Jessika Kenney & Eyvind Kang + Billy Steiger (solo)
“Debut full length from London based 3 piece originally hailing from New Zealand (Matthew Hyland), Germany (Anja Büchele) and Romania (Dennis Debitsev) Precious Waste In Our Wake (full title written nowhere: “The Fucking Terrible Receding Shapes, We Shed Precious Waste In Our Wake”) is an endlessly beautiful, dense and chaotic crawl through so many forms it can be difficult to ascertain what is actually at play. Ostensibly a ‘rock’ band carved from the same plank as previous outfits Philosopie Queen, The Mean Streaks, etc Triple Negative have shaken a somewhat complacent London with their wildly original blend of chaos and beauty rolling around a maelstrom of politics, spite and humour. Bloodclaat Orange, Fatna Bent Lhoucine, The Associates, Aby Ngana Diop, Royal Trux, Brigitte Fontaine/Areski, and Babyfather are all somehow wished into the scenario, either suggestively, explicitly quoted or manifesting as some malformed degree of inspiration.
Precious Waste features bloody-minded Schlagzeugspiel by Stephen Robinson (Aufgehoben) & Rohan P. Thomas (The Mean Streaks, Sigma Editions) + guest verses by Maria Callas/P.-P. Pasolini, Marlene Dietrich & actually existing urban foxes of Northeast & South London. Also contains “Destroyer”, the 1st song written by Cameron Bain for The Mean Streaks (2000. complete lyric sheet: Destroyer!), followed immediately by Dr Moreau-style fusion of Herman Melville & Peter Perrett in glass-all-void Immigrant Song. Also bass sound of the miraculous Stylophone Beatbox, plus Casio MT 45 psychick dancehall and 3 pairs of strings, not 4, on the bouzouki.
Following on from the quietly released TOWERS, OPEN, FIRE/Looking For Business 7″ on Penultimate Press towards the end of 2018, Precious Waste In Our Wake is a Malediction Forbidding Mourning, a portfolio of old pathologies folded into a sleek new nervous wreck. Precious Waste In Our Wake is a hulking ride of audacious rhythmic passages swaying alongside the meanest of melodies suddenly swept over by flights most fragile. Packaged in a high gloss sleeve with insert and precious zero by way of peers.”
“An endearingly honest and outrageously artful sense of seemingly forgetful prowess - having played together for seventeen years (!) and only now releasing their debut album, “Precious Waste..” really gives weight to the idea that it can take a long time to sound like yourself. Triple Negative's entirely unique breed of dynamic chaos providing the thrill and bewilderment of observing that which is so close to collapse, evolve into a fully realised slab of INFINITE potential.” - Low Company
Triple Negative – Precious Waste In Our Wake
"The Blue Horse is a beautiful strange journey through a landscape where little is familiar but all are welcome. Made from predominantly acoustic sources, The Blue Horse gracefully hisses, puffs, wheezes, whirls, and clunks it’s way through a series of distinct musical and non musical environments. Sounding both at times like a dark and stormy night… and “an elephant trying to get laid”, the ambiguous style of The Blue Horse conceals the artists’ unsettling, fantastical and quietly humorous sensibility.
Whilst The Blue Horse lacks any obvious precursors, it’s elemental and environmental leanings potentially tread a path initially mapped out by Moniek Darge and Godfried-Willem Raes in the works coming out of the Logos Foundation in Ghent, Belgium in the mid 80’s.
The Blue Horse is the debut recording from Sholto Dobie and Mark Harwood and features a guest appearance from cellist Judith Hamann.
Sholto Dobie is an artist and performer born in Edinburgh and living in London. His solo output is marked by live performances that are characteristically delicate, evocative and absurd. He uses his own instruments, crudely assembled from materials such as reeds, whistles, bin bags, fans and air compressors, alongside loose performative structures, to respond to places and situations. He plays in Al Fresco (with Lia Mazzari & Tom White) and regularly collaborates with Ben Pritchard. He has also worked with Ashley Paul. He continues to run the event series Muckle Mouth which he founded in 2014.
Mark Harwood is a musician and performer born in Ferntree Gully and living in London. His output veers towards uncanny audio both delicate and unsettling whilst his performances rely on teasing out and playing with the mood embedded within any given environment and audience situation. He has collaborated with Graham Lambkin, Aine O’Dwyer, Timo Van Luijk and MP Hopkins and runs the Penultimate Press label which brings forth this very release."
“People say he looks blue under the moon”, is what Mhairi told me when I asked her about it.
I was walking along the roadside with my partner in the Cabrach, one of the most remote areas in northern Scotland. At a bend in the road, something directed my attention towards the hill and when I looked up I could make out a silvery-blue creature, moving slowly and gracefully, obscured by the trees. It wasn’t clear at first, but I soon clocked that it was a horse and I took a picture of it. Earlier in the day I came across a fairy ring of field blewits, mushrooms otherwise known as blue-legs, so I knew something was up.
By the time it was dark (around 4pm in November) we were the only customers in the Grouse Inn, a long-standing middle-of-nowhere tea room and whisky bar, beautifully cared for by Wilma McBain and her daughter Mhairi. Noticing the leather harnesses on display I asked Mhairi about the horse we’d seen earlier in the woods. I was somewhat enchanted just talking about it, and she wasn’t surprised.
Later in the evening, we ended up behind the bar in the refrigeration room (where Mhairi paints), she showed us her painting of the blue horse.
I didn’t sleep much that night.” – Sholto Dobie, 2019
Mark Harwood & Sholto Dobie – The Blue Horse
Otoroku is extremely proud to present the first vinyl reissue of one of the most legendary free jazz records ever produced. Originally released in 1978 on Ogun recordings, Louis Moholo Octet’s Spirits Rejoice! is a high achievement in the movement of the era as it soars beyond oppression with a raucous and spiritually uplifting surge of movement and melody
Featuring Harry Miller, Johnny Dyani, Keith Tippett, Evan Parker, Nick Evans, Radu Malfatti and Kenny Wheeler, this is former Blue Note artist Louis Moholo’s first album under his own name and is a classic example of the cross-pollination between South African and British players. Mongezi Feza’s ‘You Ain’t Gonna Know Me ‘Cos You Think You Know Me’ alone is enough to make your life a better place.
From Matthew Wright’s new liner notes:
The South African melodies, now so familiar, were wholeheartedly taken on board by the individual musicians, their unity of purpose mirroring the belief in the strength of the collective. Stunning solos, often close to the edge, feature throughout – Evan Parker and Keith Tippett on “Shine Wherever You Are”; the contrasting trombone styles of Nick Evans and Radu Malfatti on “You Ain’t Gonna Know Me...”; the octet sounding like a full big band; and behind them, the relentlessly rhythmic urgency of the piano, bass and drums. Add to this Kenny Wheeler’s moving and all-encompassing trumpet on the elegiac “Amaxesha Osizi” and the joyous flamboyancy of “Wedding Hymn” with Parker’s relatively straight-ahead tenor and Tippett’s dextrous piano solo over a bed of riffing horns, (fast) walking bass lines and a supreme sense of swing. Louis’ early hero, Big Sid Catlett, would have loved it!
This 2019 re-issue has been made with permission and in association with Ogun records. Features an exact reproduction of the original artwork and liner notes along with new liner notes from Matthew Wright. Remastered by Giuseppe IIelasi and packaged in a high gloss sleeve this is the definitive release of one of the absolute free jazz classics of the 20th Century.
Edition of 1000 copies.
Louis Moholo Octet – Spirits Rejoice!
Maryanne Amacher (1938 - 2009) was a composer of large-scale fixed-duration sound installations and a highly original thinker in the areas of perception, sound spatialization, creative intelligence, and aural architecture. She is frequently cited as a pioneer of what has come to be called “sound art,” although her thought and creative practice consistently challenge key assumptions about the capacities and limitations of the genre. Amacher’s work anticipates some of the most important developments in network culture, media arts, acoustic ecology, and sound studies, yet due to its expansive interdisciplinary nature it has rarely been documented. Following two CDs for Tzadik and her inclusion in the monumental collection OHM: The Early Gurus Of Electronic Music (1948-1980), this publication of Amacher’s 1991 piece Petramarks her first commercially available instrumental work as well as the first time her music has ever been available on vinyl.
Petra was originally commissioned for the ISCM World Music Days in Switzerland. Written for two pianos, the piece is a unique example of Amacher’s late work, a direct extension of her working methodologies for electronic composition taken into an acoustic realm that alludes to the music of Giacinto Scelsi and Galina Ustvolskaya. Petra is a sweeping, durational work based on both Amacher’s impressions of the church in Boswil where the piece was premiered and science-fiction writer Greg Bear’s short story of the same name, in which gargoyles come to life and breed with humans in a post-apocalyptic Notre Dame.
This solemn interpretation of Petra was recorded at its 2017 American premiere at New York’s St. Peter’s Episcopal Church with pianists Marianne Schroeder, who originally performed the piece alongside Amacher in 1991, and Stefan Tcherepnin, who performed it alongside Schroeder in 2012 at Hamburger Bahnhof, Berlin. Weighing tranquilizing passages of glacially-paced serenity against stretches of dilapidated, jagged dissonance, the recording illuminates a crucial node in the constellation of Amacher’s enigmatic oeuvre.
Artistic director of the Giacinto Scelsi Festival in Basel, Marianne Schroeder is a Swiss composer and pianist specializing in the interpretation of New Music. She has collaborated with and premiered work by John Cage, Karlheinz Stockhausen, Dieter Schnebel, Anthony Braxton, Morton Feldman, Pauline Oliveros and Giacinto Scelsi, with whom she studied. She is currently a professor at Hochschule der Künste Bern, and has also taught at the International Summer Courses in Darmstadt.
Stefan Tcherepnin is an American electronic music performer, contemporary artist, and composer in fourth generation, continuing the family heritage of his great-grandfather Nicholas, grandfather Alexander, and father Ivan Tcherepnin. As a family friend of Amacher’s and a student of hers at Bard College he is uniquely qualified to navigate the labyrinth of Amacher interpretation.
Maryanne Amacher – Petra LP
Ogun marks their 40th anniversary by releasing this superb album from drummer Louis Moholo-Moholo's Unit as an octet including Alexander Hawkins on piano, John Edwards on bass, and Jason Yarde on saxes, performing a heartfelt tribute to The Blue Notes live in Italy.
"Wild but still songlike collective thrashes swell out of catchy hooks (as on the title track); the street-brass sound of the old Brotherhood of Breath big band is echoed in struts like Irmite Is Right; the sonorous chant Dikelelu has a rumbling, Coltranesque undertow; and bassist John Edwards' crunching basswalk under Hawkins' zig-zagging piano solo on Sonke is awesome. There are protracted encores and namechecks at the end, but they all add to the sensation of being present at a gig you'd remember for a long time." - John Fordham
Alexander Hawkins / piano
John Edwards / bass
Louis Moholo-Moholo / drums
Jason Yarde / saxphones
Ntshuks Bonga / saxophones
Henry Lowther / trumpet
Alan Tomlinson / trombone
Francine Luce / vocals
Recorded live in Milan, 2012 by Gianni Grassilli. Cover by Naiel Ibarrola.
Louis Moholo-Moholo Unit – For The Blue Notes
"'Pleasure Island' is British composer Tim Parkinson’s disquieting and joyous Slip debut: play time in end times. Titled after the Disney adaptation of ‘Paese dei balocchi’ (or the Land of Toys) in Carlo Collodi’s ‘The Adventures of Pinocchio’ (1883), 'Pleasure Island' is a metaphysical playground of organic and digital cohabitation, its inhabitants pacified by toys and comforts. Alongside Dawn Bothwell, Suze Whaites, Laurie Tompkins, and Francesca Fargion, Parkinson exerts an uncannily emotional pull from an unlikely but potent alliance of ultra-minimal aesthetics, dead-beat drums, junk electronics, and mechanised mantras. Voices are hemmed in by electronic sound. People buffeted around by machines. Words surrounded by garlands of digital interference. Time repackaged as countdown.
Tim’s trash-opera ‘Time With People’ continues to be performed around the world, past champions of which include Object Collection, a.pe.ri.od.ic, Edges, and NEC, and he is a co-curator of London’s longstanding ‘Music We’d Like To Hear’ series. Despite decades of fiercely independent production, this is his only piece conceived of first and foremost as an album.
Tim Parkinson / keyboards, stylophones, drums, percussion, midi, electronics, sounds, vocals
Francesca Fargion / vocals on 'Happy Birthday'
Dawn Bothwell / vocals
Laurie Tompkins / vocals
Suze Whaites / vocals
Recorded in London Oct–Dec 2017 & Newcastle May 2018. Mastered by Giuseppe Ielasi. Artwork by Rick Pushinsky.
Tim Parkinson – Pleasure Island