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Takuroku

Our new in house label, releasing music recorded in lockdown.


Tracklisting:1 - 'SISTER' [23:48]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

Alya Al-Sultani & Mariam Rezaei – Sister

Tracklisting:1 - orioNoiro [32:59]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

CALHAU! – orioNoiro

Tracklisting: Improv 1 [2:45]Improv 2 [2:17]Improv 3 [2:30]Improv 4 [2:28]Improv 5 [2:45]Improv 6 [2:48]Improv 7 [2:35]Improv 8 [3:04]Improv 9 [3:27]Improv 10 [3:50]Improv 11 [4:00]Improv 12 [2:01]Improv 13 [2:36]Improv 14 [1:39]Improv 15 [2:26] Pleased to reveal a new release from prolific experimentalist Mamer. "A natural born multi-instrumentalist blessed by a prodigious gift, an iconoclastic music author notorious for reticence and reclusiveness, and a profound contemplator about the contemporary conditions of Kazakh culture with an often dystopian vision." - Mabu Li, The Wire The unbounded creativity and elasticity of Mamer's practice finds itself at home in this new release. Tying his fingers to the strings of his guitar, he engages with a wide array of acoustic and fx-driven approaches, exploding the melodic, rhythmic and textural possibilities of the instrument wide open. Winding pitch-shifted motifs unfurl themselves slowly before falling off-track and into unknown terrain. Elsewhere lightning fast runs and percussive attacks on the strings collide and soar towards maximalist flurries. Mamer's approach to his instrument nestles itself closely to Kazuhisa Uchihashi's pliant guitar playing and Fred Frith's wiry explorations, but heralds its own incendiary potential. This is music that literally can and does go anywhere, gleefully subverting any improvised tropes and delving itself deep into a world of sonic oddness. -- Mamer - guitar & fx-- Cover design by Oliver Barrett Recorded & Mastered by Fan JunzheRecorded in December 2017

Mamer – Freeze Wizard

Tracklisting: 1 - Country Dustbin [52:52] --- BOOK VERSION 72 page paperback featuring ALL of the lyrics to the longest song in history. Essential companion piece to the musik. Also an unputdownable piece of standalone verse. Dan Haywood's practice exists in the liminal space between folk, pop and outer-musics. Indebted to troubadour cultures as much as natural history, psychogeography and centuries of British poetry and prose, his work takes singer-songwriter culture to the edge of the cliff, tip-toeing off the precipice, occasionally flying freely over uncharted territory. For this new one-track album Dan uses the aesthetic language of American music (the cyclical dirge of blues and rock'n'roll, the organ funk of r'n'b, the rhythmic syntax of hip-hop) and folds them into a subjective template for his 'Country Dustbin': a song that attempts to come to terms with the clutter of a life in the 20th & 21st century. He utilises the Country Dustbin, in his own words, as “a bottomless pit when you need to dispose of a traumatic episode, a confession booth, a time capsule… an alembic to distil experience, a torch to illuminate a mystery, an arena for a reckoning.” From Los Angeles to Peckham, from Armenia to Perry Barr, switching between autobiographical scenes and stolen observations of the lives of British people, Haywood conjures poetry that walks a tightrope across the joyful, the sad, the wondrous, the banal. Unburdened by dogmatism or linearity, there are glints of Ted Hughes, J.H. Prynne, Robert Burton and Bob Dylan, whipping his observations to allegorical and metaphysical heights. Each syllable is wedded to the band’s hypnotic beat as organic sounds unfurl throughout the 53-minute duration of the piece.Following a slew of ambitious projects, beginning in public with his star-gazing New Hawks triple LP in 2010, and more recently a series from his high gain outfit Pill Fangs, 'Country Dustbin' finds an uncompromising artist playfully pushing songcraft to new places. -- “The best songwriter you’ve probably never heard of has delivered another diamond” Record Collector  “Very far out” David Berman

Dan Haywood – Country Dustbin

Tracklisting: 0:00~ Wondering4:30~ Wandering8:12~ Incubated Soul of Julious Arnest14:44~ Lament17:44~ Brass Sand23:26~ A New Hedge27:22~ Perseverance29:04~ Proxemics31:02~ Pest Notification 32:00~ Lower Side of the Blues 32:55~ Apparatus37:25~ (Applause) "When I think of home recording, I remember all kinds of experiments I did with cassette tapes in my teens. On bootlegs by Lou Reed and John Lennon they would push the record button of their reel-to-reel tape machines. I used to make demo tracks for albums with them in mind, playing the acoustic guitar in the kitchen or somewhere. It's a good old, tasty sound. On the other hand, although I recently got some new recording equipment, I didn't feel like making a demo with them because they were too gorgeous for me to use. The sound was too good. I also played around with a small old cassette recorder, but it also didn't work. Instead, I was listening back to the live recording archives which I had left unattended for more than a decade, and found out that the sound quality and content of the live concert source in Brazil about 13 years ago was quite like a home recording (there's the applause in the end, though). It's a bit sloppy, but for this release, I proposed this material to Takuroku as a response to their kind offer. Although the organizer, Peter, recorded it on a reel-to-reel, the sound was twisted in some places, and it was a bit like a lo-fi cassette. It's pretty good. Like the demo tapes, there are some tunes that haven't been officially released as studio recording yet (I will include one of them in the near future coming album dedicated to three hippies of turbulent Shinjuku in the 60’s). On the release I also play three tunes which are in my solo album “Thaumaturgy”, which was released last year. It means so much to me that I can let them go after such a long time. Well, now that I've made a series of excuses, please overlook mistakes here and there. Here you go." - Tetuzi Akiyama, May 2021 -- Composed and performed by Tetuzi Akiyama (acoustic guitar) -- Recorded on a reel-to-reel tape recorder by Peter Gossweiler on 6th October, 2008 at Sol da Terra / 13o Festival de Música Livre, Florianópolis, BrazilMastered by Toshimaru Nakamura in 2021Thanks to Peter Gossweiler, Toshimaru Nakamura and Japan Foundation

Tetuzi Akiyama – Thou Shalt Not Hurry

Tracklisting: 01. Eyes Recycle [4:43] sampling from‘Eyes / Tenniscoats(written by Saya)’ album : Music Exists Disc.4 / Tenniscoats -- 02. It’s my past Recycle [3:53] sampling from‘On the Beach Boys Bus/ Tenniscoats(written by Bill Wells)’ album : Hope you are wells / Tenniscoats -- 03. Baibaba Recycle [3:53] sampling from‘Baibaba Bimba / Tenniscoats & Tape(written by Saya)’ album : Tan-Tan Therapy / Tenniscoats -- 04. Sabaku Recycle [5:16] sampling from‘Sabaku / Tenniscoats(written by Saya,Thomas)’ album : Tokinouta / Tenniscoats -- 05. Moriwo Recycle [4:31] sampling from‘Mori wo Nukeru Mori no Umi ga / Tenniscoats(written by Saya)’ album : Tokinouta / Tenniscoats -- 06. Stone Recycle [3:32] sampling from‘Stone Dance / Zayaendo(written by Masaharu Seki)’ album : Zayaendo Music / Zayaendo -- 07. Tree Recycle [3:51] sampling from‘Tree or not to be / Tenniscoats(written by Saya)’ album : We are everyone / Tenniscoats An all new release by the glorious Japanese duo Tenniscoats - one of our personal favourites here at OTO. Recycling is the term Tenniscoats use to describe this new release, which features re-imaginings of some of their past work. Rather than eskewing the songs, each track is infused with a sort of ebullient electronic pop, with crisp drum machines, samples of Saya's voice and synth pads shining rays of light into their sound world. Elements of the tracks are cut, spliced and re-edited in a tongue-in-cheek DJ-remix style, but retain all the charm and beauty of the original compositions. As with all of Tenniscoats' best work, everything is kept tender, compact and intimate. Music that is weightless and breezy as a Joao Gilberto ballad or one of Young Marble Giants' more upbeat numbers. Happy to get this out in time while there's still sun in the sky. -- Tenniscoats : Saya and Ueno -- all beats, instruments worked by Uenosome keyboords, almost vocals, lyrics by Sayaexcept ‘On the Beach Boys Bus’ - lyrics by Bill Wells recorded by Ueno, Sayamixed by Saya

Tenniscoats – Song Recycle

Tracklisting: 1. Portals [2:17] 2. Erratics [2:32] 3. Transfigurations [2:03] 4. Emergences [2:20] 5. Afterlives [2:22] 6. Subcontinentment [10:22] : i. South Asian Futurism  ii. Rest  iii. The Too-muchness of Life  iv. Indirect Vision  v. Pleasure, even at the end  Very pleased to digitally release this set of music and poetry from the polar circles from Himali Singh Soin & David Soin Tappeser. ‘we are opposite like that’ is a vast series of interdisciplinary artworks that comprises fictional mythologies for the poles, told from the non-human perspective of an elder that has witnessed deep time: the ice. The release of ‘we are opposite like that’ nestles itself in the twilight of 2021, year of fires and floods, in mourning and as an attempt to remember the last vestiges of ice on Earth. The first part of the release features an original score for string quartet inspired by field recordings from the Arctic and Antarctic circle. The music recounts the tale of the omnipresent anxiety in Victorian England of an imminent glacial epoch. The disorienting fear of an invasive periphery sent shudders through the colonial enterprise, the tremors of which can be felt in contemporary times. The 2nd part of the release, ‘Subcontinentment’, is a manifesto that posits a South Asian Futurism, anti-chronicling the geopoetic links between the poles and the Indian subcontinent. The extra-terrestrial echoes of stones skimming on frozen lakes sound like firecrackers, blackening the air. The soundscape is set against the image of an alien figure from the equator traversing the blank, oblivious whiteness, slowly transforming into glimmering ice. The album will be released later this year on vinyl, and will include a limited edition print comprising imagery and poetry from the visual ‘we are opposite like that’. -- Mastered by Oli Barrett

Himali Singh Soin & David Soin Tappeser – we are opposite like that

Tracklisting 1 - Tosaka to Watashi (The Combe and I ) [10:55] 2 - Yujyufudan na Kaeru (The Indecisive Frog) [12:33] Please note that were are a few short gaps in the raw audio of this recording. We have decided to keep these in the mastered version in order to preserve the flow and quality of Akira Sakata's performance.So pleased to present this new intimate solo saxophone recording by the utterly singular Akira Sakata. We can't wait to have you back at OTO some day, Akira! “Under the Covid 19 pandemic all the musicians and live music venues’ livelihoods are under threat. Currently, August 5, 2021 is in the middle of the TOKYO 2020 Olympics. Over 5,000 infected people, It jumped 10 times more than before the Olympics. We have entered an unknown territory. I am lucky to live. This solo is a continuation of the recording prepared to take a video in memory of the late John Russell. It was recorded at Bar Isshee in Tokyo. Many musicians, including Toshinori Kondo, died this year, but I couldn't even go to the funeral. I'm sorry. I can't help but hope that cafe OTO will hold up and this pandemic will end soon. " - Akira Sakata Japanese translation: 「Covid-19のパンデミックの中でミュージシャンとlive houseは誠に残念な状況下にあります。 現在2021年8月5日はTOKYO 2020 Olympic の真っ最中です。感染者は5000人を超えて、 オリンピック前の10倍に跳ね上がりました。最早未知の領域に入りました。私は幸運にも生きています。 このsoloは 故John Russel追悼の映像を撮るために用意した録音の続きであります。東京にあるBar Issheeで録音したものです。今年も近藤等則をはじめ多くのミュージシャンが亡くなりましたが、葬式にも行けませんでした。残念でなりません。cafeOTOが持ちこたえられること、このパンデミックは早く終息することを願わずにはおれません」 -- Recorded at Bar Isshee Tokyo Recorded on 13 Feburuary 2021 Recorded by Eriko Suzuki(suzueri) Mastering & cover design by Oliver Barrett

Akira Sakata – Tosaka to Watashi