This volume is an intimate consideration of musician Kim Gordon’s brother’s life and art featuring personal photographs and pages from his journals. Following Keller Gordon’s death in 2023, his sister collected mementos including drawings, photos, poems and the diaries he kept at various stages of lucidity. Through Kim’s prose and Keller’s own words, Keller extends and destabilises the form of the biography, foregrounding the fragmented and the imperfect. Including a diaristic essay about their childhood, the complexities of family dynamics and the double-edged sword of creating and maintaining legends about those we love and admire. Designed to evoke the format of Keller’s diaries, this volume features facsimiles of his writings, offering insight into the complicated figure of Keller Gordon as well as his sister’s life.  Kim Gordon is an artist and cofounding member of the bands Sonic Youth and Body/Head, and the author of the memoir Girl in a Band.

What happens when you bring together familiar faces at London experimental music venue Café OTO, Charles Hayward (drummer Abstract Concrete, This Heat) and John Edwards (double bass), and the Total Refreshment Centre (hub of new london jazz scene recording studio ) like Alabaster DePlume (singer and saxophonist) and Danalogue (synths from Soccer96, The Comet is Coming), and the learning disability autism art scene like singers/spoken word artists Sebastian Golgiri and Dean Rodney Jnr (Fish Police), on a magic carpet with space trumpeter Robyn Rocket? The answer materialises in the groundbreaking collaboration 'Robyn Rocket and People You May of Heard of'.Recorded across three days in three different studios connected to the three communities Robyn Rocket calls home, each session brought together musicians from these diverse backgrounds—many meeting for the first time. Together, they improvised and created a musical journey that transcends conventional boundaries.This cosmic voyage features more than 20 musicians and a dog ( Taz from lost socks), gliding through free jazz, danceable tunes, loopy vistas and spoken word doors into different ways of seeing the world. At its heart lies a profound message about community as a vital part of existence and difference as something to embrace and value.The project culminates in the final single and focus track 'We Are All Human', featuring a poignant speech by Rocket from her night 'Robyn's Rocket - a residency at cafe OTO featuring experimental music and live visuals by artists with and without Learning Disabilities/ autistic and non autistic artists ' in the speech rocket talks about supporting each other—words she actively lives by and encourages others to embrace.Like many autistic people, Rocket has experienced abuse, bullying, isolation and feeling unwelcome in the world. “This project is like my nights but you can carry it around with you”, she explains. “I started my own night to share my work. I also recognised, it was a privilege to have my own night, I wanted to help other artists share their work too, and create an environment where people with and without learning Disabilities/Autistic and non autistic people as audience and performers could come together and get to know each other”.Historical ContextFrom the 1800s until the late 1980s, people with learning disabilities (some of whom would have also been autistic) were sent to long stay hospitals, often far from their families and forgotten about, and not believed in. In 1990, the law changed, hospitals closed, people were moved back to where they were born, they were separated from society, as they were sent to special day centres. Charities like Heart n Soul (who support Robyn) started going to these centres and taking people into community spaces and believing in people being able and having a right to take part in the world around them.   

First Official Reissue of Conspiracy. NOT TO BE MISSED!! (due to a slight delay at the pressing plant, this release has been put back to the end of July) Jeanne Lee (1939-2000) was an African-American vocalist, poet, composer, improvisor, activist and educator. In her 40 year career she performed with Archie Shep, Marion Brown, Gunter Hampel, Frank Lowe, William Parker, Andrew Cyrille, Anthony Braxton, Ran Blake, Billy Bang, Cecil Taylor, John Cage, Rashsaan Roland Kirk, Pauline Oliveros, Reggie Workman, and many others. "jazz is a music that combines so many opposites...you have to fined that balance, then you have a guideline between freedom and discipline, between rhythm and melody, between body and spirit, between mind and instinct" (Jeanne Lee) This is the first official reissue of "Conspiracy" since its limited release in 1975, it was her first record under her own name as a solo artist. It is a true lost gem, with a unique and beautiful sound. Musician Elaine Mitchener describes "Conspiracy" as "one of greatest free-form albums of the1970s". "i feel the music like a dance, I think it's an important part of the music, it has to be felt like a dance" (Jeanne Lee) --- Jeanne Lee - vocal Gunter Hampel - flute, piano, vibraphone, alto clarinet, bass clarinet Sam Rivers - soprano saxophone, tenor saxophone, flute Steve McCall - drums Alan Praskin - clarinet Perry Robinson - clarinet Jack Gregg - Bass Mark Whitecage - alto clarinet Marty Cook -trombone Recorded in New York, 1974 Originally released in 1975 on "Seeds records" and Jeanne Lee's own "Earth-forms records"

Nearly twenty-five years after disbanding, Gastr del Sol have unpacked their archive, stringing together an alternative view to their genre-melting 1993-1998 run. This assembly of previously uncollected studio recordings and beautifully captured unreleased live performances forms a spacious ode to the flux that was their métier; a further set of reinventions that continue to alter the manner in which we hear music, and literally everything else! Mastered by Jim O'Rourke All instruments by David Grubbs and Jim O'Rourke with: Jeb Bishop (trombone, 11) Bundy K. Brown (bass, 4; guitar, 9) Steve Butters (percussion, 11) Gene Coleman (bass clarinet, 11) Thymme Jones (trumpet, 11) Terri Kapsalis (violin, 11) John McEntire (drums, 4, 9; synth, 11) Günter Müller (percussion, 5) Bob Weston (trumpet, 11) Sue Wolf (violin, 11)

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.

A mesmerising, chimerical set from Japanese-American multi-instrumentalist, Patrick Shiroishi, recorded at OTO on a bill with Alex Zhang Hungtai in November 2024. Starting with plain, unadorned saxophone tones, Shiroishi immediately sets about drawing the listener into his own distinctive sonic landscape. Looped refrains slowly build between voice and instrument as Shiroishi weaves a wonderfully lyrical tangle of saxophone lines in the gaps, before drawing out a weighty swell of bass tones which only serve to let the rest swirl ever higher. From this point, Shiroishi doesn't look back, covering a remarkable amount of ground in the set's 35 minute duration. Circular breathing runs spiral around jagged little stabs of melody, blurring into samples of recorded speech which hiss and fracture before falling away completely. For a while, all that remains are the ebbing waves of Shiroishi's breath through the reeds, as a languid saxophone melody swoops and darts amongst the leavings of the low tide. The waters will soon return though, this time not so much a swell as a raging torrent. Shiroishi's wonderfully stark, plaintive voice calls forth the flood. Layering with fragments of saxophone and electronics, the currents soon become a swirling cataract that the speakers seem barely able to contain, until finally the entire deluge is itself washed away. From those first few simple notes, the distance covered is no small thing, for artists and audience alike. -- Recorded by Shaun CrookMixed by Patrick ShiroishiMastered by Oli BarrettCover photo by Jordan Reyes