‘Three well crafted gems of abstract electronic gestures... If Joan Miró’s biomorphs could sing, this is what they’d sound like’ - Todd Barton Ben Carey is a Sydney-based saxophonist, composer and technologist. His practice is profoundly informed and extended by technology, through the creation of audio-visual works, the development of his interactive performance software: _derivations and more recently, his fixation on modular synthesis. Ben's work is driven by a fascination with the symbiotic relationships that develop between human and machine in composition and performance.   ‘The three pieces on this record are the result of live interactions with complex and unwieldy networks of electricity, realised on a small eurorack modular synthesiser system in the studio sometime between late 2017 - mid 2018. Over the past few years this instrument has become a core part of my musical practice. For me, working with a modular synthesiser is about experiencing musical composition as an interactive process, where the lines between sound design, composition and improvisation are enticingly hazy. The first two pieces are edited from longer improvised sessions on the instrument. ‘Peaks’ evolves from a single, restless microtonal line into a sea of metallic resonances and unstable bass snarls. Named after the Danish physicist Søren Absalon Larsen, the second work explores a gestural language based around audio-feedback, the acoustic phenomenon he discovered. Feeding the outputs of filters, oscillators and amplifier circuits back into their inputs, ‘Larsen’ exploits the resultant textural, timbral and rhythmic instability of these chaotic vibrations. Finally, the long-form improvisation ‘Networks Articulated’ drives relentlessly forward through active surface textures to arrive at a monolithic, suspended noise-scape woven from un-synced oscillators, swirling filters and crackling analog noise.’ - Ben Carey

The debut release from the trio of Chris Abrahams (piano), Clayton Thomas (bass & preparations), & Miles Thomas (drums & percussion), Words Fail is an intergenerational meeting of the minds. Despite the quintessential trio format, the sound world subverts the instrumentation across four expansive improvisations. Beginning with a lone piano note, repeating like droplets of water on a glassy lake, the interwoven textures of Clayton Thomas’ prepared double-bass & Miles Thomas’ foley-like percussion - sounding on occasion like something out of Xenakis’ Pithoprakta - soon attempt to pull things into deeper, darker waters.

"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.  Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.  For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.  The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.  Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag. Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth. By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism. This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music." - Thurston Moore, London, 2025  For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.  --- Bill Nace / electric two string taishōgotoEvan Parker / soprano saxophone --- Arrives in a tip on sleeve with artwork by Bill Nace. Edition of 500 released as a split with Bill Nace's Open Mouth Records. If you're in the USA we advise you buy locally.  Recorded live at Cafe OTO on Friday 25th May, 2024 by Billy Steiger. Mixed and mastered by Brian Haran. Cover art by Bill Nace. Photo by Dawid Laskowski. Layout by Neil Burker & Bill Nace.  --- "The piece possesses exceptional cathartic beauty, with a power that seems to emerge from the mists of time, yet it feels more essential and compelling than any modernity. The 40-minute performance, built on loops and repetitions, forms a seamless whole that is impossible to pause, let alone stop. It is an experience that hypnotizes the mind into a marvelous trance, where the intensity of the performance fades behind the beauty of the perfect complementarity of sounds and the music shared by these two musicians. Branches is an exceptional release." - Best of Jazz

Originally issued on cassette in limited runs between 1989 and 1990, At That Time is a long-overdue excavation of Nostalgie Éternelle – one of the most quietly crucial names in the European DIY underground. The compilation brings together tracks from three early self-released tapes – Damned Forever Those Who Listen To This Tape (split with Due), Art Is The Tool (split with From Nursery to Misery), and Virtual Reality (split with PN 4632402) – issued on the band’s own One Last Dream label and circulated through Europe’s mail-based cassette network. Formed in the small northern town of Leer in 1986, Stefan Heinze (aka Inox Kapell) and Dieter Mauson (later of Delta-Sleep-Inducing Peptide) worked with what was at hand – battered drum machines, cassette decks, synths, tape loops, found sounds – and pushed it into strange, low-lit zones between minimal synth, ambient-industrial, and new wave abstraction. Their sound was shaped as much by environment as influence: the clang of metal from a nearby workshop, Dutch radio static, local zines, field recordings in tunnels, and the distant pull of DAF, The Ex, Cluster and Palais Schaumburg. They didn’t chase scenes – they stayed locked in their own language, quietly radiating outward. These recordings land somewhere between NDW, DIY industrial, coldwave and post-punk decay – think early Portion Control, Legendary Pink Dots, Das Ding, P16.D4, or the more atmospheric zones of Nocturnal Emissions. Nostalgie Éternelle remain one of the great cult acts of the era, their output shaped by instinct and sustained by exchange. This LP captures them in full motion: abstract, skeletal, emotive, and locked into a sound entirely their own. Recently restored and remastered from the original tapes, this release marks the first time this material has appeared on vinyl, providing a vital compilation for those tracing the margins of the European tape underground.

Orchid Mantis, by Michelle Helene Mackenzie and Stefan Maier, is a work that draws its inspiration from the history of the Sanzhi Pod City, in northern Taiwan. Sanzhi Pod City was built from 1978 onwards, made up of buildings constructed from assemblages of ‘pods’ inspired by the futuro houses of Finnish architect Matti Suuronen. The project was abandoned in 1980, following a number of accidents during construction and persistent rumours that the site was haunted. However, this wasteland of a city has allowed insects to proliferate, in particular five species of orchid mantis. It is this strange environment, made up of utopian buildings, proliferating insects and vegetation reclaiming the site, that serves as the imaginary space for Michelle Helene Mackenzie and Stefan Maier’s music, a music of carefully designed pace and progression, drawing, through resonance and stridulation, subtle sonic materials that guide and accompany us into multiple worlds with admirable ease and grace.  — Breach, by American composer Olivia Block, engages in a dialogue between field recordings and synthesised sounds, creating a vibrant plea for wild spaces that face an ever-growing threat to their survival from human activities. The work is based on recordings collected in the San Ignacio lagoon in the Mexican part of Southern California. This lagoon is known as a breeding ground for eastern Pacific grey whales. With the help of precise electronics, the music unfolds like a drift, depicting the subjective soundscape of whales caught up in the noise of the Anthropocene. The composer uses otoacoustic emissions in particular, representing the sound saturation caused by humans in the habitat of these large marine mammals. Going beyond a merely descriptive dimension, Olivia Block manages to transcend her subject to offer a fascinating musical form that engages the listener in a constantly renewed way.

Dan Melchior has a wild history, brain and catalogue. Penultimate Press is honoured to add to it. The former and later that is. This is Melchior's first piano recording. “I used my girlfriend Jessica's piano and got a fairly cheap mic from the guitar centre that could just be plugged onto the end of a guitar cable.” The reverb is natural, as the piano sits in a large, mostly empty room. Hill Country Piano is the result of a human music box mind brimming with many a corner somehow aligning with chambers still being told. Melchior does not play the piano in any formal way, as you can probably tell. He played and recorded the piano, with simple repetitive parts, whilst listening to previous recordings on headphones. Then the magic happens. The gentle introduction of a banjo on Sparrow Song paints the reality of an America now lost. The percussion on the self-titled track unravels a psychedelic gamelan piano duo residing in the now. It didn't start out that way,it never does, but this slow burning trip around a mind/world happened to come into formulation just as an interest in Pascal Comelade was coming into play. All original piano was recorded in Austin. 4U.Dan Melchior is from London, England. He has lived in various cities in the USA for the last 24 years.Melchior’s resume is as unique as it is exciting and diverse. Having cut his teeth in the land of garage rock as a collaborator with Billy Childish and Holly Golightly his vision takes sharp twists landing on Graham Lambkin’s strange and beautiful experimental label Kye with two records which broke not only the mould of himself but that of the song itself.Melchoir is a musician with a voluminous discography which embraces many different forms of expression, from song based rock to pure textural explorations. His music has evolved significantly, to become a distant entity from some of his earlier blues-based work, showing a definite influence of more experimental bands such as The Homosexuals and The Fall, and some absurdist elements which have led to comparisons to compatriot exponents of that genre, Vivian Stanshall and Syd Barrett.Always experimenting with form in an original manner avoiding any inherent genre anchor. Blues is referenced and extended, musique concrete is found embedded in the song.Melchior has collaborated with artists as diverse as Billy Childish, Sigtryggur Berg Sigmarsson, Letha Rodman Melchior and the LAFMS outfit Dinosaurs With Horns. Just as diverse are the record labels he has been associated with, including Sympathy for the record industry, Siltbreeze, Kye, Ultra Eczema, Chocolate Monk, Ever/Never, Feeding Tube and Penultimate Press, and more.Melchior supports himself in recent years as a portrait artist, while pursuing various divergent paths, both artistically and musically.

A feverish essay of transcendent drumming: Chris’ solo approach, rooted in the exploration of elements of extended technique, sought another level, via possibilities facilitated by a self-made string drum! The Key (Became The Important Thing [& Then Just Faded Away]) brings his encompassing focus on free improvisation and noise into a granular fusion with acoustic experiments and hot-wired ideations of hard rock riffing and the post-punk sound.

ollowing their collaboration on 2021’s Oscar winning Drive My Car, Eiko Ishibashi & filmmaker Ryusuke Hamaguchi up the ante with a deeply inspired synergistic exchange: music for images, visuals for sounds. Eiko’s score initiated the project that has become his celebrated new film (Best Picture – BFI London Film Fest, Asian Film Awards, Silver Lion – Venice Film Fest, Best Score – Asia Film Awards). Every nuance mixed & mastered by Jim O’Rourke.

More in tune now with the rhythm of the sun and moon, Xylouris White speak to each other across great distances with the intuition and fellowship that can only be found over years in each other’s company. With fewer distractions, appreciative of the freedom to play with new sounds and spaces, they carve The Forest In Me from unbelievably thin air.

Koln, Germany around 1991. After a 40-minute train ride from Aachen, Christoph Heemann and Jim O'Rourke are sitting around with Jan St. Werner, C-Schulz, Frank Dommert and George Odjik. Heemann has brought with him a strange obscure disc (what else?) from Portugal by some group called "Plux Quba." Or is it the record? The label? Who knows, because no one here reads Portuguese, dummy! But what they do know when the needle hits the groove is that they've never heard anything like it. Attempts to cite reference points are soon given up, there are some similarities to Robert Ashley's later work, but even that is deceiving. It is simple, gentle, melodic, and yet completely alien. Originally released in 1988 on Ama Romanta, and reissued last in 1998 on Moikai.

OTOROKU is proud to reissue Evan Parker's first solo LP "Saxophone Solos". Recorded by Martin Davidson in 1975 at the Unity Theatre in London, at that time the preferred concert venue of the Musicians' Co-operative, Parker's densely woven and often cyclical style has yet to form; instead throaty murmurs appear under rough hewn whistles and calls - the wildly energetic beginnings of an extraordinary career.  Reissued with liner notes from Seymour Wright in an edition of 500.  --- "The four pieces across the two sides of Saxophone Solos – Aerobatics 1 to 4 – are testing, pressured, bronchial spectaculars of innovation and invention and determination. Evan tells four stories of exploration and imagination without much obvious precedent. Abstract Beckettian cliff-hanging detection/logic/magic/mystery. The conic vessel of the soprano saxophone here recorded contains the ur-protagonists: seeds, characters, settings, forces, conflicts, motions, for new ideas, to delve, to tap and to draw from it story after story as he has on solo record after record for 45 years. ‘Aerobatics 1-3’ were recorded on 17 June 1975, by Martin Davidson at Parker’s first solo performance. This took place at London’s Unity Theatre in Camden. ‘Aerobatics 4’ was recorded on 9 September the same year, by Jost Gebers in the then FMP studio in Charlottenburg, Berlin. Music of balance and gravity, fulcra, effort, poise and enquiry. Sounds thrown and shaken into and out of air, metal and wood. It is – as the titles suggest – spectacular." - Seymour Wright, 2020.

"The three musicians seem to exchange and overlap tones, creating the feeling of a single and continuous arc extending, curving in space, a kind of bridge or thoroughfare outward." – Stuart Broomer (liner notes) ---VellumMagda Mayas pianoJohn Butcher tenor and soprano saxophonesTony Buck drums ---recorded on 30 November 2019 at ausland, Berlinengineered by Andrew Levineedited and mixed by John Butchermastered by Andreas 'Lupo' Lubichliner notes by Stuart Broomerlp design by Yaqin Siinner sleeve photography by Cristina Marx/Photomusixmanufacturing by Daniel Klotz/Die Lettertypen

Butcher is interested in particular people and their personalities. He prefers not to work in a generic situation, where there's an agreement in advance to play a certain kind of thing, and the music cannot swerve in a sudden fresh direction. As he told me a few years back: "What got me so interested in the type of improvising I ended up really spending time on was, at least at a personal level, there was a feeling you could start from scratch. Now you might well be mistaken, and rediscovering endless wheels, but it felt like there was a chance… Whatever things you do pull together from various places into that, relate more to your own personal take on – I’m not just talking about music, but how you want to live as a musician in the world, what aspects of things outside of music you’re hoping will find their way into your activity." Clive Bell John Butcher soprano and tenor saxes Angharad Davies violin Mark Sanders percussion Pat Thomas electronics

The record can be considered a sort of farewell note to one of London’s most crucial venues for improvised music and sound art after its unexpected closure in late 2023 due to gentrification. Butcher had previously collaborated with these three musicians in different contexts, but Unlockings documents a first-of-its-kind quartet line-up. »I wanted a new combination, but made of players I’d worked with over the years,« says Butcher. »Choosing is probably 75 % about the player and 25 % about the instrument—trying to imagine how it might work sonically, but also setting up a situation that is able to surprise everyone, that takes everyone beyond their personal ideas. I’m still always slightly amazed how individual approaches interact and entwine in a collaborative improvisation.« Kristoffer Patrick Cornils John Butcher tenor and soprano saxophones Angharad Davies violin John Edwards double bass Mark Sanders percussion Pat Thomas electronics

Tarab Cuts evolved from a request by the Paris-based Lebanese electronic musician, Tarek Atoui. In 2011 he invited several composers, including English saxophonist John Butcher, to create short pieces that responded to music in the collection of Kamal Kassar, who owns one of the world’s largest vinyl and shellac collections of Arabic classical music. Butcher, who is much more strongly identified with free improvisation than composition, edited snippets from Kassar’s 78s into a new piece of music, and then finished the piece with real-time saxophone responses to his construction.  This became “Between the Skies,” which is side one of the album under consideration. Butcher went on to expand the work into Tarab Cuts, a set-length piece that includes more reconstructed recordings as well as improvisations by Butcher and drummer Mark Sanders. He performed Tarab Cuts six times in the United Kingdom, Brazil, Spain and the USA. Curiously, while these presentations enjoyed some acclaim, the recorded iteration is barely known. The LP, which has “Between the Skies” on one side and an early performance of the material with Sanders called “Under the Walls” on the other, was pressed up as an audiophile 45 rpm 12”.  Whilst it takes inspiration from early Arabic classical, secular and Sufi music it is not an attempt to copy these musics.It is an interaction across decades and cultures that throws an intriguing light on the contemporary musical practice of Butcher and Sanders. A meeting of distant voices with their own, in pursuit of both common and unfamiliar ground. These pieces were later expanded into a 50 min concert presentation also called Tarab Cuts. LP purchase includes a free download code for a live performance of this.Photo: Tarek Atoui's Visiting Tarab in Sharjah, UAE. --- Side A Between the Skies - 13:56 John Butcher / saxophones and sound files --- Side B Under the Walls - 14:08 Mark Sanders / drums & percussion John Butcher / feedback, sound files ---

A. 7 Runs (in arc mental styling) Recorded March - April 2024 in the USA tour van and Berlin DE A compositional structure built entirely from constant movement creates the illusion of a stable architecture. Within this contained structural mirage, an array of sounds seep through, wrapping, camouflaging, and revealing their compositional scaffoldings, conjured up from a simple method of counting. By placing these simple counters alongside one another, different structural configurations are formed. In the fashion of Siah Armanjni’s miniature models, where a plethora of staircases reveal the architectural surface as both bidirectionally mobile and at a standstill, “7 runs” achieves a status of motionlessness through constant repetition. Is descending a ladder to nowhere the same as sitting? Are 7 pulses equally partitioned through time, no longer a discrete measure of time? B. The Third Part of the Night Recorded April-June 2024 Berlin DE Violin by Henry Birdsey A piece for piano, violin, and metal percussion, all realized through digital synthesis (with the exception of H. Birdsey’s violin textures, used to approximate a digital synthesizer noise I enjoy). This work represents a digital amalgamation of synthetic materials, spanning from copper-wound strings to cylindrical-shaped rocks. At the heart of The Third Part of the Night lies a digitally rendered choreography, where three hands slam microphones against precise nodal points on piano wire. These digital hands serve as compositional elements, moving in a deliberate dance to create a sense of “music.” Their movement generates sounds that evoke objects and substances striving to escape their own essence. Attacks and meters act as sculptors, shaping the real into the digital and the digital into an uncanny yet almost tangible reality. "On the new album 7 Runs (In Arc Mental Styling), Max Eilbacher juggles a series of electronic tones, carefully sculpted and spaced to form what the Berlin-based composer describes as “a structural mirage made from constant movement.” Following a conceptual compositional algorithm, Eilbacher’s effervescent, repetitive digitally constructed electronic tones seem to endlessly rise across two side-long climbs that bend and twist like a barber pole. It’s a quality extenuated by a series of diagrams included in the release that map the arcs, arches, and columns created by this sonic shadowplay. As tones and repeating patterns layer and imperceptibly shift in the moment, the music seems to grow more solid and spectral all at once. Eilbacher may explain the “movement” of his illusory structures and even show his work, yet we are still left in awe at the seamless magic that is generated. A debut release on OMA, a new label co-founded by Eilbacher and his bandmates in Horse Lords, 7 Runs makes for a bemusing and breathtaking liftoff. " -Miles Bowe 2025

Flying between virtuosic formalism and freewheeling openness, Andrew Bernstein’s new album Shadows and Windy Places is a gripping picture of the Germany-based saxophonist right now. Capturing recordings across the last five years and disparate sources — some are previous album sessions, others peak into Bernstein’s daily practice — they all fall perfectly into place to form an album as rich as a self-portrait and as spontaneous as a snapshot. “I often feel the pull to formalize my music, to have a reason for every decision, an internal logic that can be explained,” Bernstein says of the album. “This is countered by my lived experience, of music and otherwise, in a chaotic, improvisatory, and complex world. This music attempts to reconcile these impulses.” That tension between logical forms and chaotic, improvised flights only becomes more rewarding and joyful as Shadows and Windy Places unfolds through the hypnotic “A Shadow, Blooming” with subliminal flashes of gamelan and Ethiopian jazz, the silvery, pulsing “Of Infinite Space” and the playful, bubbling “Counting Sines.” They all revolve around the gripping centerpiece “In Blue”, an explosive performance where Bernstein doesn’t reconcile his impulses so much as fuse them entirely with his saxophone forming a fiery crucible. As both an end point for years of material and an opening statement to OMA, a new label co-founded by Bernstein and his bandmates in Horse Lords, Shadows and Windy Places is a defining work for the virtuoso saxophonist. Andrew Bernstein - soprano and alto saxophones, tenor recorder, electronics.

Joseba Irazoki - Onomatopeikoa II Very happy to finally have Joseba’s work become part of Hegoa’s family. A versatile and restless Basque musician who has an extensive discography with almost 20 albums released. Born in 1974 and based in Bera, Nafarroa, Joseba has been leaving his mark on a heterogeneous amalgam of projects and adventures leaving his most introspective and personal self in the works in which he has dared to sign with his first name. “Onomatopeikoa II” follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, this album builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect. Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity. In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts. Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski, “Onomatopeikoa II” is nevertheless unmistakably a work of singular craft and vision.