Vinyl

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 These recordings of Gaelic Psalm singing were originally made over two evenings in the Back Free Church on the Isle of Lewis in October 2003.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

Salm: Gaelic Psalms from the Hebrides of Scotland, Volume One

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

THE LONDON CONCERT / THE TOPOGRAPHY OF THE LUNGS 2LP

Honest Jon's Records present Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Kicking off a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo and in duos with Anthony Braxton (HJR 201LP) and Han Bennink (HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1971, Solo Guitar Volume 1 was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas.

Derek Bailey - Solo Guitar Volume 1 2LP

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Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue."What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His 'Florence Nightingale' is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann's 'Elements,' African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove's long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent." --Thom Jurek, AllMusic, 1991

BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFF - Elements LP

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

BROETZMANN / EDWARDS / NOBLE - THE WORSE THE BETTER

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

HAINO KEIJI / JOHN BUTCHER - LIGHT NEVER BRIGHT ENOUGH

Previously unreleased mid-'90s live recordings of Harry Pussy in peak trio formation, with extensive eye-witness liner notes by Siltbreeze label-head Tom Lax and Tom Carter of Charalambides. Edition of 500. "The 1996 Shadow Ring / Harry Pussy / Charalambides 'Rose Watson' tour. . . . There were two vans, three bands, two drivers. Tom Lax was at the helm, rationing the booze and blasting Killed By Death Volume Whatever all through the Midwest. I walked out of a gig in Ypsilanti and tripped on a large dildo. Soundmen held their ears in Cleveland. We rolled out of Rochester (after Adris and my bandmate Jason blew an entire soundcheck screaming insults at each other in Spanish) and the soundman stuck his head in the car and yelled 'don't ever come back!' Byron Coley booked a show in Amherst with an audience of zero. Harry Pussy and Shadow Ring played, we didn't, and everyone was hanging out afterwards in front of the Unitarian Church when the local bus pulled up. Its lone occupant stepped out, looked around, and asked 'Is this where the Harry Pussy show is?' The TT's show, snipped from the end of this tour, was a shambolic near disaster. The fact that a recording survives at all is a minor miracle. We arrived to witness openers the Cotton Kings fleeing the venue after eating a bunch of acid, destroying the PA monitors, and swiping Adris's cymbals, which one tripping, bathrobe-clad member slunk back to return later. . . . Mr. Lax tried to calm me down by feeding me bourbon shots. We played. The PA was shot and we couldn't hear each other. I hurled my guitar across the stage, poured my beer over my head, and threw a pair of slides into the crowd, narrowly missing Wayne Rogers. Harry Pussy took the stage and sandblasted the night into oblivion, while I hid in the van (Mac: 'What the fuck is your problem?') until I was sober enough to attempt to find the Greyhound station and catch the first bus back to Houston. Christina spotted me wandering off and forcibly dragged me back into the club." - Tom Carter

HARRY PUSSY - A REAL NEW ENGLAND FUCK UP LP

Performed by The Gate 5 Ensemble: Harry Partch (director), Danlee Mitchell, Harry Partch, Michael Ranta, Emil Richards, Wallace Snow, Stephen Tosh. Limited edition LP release (180 gram vinyl) with previously unpublished bonus tracks + free download card. "'In late 1962 Harry Partch returned to California and began a project that would not only become the bones of a masterwork, Delusion of the Fury, but have a life of its own. In a too-small space within an abandoned Petaluma chick hatchery, Partch gathered the instruments he had designed and built -- new and old -- eager to once again expand the boundaries of his compositional fabric. He learned each individual part as he composed, establishing that it could be played. And On The Seventh Day Petals Fell In Petaluma(1963-64, rev. 1966) was born of his exploration and assembled with that 'minimum of players' over a three-year period. In spite of rough conditions and meager resources Partch's dogged persistence, along with the efforts of his dedicated assistants, eventually succeeded in realizing the 34 verses of expanded duets. With this album we revisit an important work and turning-point, guided by the original 'Statement' Partch wrote for the first commercial release of the piece. Previously only excerpted, it is a voicing of his beliefs that transcends one project to illuminate an entire purpose. We also reprise exquisite notes by the late Bob Gilmore, who distills and explains the story of Petals so clearly and eloquently. No one wants a dead reissue, so by digging into the archives, I am pleased to offer hidden gems. First, The Petals Sessions is an aural glance into the cramped quarters of the recording space, as composer and players labor to bring new notes to life, Harry himself giving direction. The montage ends with a 'test take' by Danlee Mitchell and Michael Ranta that could have easily been a keeper! Finally, we present the original Verse 17. In 1964 Partch wrote two duets that used the Adapted Viola; by the time the piece was finished in 1967, he had excised them. The ending track -- never before released -- brings Harry back to life, playing and recording Adapted Viola for one of the last times. I was completely unaware of this recording until I examined the outtakes and it glows, fifty years on. That Petalsever came to be, like much of Partch's story, stands somewhere between determination and miracle.' --Jon Szanto, The Harry Partch Foundation"

HARRY PARTCH - And On The Seventh Day Petals Fell In Petaluma LP

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

Charlemagne Palestine - Strumming Music LP