Superb extended live recording made at the Jazzfest Trondheim - incredible reed technique and concept from Butcher, anchored by Duch's flexible bass work. "I first heard John Butcher in 2001 playing duos with Rhodri Davies and Derek Bailey on the CD Vortices and Angels. I was completely mesmerized, particularly by the two tracks in the end with John and Rhodri playing together. Vortices and Angels is still among my favourite albums. Trinity, AMM with John Butcher, being another one. Needless to say, playing with John at Trondelag Senter for Samtidskunst in my hometown Trondheim in May 2015 during Jazzfest, was a special occasion for me. This is a recording from that concert and apart from omitting some noises in the beginning, it is unedited."- Michael Duch --- John Butcher / saxophones Michael Duch / contrabass --- Recorded live at the Jazzfest Trondheim, Trondelag Senter for Samtidskunst Jonas Krossli on May 9th, 2015. 

Dark and commanding double bass exploreations by two of the best. Having performed as a duo live in at nyMusikk in Oslo, they then recorded this album of freely improvised bass interactions the next day in the studio at Gråmølna in Trondheim.  The bassists first met at the Molde Jazzfestival in 2011, where Duch played a solo recital and a concert with Trondheim Jazz Orchestra, while Léandre had a guest spot with improv quartet SPUNK. After hearing Duch's solo album Edges from 2010, the two got to know each other and planned a collaboration. "The music will be freely improvised and bass's sound possibilities will be explored to the fullest" they planned, and so it is.  --- Joëlle Léandre / double bass Michael Duch / double bass --- Tracklisting:  1. The Gramolna Duo 1 - 7:01 2. The Gramolna Duo 2 - 9:13 3. The Gramolna Solo (JL) - 8:31 4. The Gramolna Duo 3 - 7:37 5. The Gramolna Solo (MD) - 6:59 6. The Gramolna Duo 4 - 9:03 --- Recorded by Oscar Gronberg at Gramolna, Trondheim, Norway on November 1st, 2013.

Screenprinted on thick, quality paper and printed in flourescent colours by Tartaruga. Design by Maja Larsson / Organ studio. On our wishlist from the day OTO opened, we're over the moon to finally host one of the greatest free-music groups of all time – The Art Ensemble of Chicago! An extremely rare opportunity to see this legendary group, the impact and influence that The Art Ensemble of Chicago have had over the past five decades cannot be overstated. At turns soulful, chaotic, ennergising and transcendant – playful yet attentive, generous but untethered – the AEC helped redefine what jazz music could be and continue to seek out its future. “A legendary band that created new standards not only for improvisation but for performance as well” – All Music “One of the most enduring units dedicated to free improvisation and modern jazz composition in existence.” – Pitchfork

Arnold Dreyblatt has been called "the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s." Dreyblatt founded the Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album – originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien – develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums.On Propellers In Love, simple song titles – "Odd & Even," "Harmonics," "Bowing" – belie intricate harmonic structures. Dreyblatt's modified instruments – a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation – undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ("Pedal Tone Dance" and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density.Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.Track Listing:Propellers In LoveBowingPedal Tone DanceHarmonicsOdd & EvenLucky Strike

For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism – witness its inclusion in Alan Licht's famed Minimal Top Ten list – this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas. As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While "Cycles," an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on "Untitled" draws the listener inside the instrument itself.The photo on the album's back cover – a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church – offers a striking visual complement to these gorgeous recordings.Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.Track Listing:CyclesUntitled

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)

Superb extended live recording made at the Jazzfest Trondheim - incredible reed technique and concept from Butcher, anchored by Duch's flexible bass work. "I first heard John Butcher in 2001 playing duos with Rhodri Davies and Derek Bailey on the CD Vortices and Angels. I was completely mesmerized, particularly by the two tracks in the end with John and Rhodri playing together. Vortices and Angels is still among my favourite albums. Trinity, AMM with John Butcher, being another one. Needless to say, playing with John at Trondelag Senter for Samtidskunst in my hometown Trondheim in May 2015 during Jazzfest, was a special occasion for me. This is a recording from that concert and apart from omitting some noises in the beginning, it is unedited."- Michael Duch --- John Butcher / saxophones Michael Duch / contrabass --- Recorded live at the Jazzfest Trondheim, Trondelag Senter for Samtidskunst Jonas Krossli on May 9th, 2015. 

Dark and commanding double bass exploreations by two of the best. Having performed as a duo live in at nyMusikk in Oslo, they then recorded this album of freely improvised bass interactions the next day in the studio at Gråmølna in Trondheim.  The bassists first met at the Molde Jazzfestival in 2011, where Duch played a solo recital and a concert with Trondheim Jazz Orchestra, while Léandre had a guest spot with improv quartet SPUNK. After hearing Duch's solo album Edges from 2010, the two got to know each other and planned a collaboration. "The music will be freely improvised and bass's sound possibilities will be explored to the fullest" they planned, and so it is.  --- Joëlle Léandre / double bass Michael Duch / double bass --- Tracklisting:  1. The Gramolna Duo 1 - 7:01 2. The Gramolna Duo 2 - 9:13 3. The Gramolna Solo (JL) - 8:31 4. The Gramolna Duo 3 - 7:37 5. The Gramolna Solo (MD) - 6:59 6. The Gramolna Duo 4 - 9:03 --- Recorded by Oscar Gronberg at Gramolna, Trondheim, Norway on November 1st, 2013.

Two slabs of dark ambience from composer, electronic musician and co-founder of MEV, Alvin Curran, and incendiary bassist Massimo Pupillo. The pair’s mutual interest in ritual and spirituality combine with field recordings, live electronics, and improvised piano and bass. Chants whirr in a cloud of electronic static, full kit percussion plays behind locked doors and Pupillo's suspended bass tones build huge shoals of sound which turn and shift on an unseen apogee. 12.10.16 is maelstrom free from dogma - a caustic and consuming collaboration.  --- Alvin Curran / piano, sampler Massimo Pupillo / bass guitar --- Tracklisting: 1. 49:02 2. 51:02 --- Recorded live at Cafe OTO by Shaun Crook on Wednesday October 12th, 2016. Mixed and mastered by James Dunn. 

Inspired by Bailey's duo with Han Bennink, Sonic Pleasure (Marie-Angelique Bueler) and T.H.F Drenching sent a brick-and-dictaphone improvisation they’d recorded in a Liverpool Airport disabled toilet to Bailey. Bailey, impressed by the collage artwork and a Manchester postcode, sent them his number and invited them to play at his house on Downs Road, with a very young Alex Ward and Tony Bevan. Built on the percussive duo of Pleasure and Drenching, what follows is one of the weirdest and most underrated Incus records.  "Recording it was lovely. We just did it more-or-less straight through. I think there was only one tune that we didn't include. Derek was in a good mood, and he'd brought mince pies for everyone since it was coming up to Christmas 2002. Everyone's playing really well, all of us are communicating really well. I was proud that Derek let me come up with the titles and the band name I miss Derek, because I didn't feel at all like I'd finished playing with him.”  -THF Drenching, 2017 “At the launch of the Incus CD Limescale aboard Sybil Madrigal’s Boat-Ting venue on the Thames I heard some punters complain at the back: ‘Where’s Derek? I came to see Derek Bailey and I can’t see or hear him!’ It was difficult to explain that, with Limescale, Derek had found the nirvana he stumbled on in drummer John Stevens’s Spontaneous Music Ensemble: the extinction of the ego in a musical collective. Limescale was built on the foundation of the Bueler–Calton rhythm section as surely as the SME was founded on Stevens (or the Joseph Holbrooke Trio on Oxley), and Derek loved it. So right near the end, he rediscovered the collectivity which he’d enjoyed when he first played free music in London.” –Ben Watson --- Tony Bevan / bass clarinet Alex Ward / clarinet Derek Bailey / guitar Sonic Pleasure / bricks T.H.F Drenching / dictaphone --- Recorded at The Moat Studio, London in December 2002 by Toby Hrycek-Robinson. Layout and design by Karen Brookman-Bailey.

Last year we invited flutist, composer and educator Nicole Mitchell to make her London debut at OTO. Though originally lined up to play with semi frequent collaborator Joelle Leandre, Joelle had to pull out at the last minute. Instead, we asked Mark Sanders if he would like to play. Having never met before, Mark’s restrained approach to the kit, with skipping brushes on toms and light touches to a ride, a bell or wooden blocks gives remarkable space and air to Mitchell’s unique synthesis of flute and voice. Together they create  a strikingly sparse and minimal sound, but one which is no less full of joyous melodic hooks and grooves reminiscent of a stripped back Art Ensemble.  --- Nicole Mitchell / flute, voice Mark Sanders / percussion --- Tracklisting: 1. One - 24:10 2. Two - 7:18 3. Three - 10:34 --- Recorded live at Cafe OTO on Saturday 14th May, 2016 by James Dunn. Mixed & mastered by James Dunn. 

After last summer’s release of the exceptional Skene on Sean McCann’s Recital Program, it’s a pleasure to share Matthew Sullivan’s set from March this year. A percussive motif threads together obscured narratives and Sullivan creates totally new landscapes from his field recordings and their manipulation. Whilst some of the sounds are recognisable, the position you hear them from is frighteningly isolated - a gong becomes as eerie as office lighting static, a demonic football crowd celebrates your exit. One of our standout shows from this year for sure. If you're interested in Michael Pisaro, James Rushford or Mark Vernon this is one for you. --- Tracklisting 1. Untitled - 15:34 --- Recorded live at Cafe OTO on Wednesday 22nd March by Shaun Crook. Mixed and mastered by Shaun Crook. 

Please note this is a bundle price for the LP and a four-day pass to Pat's residency at Cafe OTO. For the standalone LP please click here. 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 began playing  piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston  Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979).  Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake. Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014.

We're very pleased to announce pre-orders for 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 began playing  piano at the age of eight. He studied classical music and reggae was an early interest. Thomas was inspired to take up Jazz after seeing legendary pianist Oscar Peterson on television. By 1979, Thomas was performing seriously as an improviser. In 1980 he became a member of oxford based group Ghosts with Pete Mcphail and Matt Lewis. Has worked with Mike Cooper, Steve Beresford, Geoff Hawkins, Chuck Berry, Tim Hill, Alex Ward, Eugene Chadbourne, Steve Noble, Jimmy Carl Black, Thurston  Moore, Mats Gustafsson, Evan Parker, Oliver Lake, Alan Silva, Bill Dixon, Joe Gallivan, Alan Wilkinson, John Edwards, John Zorn, John Butcher, John Russell and a duo with Mark Sanders since 1986 a duo with Steve Noble (who first met in 1979).  Current activities include Black Top with Orphy Robinson, Valid Tractor with Lawrence Casserley and Dom Lash, About Group with Alexis Taylor and John Coxon, Albert Newton with Charles Haywood and the Founder Effect with John Coxon, a duo with Han Bennink and a trio with William Parker and Hamid Drake. Pat Thomas received Paul Hamlyn Foundation Award for Composers in 2014.

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

2016 Re-Press. Pre-orders take 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

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

Born in Tbilisi, Nargilə Mehtiyeva aka Aşıq Nargilə has been playing saz (long-neck lute) and singing since the age of 15. Fluent in Azerbaijani, Georgian, and Russian, Nargilə represents the cosmopolitan heritage of old Tbilisi, a city once known as a meeting point for multilingual aşıq bards who would travel through the region serving as conduits for news, ideas, music and culture. Nargilə is currently the only female aşıq living and performing in the ethnic Azeri region of Georgia, and has been teaching the art to new generations. This is a recording of Aşıq Nargilə's first concert in the UK. Recorded live at Cafe Oto on the 18th October 2014 by James Dunn. The pieces performed are named after the traditional saz aşıq havası (melodies) they are based on. Lyrics are taken from destan epics, regional poetry and Nargile’s own lyrics to match the rhyming patterns of these melodies. Yanıq Kerem (1) and Ruhani (7) are both instrumental pieces which depict their own stories without words. Ay Ceyranım (5) is a popular song performed at weddings across Azerbaijan. Aşıq Nargilə Mehtiyeva: Saz (long-necked lute) and Söz (vocals) --- Tracklisting: 1. Yaniq Keremi 2. Yurt Yeri 3. Ibrahimi 4. Dubeyti 5. Ay Ceyrani 6. Bas Saritel 7. Ruhani 8. Orta Saritel 

Arnold Dreyblatt has been called "the most rock 'n' roll of all the composers to emerge from New York's downtown scene in the 1970s." Dreyblatt founded the Orchestra Of Excited Strings in 1979, harnessing unusual tuning intervals to an exuberant performance style. Propellers In Love, the Orchestra's second album – originally released in 1986 on the Stasch imprint, in conjunction with the contemporary art space Künstlerhaus Bethanien – develops Dreyblatt's rhythmically exacting exploration of the glittering resonances and overtones generated by an ensemble of uniquely-altered stringed instruments and drums.On Propellers In Love, simple song titles – "Odd & Even," "Harmonics," "Bowing" – belie intricate harmonic structures. Dreyblatt's modified instruments – a contrabass and miniature piano fitted with piano wire along with violin, all tuned in just intonation – undergo the Orchestra's rapid, staccato attacks. Sparkling timbres dance above interlocking rhythmic patterns moored by sparse yet propulsive percussion ("Pedal Tone Dance" and the title track). Throughout, the Orchestra's perpetual motion achieves a tremulous and exquisite density.Thirty years since its initial release, Propellers In Love remains a peerless work of second-generation American minimalism. This first-time domestic release is recommended for fans of Glenn Branca, Ellen Fullman and Charlemagne Palestine.Track Listing:Propellers In LoveBowingPedal Tone DanceHarmonicsOdd & EvenLucky Strike

For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism – witness its inclusion in Alan Licht's famed Minimal Top Ten list – this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas. As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While "Cycles," an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on "Untitled" draws the listener inside the instrument itself.The photo on the album's back cover – a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church – offers a striking visual complement to these gorgeous recordings.Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.Track Listing:CyclesUntitled

This classic minimal music album is now available again on vinyl for the first time since the 70s.Primed with a glass of cognac Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-coloured overtones. For 45 minutes this rich pulsating music swells and intensifies, filling the air.When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called Minimalist company of La Monte Young, Terry Riley, Steve Reich and Philip Glass, whose work also featured in the Shandar catalogue. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times the opulent fullness of his music would more accurately be described as Maximalist.Strumming Music, recorded in Palestine’s own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York, as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician.Although the technique of the piece has roots in Palestine’s daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the colour moods, plastic rhythms and tactile space of Mark Rothko’s Abstract Expressionist canvases.At the time when Philip Glass, Steve Reich and Terry Riley were becoming well-respected and widely heard composers, welcomed in concert halls and opera houses around the world, Charlemagne Palestine actually stopped making music altogether. He relocated to Europe and devoted his creative energies to the making of stuffed animal sculptures including the mighty God Bear, three-headed and six metres high. His involvement with music was revived and renewed during the 1990s, when younger generations of musicians and listeners, attuned to immersive noise and sensual sounds, were rediscovering Strumming Music and recognising that Palestine had blazed an idiosyncratic trail into their emerging world.Since then he has returned enthusiastically to musical performance and his formerly meagre discography has steadily grown. Still Strumming Music remains the essential index of Palestine’s singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. He had already been playing church organs for several years, relishing their power and presence. Now he had found a piano that satisfied his need for sonic depth and weight.  “The Bösendorfer at its best is a very noisy, thick molasses piano,” he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music.“My rhythms are sexual, not machine-like.” Charlemagne Palestine, in 2013.TracklistA Strumming Music part I 26:05B Strumming Music part II 26:05Notes° Insert with liner notes by Julian Cowley° Comes with download code° Lacquer cut by Rashad Becker° Lay-out by Jeroen Wille° Re-mastered by Equus° Licensed from FGL Productions° Edition of 1000 copies

This classic minimal music album is now available again on vinyl for the first time since the 70s.Californian composer Terry Riley’s In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records.  In recent decades Riley has composed a series of critically acclaimed pieces for string quartet. He has also written for full orchestra and explored a variety of instrumental combinations. But during the 1970s, he concentrated on solo keyboard performances, continuing to make music yet writing down almost nothing. Riley selected a mode, chose a few motifs or basic patterns and then, seated on the floor in front of his audience, improvised on electronic keyboard. That instrument became an essential part of his musical identity for a while, although it was chosen in part for practical reasons. The electric organ, superseded at later concerts by a synthesizer, was portable and consistent. This enabled him to avoid unreliable pianos in venues which were less formal and more variable than the standard concert hall circuit.By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972. At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration. The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. Echoes of Terry Riley’s inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley’s ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it.  “Music is my spiritual path. It’s my way of finding out who I am.”  Terry Riley, in 1976   TracklistA Performance One 20:45B Performance One 22:00C Performance Two 25:00D Performance Two 22:45Notes° Insert with liner notes by Julian Cowley° Lacquer cut by Rashad Becker° Lay-out by Jeroen Wille° Re-mastered by Equus° Licensed from FGL Productions° Edition of 1000 copies

Repressed. LP version. Comes in a Stoughton "Tip-On" jacket; Includes printed inner sleeves. Palto Flats and We Release Whatever The Fuck We Want Records present the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient/minimal album Through The Looking Glass, originally released in 1983 by RCA Japan. Considered a holy grail of Japanese music by many, Through The Looking Glass is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience. Midori Takada is a composer, multi-percussionist, and theater artist renowned in Japanese vanguard circles. Midori has released two solo albums: Through The Looking Glass and Tree Of Life (1999) and wrote music for Tadashi Suzuki's theater plays. Her hypnotic, minimalist music is based in the concept of coherence between sound and the human body. She performs solo on marimba and other percussion instruments. She debuted on the scene of Berlin Philharmonic, performing with the RIAS Symphonie-Orchester Berlin just after graduating from Tokyo University of the Arts in 1974. She continued her career with solo concerts in Japan and abroad. In the 1980s, Midori began to explore the traditional music of Asia and Africa. Her fascination resulted in joint projects with Kakraba Lobi from Ghana, Lamine Konte from Senegal, Farafina Band from Burkina Faso, and Korean musicians: zither player Chi Seong-Ja, flute player Won-Il, and saxophone player Kang Tae-Hwan. She also led Mkwaju Ensemble's innovative percussion project and still performs with free-jazz band Ton-Klami with Kang Tae-Hwan and jazz pianist Masahiko Satoh. Takada's compositions have a remarkable way of affecting the imagination. Her minimalist, contemplative music is filled with the concept of infinity and reminds us of a moon voyage, falling stars, a journey into the ocean, or a walk in the garden. The trans melodies, initially simple, begin to loop and splinter, their rhythm breaking and thickening, slowly drawing the listener into another reality. This fully licensed reissue comes with extensive liner notes.

Peter Evans - piccolo trumpetJohn Butcher - tenor and soprano saxophonesFrédéric Blondy - pianoClayton Thomas - double bassPaul Lovens - selected and unselected drums and cymbals

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)

Joe McPhee and Ingebrigt Haker Flaten at the Sugar Maple/Okka Fest on Saturday, June 6th, 2015. Joe McPhee - tenor and soprano saxophone. Ingebrigt Haker Flaten - double bass. Recorded live by Dave Zuchowski. Mastered by Martin Siewert in July/August 2016.

Joe McPhee and Raymond Boni at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus on April 20, 1985. Joe McPhee - soprano saxophone, electronics and voice; Raymond Boni - electric guitar and electronics. The complete was concert inspired by the words of Eric Dolphy: "When you hear music, After it's over, It's gone, In the air, You can never capture it again."

Following the death of German trombonist Johannes Bauer in May 2016, Peter Brötzmann decided to pay tribute to the many years of comradery and collaboration he and Bauer shared, from Globe Unity in the '70s to the Peter Brötzmann Group and the Chicago Tentet. This disc presents a previously unreleased recording of a beautiful live duo performance from Osaka, 1997, which had been waiting in Brötzmann's archives for a release. Peter Brötzmann: tenor and alto saxophones, tárogató, B-flat clarinet; Johannes Bauer: trombone.

ohan Berthling: double bass; Martin Küchen: tenor and soprano saxophones, retardophone, flute; Steve Noble: drums and percussion. Recorded by David Carlsson at Gula Studion, Malmö, Sweden, November 1, 2015. Mixed by David Carlsson. Mastered by Martin Siewert. Cover photo by Donald Boström.

Is This Right? is Seymour Wright's third full solo record and comes as a 2 discs set in a beautiful oblong sleeve. 5 tracks recorded between 2014 and 2017 in Bologna, London and Paris. Is This Right?  continues where his last solo - Seymour Writes Back - finished, further developing a set of relationships between ideas, places, people and time, as Wright puts it, documenting 'learning about the saxophone - actual and potential - as rhthym, shadow and text'.

Issue 2 of the Cesura//Acceso, journal of music, politics and poetics. Featuring work by Paul Abbott, Larne Abse Gogarty, Kim O'Neil, Danny Hayward, David Morris, Nathaniel Mackey, Federica Frabetti and Mark Fell, Irene Revell and Annea Lockwood, ESW, Abject Subject Ensemble, Sophie Hoyle, Hannah Black, Naroder Bourniki, Paul Rekret, Clair Potter, Sacha Kahir, Byron Peters and Tyler Coburn, Pil and Galia Kollectiv and Verity Spott.

Expanded and revised hardback 2nd edition of this legendary Ra artefact. All will be shipped immediately on receipt of stock late-November.   Twenty years after its first publication, ART YARD are proud to present the fully revised 2nd edition of Hartmut Geerken’s long unobtainable Omniverse – Sun Ra, a definitive hitch-hiker’s guide to the Sun Ra galaxy. The new, completely revised edition features: -       unpublished photographs of Sun Ra and the Arkestra by Hartmut Geerken and Val Wilmer-       a fully revised discography by Chris Trent, co-author of The Earthly Recordings of Sun Ra-       articles by Geerken, Amiri Baraka, Chris Cutler, Robert L. Campbell, Salah Ragab, Gabi Geist and others-       new full colour images of hundreds of Sun Ra album covers, posters, handbills and ephemera, including reproductions of rare hand drawn and coloured LP sleevesFor five decades, Sun Ra brightened planet Earth with his unique, provocative and esoteric musical philosophy. Touring the world with his formidable Arkestra, he represented and affirmed a new vision of Black history and culture, embodied and spread a new and powerfully influential Black philosophy, and revolutionised music with sounds from beyond the purple star zone.  Ra accepted no limitation imposed on him by earthly powers: his vista was the universe, his travel was interplanetary, his music borne along the spaceways as he delivered messages of light to a sleeping world. Now more than ever, the value and radicalism of his protean musical inventiveness, his socially collective self-determination, and his philosophical and poetic profundity can be seen. Where Ra went, we are slowly going, and we will find his message for us waiting there. The new edition of Omniverse – Sun Ra is a major contribution to Sun Ra studies, and a dazzling overview of its subjects astonishingly productive career on Earth - the definitive companion to the many worlds of Sun Ra.  

Foreword by Sonny Rollins. Henry Grimes recorded and toured with some of the most imaginative American jazz musicians including Sonny Rollins, Cecil Taylor, and Albert Ayler. This book examines the bassist’s long but turbulent musical career, recounting his continuously creative artistic life as bassist, violinist and poet. Henry’s a giant. – Cecil Taylor, 2000. On the records he was on, he stood out. He had a big sound, and it really punched out whatever ensemble he was in. – William Parker, 2003. I am so happy to hear that Henry is playing again. He is one of the great individualists, and his absence left a space that nobody else could fill. – Dave Holland, 2003. Henry has always been a serious, intense, and fearless musician whose personal life reflected those exceptional qualities. I admire him greatly. – Sonny Rollins, 2007. Henry Grimes is among the greatest improvisers living in the world today. His playing is exquisite. – Roscoe Mitchell, Mills College, 2010. Barbara Ina Frenz, born in 1961 in Zurich, Switzerland, is a German historian, author and copywriter living in Frankfurt am Main. Frenz grew up in a jazz-loving family, studied history, philosophy, and art history in Frankfurt, and gained her PhD with a study on equality in the Middle Ages. Frenz was a research associate at the Universities of Frankfurt and Würzburg from1989 to ’99 undertaking historical studies sponsored by various foundations. Since 2001, after further education in creative writing, she has worked in the creative areas of advertising and as a writer of poetry, texts in history and culture, and contributions to the German jazz magazine Jazzpodium.

“Far to the North. past the towns, beyond the forests, and more distant than most have dared to go, there lies a small group of islands that against all the odds survive amongst the rocks and brine at the very edge of everything.” The Nuckelavee is a fresh re-telling of an old Orcadian folk story, written and illustrated by Oliver Barrett in this new edition from Tartaruga Press. Set across one stormy island night, The Nuckelavee follows Tammas Kelpy as he braves the wild elements and fearsome terrain, whilst something terrifying and ancient awaits him in the darkness... .Featuring stunning hand-drawn ink and pencil illustrations throughout and a hand-screenprinted dust jacket, The Nuckelavee is available in an edition of 250 numbered copies. .Oliver Barrett is a musician and illustrator whose work has featured on various prints, posters and records (both his own as Petrels as well as numerous others). This is his first book.

Published by New DocumentsEdited by Will Holder, Alex Waterman. American composer Robert Ashley (born 1930) has taken contemporary opera beyond the opera theater and into the television screen. Ashley’s operas draw an elegant cosmology of American consciousness out of storytelling, short phrases, ranting, chanting, profanity and the linguistic textures that make American speech musical. Working with the same four speakers/singers (Joan La Barbara, Sam Ashley, Tom Buckner and Jacqueline Humbert) for 30 years, Ashley has developed a collective, operatic form of storytelling whose production is almost entirely oral. Little exists on the page by way of a fully notated score, leaving the singers to fill in musical nuance and inflection through a process of “character development” that exists more off the page than on. Yes, But Is It Edible? is the culmination of activity and research around Ashley’s notational style that the editors have developed through a series of “rehearsals” and public readings ongoing since 2009.

Compost and Height is pleased to announce the publication of Patrick Farmer’s new book, Yew Grotesque. Farmer has been working on this book for the last year as part of a joint commission from Sound and Music and Forestry Commission England. It was developed during a series of week-long residential trips to Grizedale Forest, Cumbria, where Farmer resided in a log cabin and spent time walking the forested area between Coniston Water and Lake Windermere. This direct relationship between the forest and the book is veiled, though the underlying presence is integral to its makeup. Yew Grotesque completes a series of works, comprising Farmer’s previous books try i bark and wild horses think of nothing else the sea. Together the three books offer both a direct and indirect textual engagement with listening. The relationship between these publications is typified by the words of Jack Spicer, a poet who felt that his own works “echo and re-echo against each other”, “create resonances” and can’t “live alone anymore than we can”. The undertow of Farmer’s preceding books, found in the knots and temporary dichotomies of the external and internal, now find their opposite in the publication of Yew Grotesque. The new book’s underlying personality and its observation of the many divergent angles and qualities of listening was prevalent from its conception, but its role in sealing and joining the three books together was only made apparent towards its end. It is a perverse book of praise that attempts to lay itself out flat by concerning itself with the tools that can make the object, rather than the object itself. Yew Grotesque opens on the morning of a symposium, observing the protagonist as he moves through a series of exercises in a hotel room, whilst intently listening to his inner speech rehearse a speculative conversation between two dead artists.

Screenprinted on thick, quality paper and printed in flourescent colours by Tartaruga. Design by Maja Larsson / Organ studio. On our wishlist from the day OTO opened, we're over the moon to finally host one of the greatest free-music groups of all time – The Art Ensemble of Chicago! An extremely rare opportunity to see this legendary group, the impact and influence that The Art Ensemble of Chicago have had over the past five decades cannot be overstated. At turns soulful, chaotic, ennergising and transcendant – playful yet attentive, generous but untethered – the AEC helped redefine what jazz music could be and continue to seek out its future. “A legendary band that created new standards not only for improvisation but for performance as well” – All Music “One of the most enduring units dedicated to free improvisation and modern jazz composition in existence.” – Pitchfork

Screenprinted on thick, quality paper and printed on beautiful 'camel' paperstock by Tartaruga. Design by Maja Larsson / Organ studio. We are very pleased to have the legendary Peter Hammill play at Cafe Oto and have had this exquisited limited poster (100 copies) made up to celebrate.  From original listing: A very special three-day residency from the utterly distinctive and ceaselessly inventive songwriter and Van Der Graaf Generator founder, Peter Hammill. Making a mockery of genre boundaries and consistently confounding expectations, Hammill's work spans numerous styles and approaches whilst always maintaining his own unique sound. Now, nearly five decades on from the debut VDGG release, Hammill's creative spark shows no sign of abating and we're very excited to host him performing solo across three nights at OTO.

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 by Tartaruga. Design by Oliver Barrett from photos by Dawid Laskowski. From the original listing... “Born in 1947 in Paris, Tazartes has spent 30+ years within musical practice and experimentation, letting his musical work wander from chant to rhythm, from one voice to another. Utilising magnetic tape recorders, he paves the way for the electric and the vocal paths, between the muezzin psalmody and the screaming of a rocker. He traces vague landscapes where the mitre of the white clown, the plumes of the sorcerer, the helmet of a cop and Parisian an hydride collide into polyphonic ceremonies.”

A3 risograph print from the Consumer Electronics + Circuit Breaker show at OTO in April 2016. Design by Dennis Tyfus. From the original listing... “Consumer Electronics is the punk / electro / noise duo of ageing renegade Philip Best (ex-Whitehouse) and his American wife, the artist Sarah Froelich. The band's recent releases "Estuary English" (2014), "Repetition Reinforcement" (Diagonal 12", 2015) and new album "Dollhouse Songs" (Harbinger Sound) have cemented CE's reputation as prime movers in the field of avant-garde electronics, twisted beats and apocalyptic performance poetry. Stunningly produced by noise guru Russell Haswell (who will be joining them for this OTO show), the CE duo are now embarking on a year-long odyssey of live performances the world over.”