitarist Ross Lambert is one such acolyte – the improvisations on this CD are even mostly performed on an axe that previously belonged to John Russell, perhaps Bailey’s best known student. Certainly, you can hear the great man’s influence in Lambert’s glancing harmonics and jagged runs, but there are other, more personal imperatives at work, too. The opening piece, ‘Floating Blossoms,’ begins with what sounds like tuning forks being struck and then vibrated against the guitar’s body, before Lambert heads into a dense and thorny deconstruction of the blues with echoes of Bill Orcutt’s admittedly more gnarled approach. Elsewhere, Lambert talks to himself and absent-mindedly hums along with his own melodic fragments, creating the sense that we’re eavesdropping on a private daydream. It’s an intimate affair, well worth waiting for from the conspicuously under-recorded Lambert." – Daniel Spicer, Jazzwise, October 2018 -- Ross Lambert / solo guitars and objects --  recorded, mixed and mastered by Daniel Kordikand Edward Lucascover illustration: detail from a drawing byRoss Lambert; ‘3 oligarchs visit Cafe Oto’;ink on paper.back cover photograph by Samantha Hayley notes by Ross Lambert and Eddie Prévost design by Earshots/dept2

Daniel KordikJames L Malone -- Recorded / Mastered by Edward LucasMixed by Daniel KordikCover image by Andrej ChudyDesign by Earshots Recordings/dept2Earshots Recordings 2017 . Digital Edition

John Edwards / double bassTom Wheatley / double bass -- Live at the Hundred Years Gallery 20.05.15Recorded by Daniel KordikMatered by Rupert Clervaux -- Drawing by Daniel BlumbergDesign by Earshots/Dept2

"A finely detailed and expressive group that is both elegant and eloquent. All aspects of sound production are scrutinized and employed as valid musical material which in turn gives an immersive and complete listening experience." - John Russell "This meet-up recorded in London is something of a textural boxing match. However, the trio involved are playing an analogue synthesizer (Daniel Kordik), a digital synthesizer (Ken Ikeda) and a trombone (Edward Lucas), so the results are consistently intriguing. More often than expected, the synths and trombone mesh indiscernibly into one creaking atonal lattice. The opening track is the oddest and noisiest of the lot, with both synths aggressively carving out some sharper frequencies while the trombone can do little but hurl blunt parps into the battleground. The rest of the release settles into a more peaceful mode, resembling murmured scheming between home appliances." - Tristan Bath, The Wire Jan 2017 -- Daniel Kordik / Vostok synthesiserKen Ikeda / DX synthesiserEdward Lucas / trombone -- Studio recording, London, September 2015Recorded & Mixed by Edward LucasMastered by Rupert ClervauxCover image detail from a drawing by Ross Lambert

For the celebration of the 50th anniversary of the legendary Machine Gun recordings at the Lila Eule in Bremen, Peter Brötzmann put together a trio with the Berlin pianist, composer Alexander von Schlippenbach and the percussionist Han Bennink, who already sat on the drums 50 years ago. They were so pleased with the music that they decided to release it and continue to play gigs as the trio. Machine Gun was originally recorded in May 1968 by an octet consisting of influential musicians of new jazz and improvised music. The LP was repressed on Cien Fuegos in 2018 (CF 020LP). --- Peter Brötzmann / tenor saxophone, b-flat clarinet, tarogato Alexander von Schlippenbach / piano Han Bennink / drums

VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  ---- In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman’s classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers’ Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese—who later recorded Don’s classic Organic Music Society and Eternal Now LPs—invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months’ workshops into practice. Long relegated to the status of a mysterious footnote in Don’s sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessionsare finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese’s summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don’s Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don’s turn to more explicitly panethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don’s budding pursuit of “collage music,” a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry’s earthly vision. In the Swedish Jazz Archive quite a few other recordings from the same day were to be found. Some of the highlights are heard as bonus material on the CD edition of this album. The octet is augmented by producer and saxophone player Gunnar Lindqvist, who led the Swedish free jazz orchestra G.L. Unit on the album Orangutang, and drummer Sune Spångberg, who recorded with Albert Ayler in 1962. The bonus CD also includes a track without Cherry featuring Jacques Thollot joined by five Swedes including Lindqvist, Tommy Koverhult, Sune Spångberg, and others. --- With liner notes by Magnus Nygren and album art featuring a cover painting by Moki Cherry: Untitled, ca. 1967–68 --- Blank Forms, 2021

VINYL IS DELAYED TIL NOVEMBER. CDS READY TO SHIP.  --- In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain. The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia from the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert’s laid back, communal vibe feels like an attempt by the Cherrys to show Don’s jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride. --- With liner notes by Magnus Nygren. --- Blank Forms, 2021

The mighty Sun Ra Arkestra, under the direction of the maestro Marshall Allen, release their first studio album in over twenty years, ‘Swirling’. Recorded at Rittenhouse Soundworks in Philadelphia, the new recording represents the continuation of a heartfelt rebirth of the Arkestra under Allen’s guidance since Sun Ra left the planet in 1993, gaining new generations of followers from their regular touring across the globe. With a big band line-up featuring long-standing Arkestra members including Danny Ray Thompson (RIP), Michael Ray, Vincent Chancey, Knoel Scott, Cecil Brooks, Atakatune (RIP), Elson Nascimento and Tyler Mitchell, the album is a full-blooded celebration of Sun Ra’s legacy. Tracks include brand new arrangements of Arkestra staples ‘Angels And Demons At Play’, ‘Satellites Are Spinning’, ‘Door Of The Cosmos’ and ‘Rocket No. 9’ alongside lesser known gems; the rousing blues ‘Darkness’ is recorded here for the first time, resurrected from the Ra archives by Marshall Allen. Other highlights include an epic version of ‘Seductive Fantasy’ (first recorded on Ra’s ‘On Jupiter’ LP in 1979), the freeform sonic blast of ‘Infinity / I’ll Wait For You’ and a first ever recording of the Marshall Allen swing composition, ‘Swirling’. “We truly hope that this recording brings much joy to a planet which is so deeply in need of a spirit sound and vibration,” states saxophonist Knoel Scott. “We hope it contributes to a change in the ominous direction of man’s journey through the cosmos.” “This new release is the Arkestra’s love offering to the world,” concludes Marshall Allen. “Beta music for a better world.” Sun Ra Arkestra’s ‘Swirling’ is released on 9th October 2020 on Strut on all formats. The album was produced by Jim Hamilton at Rittenhouse Soundworks. Cover artwork is by Lewis Heriz. SUN RA ARKESTRA Under the direction of Marshall Allen Marshall Allen: Alto Saxophone, EVI Knoel Scott: Alto Saxophone James Stewart: Tenor Saxophone, Flute Danny Ray Thompson: Baritone Saxophone, Flute Michael Ray: Trumpet Cecil Brooks: Trumpet Vincent Chancey: French Horn Dave Davis: Trombone, Vocals Farid Barron: Piano Dave Hotep: Guitar Tyler Mitchell: Bass Wayne Anthony Smith, Jr.: Drums Elson Nascimento: Surdo Drums, Percussion Stanley “Atakatune” Morgan: Congas Tara Middleton: Vocals, Violin

An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms , while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

DO ANIMALS SPEAK TO EACH OTHER? WHAT DO THEIR SONGS MEAN? WILL WE EVER BE ABLE TO UNDERSTAND THEM AND TALK BACK? Ever since the accidental discovery of whale song in 1967, the idea of complex animal sentience has been gaining strength within the scientific community. A growing number of researchers and academics are exploring the idea that animals enjoy music on a similar level to human beings. Animal Music is the first anthology to present an overview of the current state of this vital debate. Its authors have spoken to the leading scientists, researchers and musicians in the field to uncover hidden meanings and new perspectives. They visit the world’s largest library of animal sounds, hack into the mysterious sonic world of shrimps, travel back in time to the point where animal and human songs diverged, and decode the latest neuroscientific findings about animal music and communication. The book includes exclusive interviews with Chris Watson, Jana Winderen, Yannick Dauby, Slavek Kwi and Geoff Sample as well as features on Bernie Krause, David Rothenberg and Olivier Messiaen and many more.

Publication reproducing one of Carrión's early linguistic exercises in English language, in which the conceptual artist dissects names of musical instruments to make sound appear. (the drum) is one of Ulises Carrión's early linguistic exercises in English, originally handwritten in black ink in 1972. The artist fragments the names of musical instruments to express a sound. His attitude to poetry precluded, to a certain extent, his book The New Art of Making Books: “The text of a book in the new art can be a novel as well as a single word, sonnets as well as jokes, love letters as well as weather reports.” --- Ulises Carrión (1941-1989) is one of the most important figures of Mexican conceptual art. His 1975 manifesto The New Art of Making Books help defined artist's books as an autonomous artistic genre. His work includes numerous artist's books—which was then designated as bookworks—but also video art, sound arts, performance and mail art. --- Boabooks, 2017 ---

For thirty-five years American poet Nathaniel Mackey has been writing a long poem of fugitive making like no other: two elegiac, intertwined serial poems--"Song of the Andoumboulou" and "Mu"--that follow a mysterious, migrant "we" through the rhythms and currents of the world with lyrical virtuosity and impassioned expectancy. In a note to this astonishing box set of new work, Mackey writes: "I turned sixty-five within a couple of months of beginning to write Double Trio and I was within a couple of months of turning seventy-one when I finished it.... It was a period of distress and precarity inside and outside both. During this period, a certain disposition or dispensation came upon me that I would characterize or sum up with the words all day music. It was a period during which I wanted never not to be thinking between poetry and music, poetry and the daily or the everyday, the everyday and the alter-everyday. Philosophically and technically, the work meant to be always pertaining to the relation of parts to one another and of parts to an evolving whole." Structured in part after the last three movements of John Coltrane's Meditations--"Love," "Consequence," and "Serenity"--Double Trio stretches the explorations and improvisations of free jazz into unprecedented poetic territory. --- Trim Size - 6x9 Page Count - 1080 Hardback - 3 books

“The expression "ghost in the machine" emerged within a particular context, namely as a critique of Cartesian dualism's separation of soul and body, and thus served to revive a certain mechanistic materialism. In simple terms, this critique denies the existence of an independent soul (the 'ghost') contained in a corporeal organism (the 'machine'). It asserts, on the contrary, that the 'soul' is just a manifestation of the body—that ultimately they are one and the same. Although this remains a fraught question, always accompanied by the risk of slipping into the register of belief, it is resurfacing today in relation to the emergence of artificial intelligences: Can there be such a thing as an artificial intelligence? Can such an intelligence really add up to something more than the sum total of the binary operations that generate it? And what exactly is the "artificial"? The artificial always brings with it the fantasy of emancipation and autonomy, and a break with a supposedly natural order of things. It is subversive. AI, precisely in so far as it is artificial, embraces this subversion, hybridizing the Promethean and the Faustian, heralding as many promises as potential dangers, and raising the stakes as high as the survival or extinction of humanity itself. In this respect, the domain of musical creation constitutes a kind of front line, at once a terrain of exploration for possible applications of AI and a domain that boasts an already substantial history of the integration of machines and their calculative power into creative processes. From algorithmic composition to methods of resynthesis, from logical approaches to the creation of cybernetic systems, from the birth of computer music to neural networks, for more than half a century now music has been in continual dialogue with the binary universe of electron flows and the increasingly complex systems that control them.Each of the texts included here, in its own way, reveals a different facet of the strange prism formed by this alliance. Each projects its own particular spectrum—or spectre; each reveals a ghost, evokes an apparition that is a composite of ideas, electricity, and operations. This book, then, does not set out to cut the Gordian knot constituted by the question of the possible mutations and becomings of binary logic, and in particular its most recent avatar, AI. On the contrary, it seeks to shed a diverse light upon the many possible ways of coming to grips with it today, and upon the dreams, promises, and doubts raised by these becomings, whether actualised in the creation of codes and programs to assemble sounds or infusing a whole compositional project; whether they reveal the algorithmic dimension of the human being, or directly take over the writing of the text itself, rising to the authorial level. Above all, though, what is at stake here is to discover how these developments resonate together, and how this resonance manifests itself through all these approaches, all these reflections, all these modes of creation and of living. For the artificial, the artefact, is always the extro-human brainchild of a human, all too human dream.” Contributions by Keith Fullerton Whitman, Émilie Gillet, Steve Goodman, Florian Hecker, James Hoff, Roland Kayn, Ada Lovelace, Robin Mackay, Bill Orcutt, Matthias Puech, Akira Rabelais, Lucy Railton, Jean-Claude Risset, Sébastien Roux, Peter Zinovieff.

The nineteenth issue of ‘F.R.DAVID’ is edited by Will Holder and Paula Abbott, and will serve as a reader for “We can still see the horizon (and it’s curved)”, a summer residency in Scotland led by the editors. It includes a surprising array of contributions from writer Jorge Luis Borges, journalist and writer Italo Calvino, composer Hugo Cole, literary critic and theorist Barbara Herrnstein Smith, percussionist Milford Graves, philosopher Michel Serres, novelist and essayist Wilson Harris, poet Bernadette Mayer, composer and music theorist Harry Partch, pianist and poet Cecil Taylor, and several others.

Noise has become a model of cultural and theoretical thinking over the last two decades. Following Hegarty's influential 2007 book, Noise/Music, Annihilating Noise discusses in sixteen essays how noise offers a way of thinking about critical resistance, disruptive creativity and a complex yet enticing way of understanding the unexpected, the dissonant, the unfamiliar. It presents noise as a negativity with no fixed identity that can only be defined in connection and opposition to meaning and order. This book reaches beyond experimental music and considers noise as an idea and practice within a wide range of frameworks including social, ecological, and philosophical perspectives. It introduces the ways in which the disruptive implications of noise impact our ways of thinking, acting, and organizing in the world, and applies it to 21st-century concerns and today's technological ecology. --- Blomsbury press, 2020

Nww zine from website LISTENCORP  "The very first physical listencorp magazine! We’ve decided to bring our reviews and love of interesting music into the realms of print. With every copy purchased, we are donating £1 to Tommy’s, a charity that funds medical research into premature birth, stillbirth and miscarriages as well as providing information about health in pregnancy. Get yours now and be part of listencorp history!" Featuring: An exclusive insight into the Latin All Stars festival Exploration into the beautiful music of desert sands feel warm at night Reviews of Forest Robots, Zer0, Sevish, Stevia Sphere and more Never-before-seen DATAGIRL on your very own postcard ‍

Two color screenprint for our Music and Other Living Creatures series, designed by Silja Strøm and printed on 175gsm colorplan natural paper by Tartaruga.  Music and Other Living Creatures is a series at Cafe OTO (curated by OTO Projects) dedicated to music about, with, or by other living creatures. Birds, tigers, chickens, insects and many other living creatures are explored through sound-walks, listening sessions, commissioned performances, live responses and discussions. 

Poster for Chris Corsano's four day residency at Cafe OTO which took place from the 20th to 23rd of August 2014. Full residency line-up:  Wednesday 20 August 2014 Chris Corsano Solo Ilan Volkov's Summer Strings Lover's Ritual with Chris Corsano Thursday 21 August 2014 Okkyung Lee with John Butcher and Chris Corsano Mette Rasmussen with Alan Wilkinson, Pat Thomas and Chris Corsano Friday 22 August 2014 Evan Parker with John Edwards and Chris Corsano Massimo Pupillo and Chris Corsano Saturday 23 August 2014 Vibracathedral Orchestra with Chris Corsano Pressing Information Limited edition of 100 prints. Printed by Pat at Heavyrock.

Limited edition run to raise money for the Adam Bohman Exhibition Fundraiser. Adam Bohman has been operating on the outer fringes of underground music for decades. However, his tape cut-ups and home-built instruments represent just a tiny fraction of his artistic practice. In parallel, Adam has been creating and carefully stockpiling an extraordinary collection of collages, ink drawings and graphic scores that only a handful of people have ever seen. We're planning an exhibition at our project space that will present these works publicly for the first time. We hope you can help us make it happen. More images.

Edition of 100 hand numbered two color screenprints for our four day Peter Brötzmann festival celebrating his decade long relationship with Cafe OTO. Design by Peter Brötzmann. Printed on A2 colorplan White Frost 175gsm paper by Tartaruga. 

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

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.

Ute Kanngiesser's first cello solo release, recorded direct to tape at two locations: The Cafe Oto Project Space, and the clock room at St Augustine's Tower, Hackney. --- Ute Kanngiesser / cello --- Recorded and mixed in Spring 2015 by Edward Lucas and Daniel Kordik.Embroidery by Meghan Springer Thanks to Cafe Oto and Hackney Historic Buildings Trust.  

The first cover and acoustic guitar feedback album by Shanghai guitarist MAI MAI.The first in a series where MAI MAI focuses on the feedback and textures of favourite Beatles song.'It should be a noon of 1997, when I was in the 2nd grade of middle school, I saw the music video of the Beatles “I Want to Hold Your Hand”on MTV channel. A live performance, black and white. It was the first “thriller” The Beatles brought to me.   The second “thriller” was in 1999, when I was in grade one of high school. The day before, I bought the so-called “white album” in a cracked cassette shop. That day I went to attend a kind of “little campus writer seminar” with my schoolmaster and a senior. On my way back home by bike, I began to listen to the double-cassettes. After this “thriller”, I talked with the senior who also loves rock music about grouping a band. But neither of us had learnt or even had any instrument. We just talked about it and thought we were in a band for quite a long time.   In 2001, I was a restudy student in a boarding high school. On the Christmas Eve, I listened to John Lennon and Yoko Ono’s “Happy Xmas (War Is Over)” lying in the bed in my dorm, which was rebuilt from a shower room. I cried out. It should be count as a “thriller” brought by the Beatles, the third one. After that, it never happened again.' MAI mai April, 2016 --- 卖卖 MAI MAI uses: Martin M-38 acoustic guitar Yamaha hs8 powered speaker system Rode NT-5 pair microphones --- Released: Zoomin' Night Released June 1, 2016

In A Bog is a series of electro-ambient vignettes strung together like faded raver beads. Wobbling synths, plastic hand drums, and garbled signals slide in an out of focus. Cockeyed rhythms swirl into mellow atmospherics. Doofy samples bubble up from the bottom of the Internet. Beat Detectives hijack body music, cut it up, slow it down, and put it back together like Frankenstein with arms for legs. --- Goaty Tapes, 2019

Belgium's Knotwilg Records delivers a heavy duty dose of DIY and out there bangers in celebration of live events they ran between 2016-2019, showcasing frequent collaborators and close friends. Snippets of live sets from favourite Belgian venues such as Les Atellier Claus and Brasserie Atlas plus some exclusives that weren't recorded. --- Mastered by Christophe Albertijn Compiled by DJ Klakke Soirée Knotwilg I at Les Ateliers Claus 14/05/2016: Tracks 14, 16 & 17 are all exclusive since recordings got lost Soiréé Knotwilg II at Les Ateliers Claus 02/06/2017: tracks 6, 8, 9 and 15 live from that night Knotwilg at Donk: 06/07/2018: Track 3 live that night Knotwilg Festival 2019 at Brasserie Atlas: 13/04/2019: livetracks 2, 7, 10, 11,12, 13 and 18 Réveil Kortemark: 01/11/2019: no recordings were made: 1 & 4 are exclusive tracks K-Group recording (track 5) at Les Ateliers Claus on 9/11/2019 during a short weekend playing Claus and Grambacht. --- Released April 4 2020, Knotwilg Records

Truly spannered churned out gunk from the mind of Duncan Harrison. Could possibly be the best Duncan Harrison release to come out in the last 12 months --- Regional Bears, 2021

Keijo plays Woodie Guthrie's songs. Recorded between April 2019 and October 2020. All instruments, effects & voice by Keijo. --- Ikusiuus Records, March 2021 Edition of 60 copies

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

Arthur 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.

FILMED LIVE: CAFE OTO LONDON, ENGLAND FEBRUARY 15, 2014