Digital Downloads

If you are interested in our downloads of high quality live recordings from the venue and exclusive digital releases from some of our favourite labels, it might be worth considering becoming a Digital Member. Members can choose 3 digital downloads a month from any label we stock, as well as receiving a discount on records, books and more from our website.

OTOROKU Downloads

Matchless Recordings

"A wonderful album of crunch ‘n’ roll, as Manchester drumming -legend Phillip Marks leads Rex Casswell (electric guitar), best known for his tenure in Stock,Hausen & Walkman, and Paul Obermayer (sampler) through some entertaining and very original music. They’ve managed to inject the rhythmic humour of Thelonious Monk into all the abraded textures favoured in post-rock and electronica, vanquishing its tendencies towards Enoesque pretension with ribald physical beats. Casswell is an astonishingly original guitarist, reconstituting the instrument from pick-up to amplifier. His beautifully-judged architectonics provide a cool spritzer to the others’ heat, as well as providing a bridge between the actuality of the drums and the virtuality of the sampler. Obermayer disdains the use of off-the-peg samples which plague much trendy electronica. He uses his sampler to bring tiny sounds into audible range. The resulting timbres are like microscopic slides in the hands of a master surrealist. Swing sans nostalgia achieves electrified materialism. Short track timings add to the decisive feel. Historic!" - Ben Watson --- Rex Casswell / electric guitarPhillip Marks / percussionPaul Obermayer / electronics --- Tracklisting: 1. mal - 3:152. swing - 7:453. meshes - 6:494. Pavo - 10:465. nobody's sweetheart - 3:166. aise - 2:347. Vela - 5:248. Grus - 12:569. swerve - 8:38 --- Recorded at LMC Sound, London, England on 10th April and 18th of September 1999. Front cover: Philip Marks

Bark! - swing

Incus Recordings

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.

Limescale - Limescale

Released in 1998, this was Bailey's first solo record after the magical number of 7 years - realised after a long period of playing with just about anybody that made sense to him. The artwork for the original CD is just textures in greyscale, the font Times New Roman and on the inside sleeve of there are no notes, just the word 'listen' in lower case. Ken Hollings wrote in The Wire upon its release, "this is the end of a dialogue."  'Takes, Fakes' starts with an abrasive 13 min live recording from a '97 concert and builds through eight gaunt and nuanced acoustic studio cuts, each snipped and selected by Steve Beresford. Once we get to 'Dead She Dances', arguably the keystone track on the record, each miniature starts to make sense as Bailey reads a deathly description of a female from his pal Peter Riley's poetry book 'Distant Point'. By the time he picks up his electric Gibson it feels like the perfect solo release - super raw and with purpose. A gem from '98 for sure. In fact, Brian Olewnick called it the best record of 1998. Oosh.   --- Derek Bailey / guitar --- 1 & 10 from a solo concert recorded by Paul Tyson, September 1997. 2-9 studio recordings by Dave Hunt, produced by Steve Beresford, May 1997.  Post Production by Tony Robinson, and desgin and layout by Karen Brookman.  Acoustic guitar built by German cello maker Henner Hardenberger.  Electric on 10 is a Gibson 175. 

Derek Bailey - Takes, Fakes and Dead She Dances

Confront Recordings

".... it was October 2013 ... Radu, Klaus and Nikos came to Japan. The last day of their tour, Ftarri was booked but it was uncertain what would be done there ... so we decided to invite all our friends to join just a few days before."- Taku Unami "In the fall of 2013, Radu Malfatti (trombone), Nikos Veliotis (cello), and Klaus Filip (ppooll), were on a tour of Japan where they performed in various combinations, including a number of collaborations with local musicians. For the last day of their tour, the three were invited to play at Ftarri, a music store and performance venue in Tokyo. They were joined by a stellar cast of musicians, most of whom they had long-standing relationships with (Taku Sugimoto, electric guitar; Tetuzi Akiyama, acoustic guitar; Taku Unami, electric bass; Moé Kamura, voice; Kazushige Kinoshita, violin; Masahiko Okura, tube; and Toshihiro Koike, trombone). The recording and mastering by Unami captures the proceedings in intimate detail, placing the muted shadings and open structure of the piece in natural contrast to the room sound." – Michael Rosenstein, Point of Departure  --- Tetuzi Akiyama / acoustic guitar Moé Kamura / voice Radu Malfatti / trombone Kazushige Kinoshita / violin Masahiko Okura / tube Nikos Veliotis / cello Taku Unami / electric bass Toshihiro Koike / trombone Klaus Filip / ppooll Taku Sugimoto / electric guitar --- Recorded live at Ftarri on 16th October 2013 by Taku Unami. Mastered by Taku Unami. With thanks to Mark Wastell. 

Akiyama / Kamura / Malfatti / Kinoshita / Okura / Veliotis / Unami / Koike / Filip / Sugimoto - 10tet

Field recording artist Jeph Jerman and percussionist and sound designer Tim Barnes offer powerful, minimal music rooted in a shared dedication to the creative act of listening. Recorded live during their 2015 visit to Non-Event in Boston, MA, Goethe is an impossibly detailed and displaced inventory of sounds composed and structured in the sonic territory of Graham Lambkin or Taku Unami.  From the Confront press release: "Across a dozen years, the duo of Jerman and Barnes has offered powerful, minimal music rooted in a shared dedication to the creative act of listening. Jerman is a veteran of the creative music scenes in Denver and Seattle, and in more recent years has been thoroughly investigating the sonic possibilities of the desert Southwest where he lives and works. Tim Barnes's resume as a percussionist, engineer, and curator is studded with all-star collaborators including Tony Conrad, Sonic Youth, Ken Vandermark, Royal Trux, and Tower Recordings. With two acclaimed releases under their belt, Matterings (erstwhile) and Versatile Ambience (idea intermedia), Jeph and Tim feel that they are in the most productive period in the duo's history. Goethe is a live performance from their 2015 visit to Non-Event in Boston, MA." -Confront --- Jeph Jerman / tapes, objects, harmolinTim Barnes / tapes, objects, sampler --- Recorded by Ernst Karel live at Goethe Institute, Boston, MA on Matterings Tour 2015. Mastered by Chris Kincaid. With thanks to Mark Wastell. 

Jeph Jerman & Tim Barnes - Goethe

MIE

Blood n guts folk from the Anglo-American duo. Searing harmonies and sparse, vital instrumentation breath new life into timeless tales of love, loss and death. Originally released to critical acclaim by No-Fi Recordings and then reissued by MIE Music in 2011, Dumb Supper is by all means one of the most interesting and exciting revivalist recording of traditional songs we've heard in years. Cath and Phil believe in folk retaining its original storytelling function, so all the songs on the album are adaptations of songs they have unearthed or which have been passed on to them through family members, musical collaborators, and their own love of the original information highway - folk music. If you missed the physical, snap this up and get yourselves down to see them here this Thursday. “Dumb Supper is one of those rare modern folk albums that will find a home in both the longstanding ‘traditional’ music community and among those attracted to the form’s more experimental and lo-fi possibilities….It’s a weird looking-glass effect many folk fans will be familiar with: the straighter you play it, the stranger it gets…Shirley Collins always understood this and so do Cath & Phil Tyler.” – Frances Morgan, Plan B Magazine --- All songs traditional except: Farewell My Friends & Morning - adapted from Sacred Harp. Death of Queen Jane - Words trad. Music Tyler Yellowhammer - Tyler Dewdrop - Words trad. Music Tyler Wild Stormy Deep - by Homer Cornett Slumber Boats - by Alice Riley/Jessie Gaynor  --- Recorded at Summerhill Square, Newcastle Upon Tyne in the first half of 2007. Arranged by Cath and Phil Tyler. Artwork by Jim Oss. Produced by Andrew Hodson. 

Cath & Phil Tyler - Dumb Supper

Effigy is Pelt's first new batch of new recordings since 2007, and their first album since Jack Rose's death in 2009. Simultaneously frenetic and meditative, it's a raga seared in pulsating low-end piano, scorned and mournful strings and swarming harmonium.  “What separates Pelt … is the willful sonic escalation from monk chant and Appalachian bowed sitar to Blue Ridge mountain grinding ear-death. … They’ve not become giants; they’ve become the mountain.” - The Washington Post From the original MIE press release: MIE Records are unbelievably honoured to be releasing, the first album recorded since 2007 by the acoustic-only droners Pelt. Recorded live in June 2011 in an old yoga studio in Mount Horeb, Wisconsin and a decommissioned synagogue called the Gates of Heaven in nearby Madison, the band have laid down their most accomplished and fully realised work to date. Epic in every sense of the word, Effigy is a sprawling journey through their singular plan on the musical map. Layer upon layer of droning strings melt over never-ending harmoniums which threaten to engulf you whilst peals of gongs ring out to mesmerising effect. Effigy sees Pelt reaching their blissful sonic enlightenment. Effigy is a testament to the ancient animal shaped mounds called ‘effigy mounds’ which dot the landscape in and around Madison, Wisconsin. No one has yet managed to work out who built these creations. Over the centuries they have greatly reduced in size but still the largest can measure up to 400ft in length, and the outlines of birds, lizards, deers and bears are all clearly visible to the observer. Soil would have been carried from afar to construct these huge monuments with only crude implements to hand. The erection of the monuments would have surely have to have been carried out by practically an army of workers or inhabitants and taken a very long time to build indeed. --- Recorded by Pelt. Mixed by Jason Meagher. Mastered by James Plotkin. Artwork by Jake Blanchard. With thanks to Henry MIE. 'Ecstatically dedicated and indebted to eternal spirit of Jack Rose.'  

Pelt - Effigy

Long out of press mighty gamelan collab from members of US drone collective Pelt, the UK's Part Wild Horses Mane on Both Sides and New Zealand guitarist Michael Morley aka Gate. Recorded at 2012's TUSK festival in Newcastle-upon-Tyne, the huge ensemble folded up into a mid-size room in a little corner of England and tapped into the music that has long transfixed the world - but with as much raga and hillbilly influence as Indonesian. Be warned, this is not 100% holy. Soon, avain hymns give way to drones akin to those of Vibracathedral Orchestra, and low, slow tones eat at your redeeming thoughts. A one time super-group and damn were they super. Official MIE press release: "In October 2012, at the Tusk Festival at Newcastle-upon-Tyne, noise emissaries from three continents came together on a Sunday to make music for an hour or so. From the United States came Mike Gangloff, Nathan Bowles, and Patrick Best of the mighty Virginia drone collective Pelt. Representing the United Kingdom were sonic pilgrims Pascal Nichols and Kelly Jayne Jones of Part Wild Horses Mane on Both Sides. And from Oceania came the transcendent New Zealand guitarist Michael Morley of Gate and, of course, the legendary Dead C. This summit proceeded without words. Their chosen means of deliberation was the gamelan: an array of gangsa and saron metallaphones and singing bowls sprawled out on the patchwork oriental rugs; a rig of gongs; the flurry of hammers and mallets; a few dozen onlookers seated cross-legged or just laying prostrate on the floor. And everyone and everything was transported. - Brent S. Sirota ---  Recorded at TUSK Festival 2012 at Star & Shadow Cinema, Newcastle upon Tyne, UK. Live sound by Steve Nicholson and Stosh. Recording by Sam Grant. With thanks to Henry MIE.  www.tuskfestival.com

Pelt Part Wild Gate - Hung on Sunday