Original 1978 USA edtion on UGMAA / NIMBUS. NM/VG+. LP is prestine. Sleeve is close to NM. Just has minor corner bumps. Image of actual record for sale. Any questions, or if you're local, want to check condition or collect in person, please email bradford@cafeoto.co.uk on Tuesdays and Thursdays.

Maybe it was inevitable that Vilhelm Bromander and Fredrik Rasten would find each other. A symbiotic musical alliance of suggestive combinatory magic that stretches back to the interstitial two day space that separates their dates of birth and manifests here as the movement between ‘perfect’ or ‘just’ intonation and the ragged, psychoactive energy of the slippages from and towards that togetherness that render otherwise simple patterns or generally understood repetitions as wildly other and alive. Astral Twins shares ‘twin’ works by each composer. The patiently unfolding real time retuning of Fredrik Rasten’s guitars on the a-side’s Sojourns and Vilhelm Bromander’s quickened steps and spry looping melodies on the flip’s Partially Dancing. Both artists have history of going deep into the aesthetic and acoustic impact of intonation (how you think about what is ‘in tune’). Where their first LP (...for some reason that escapes us, 2019, Differ Records) shared a gorgeous set of sustained tone colour fields, this time they lean more explicitly into the folk music traditions of Scandinavia and further afield, whilst echoing the zoned minimalist atmosphere of Arthur Russell’s classic Instrumentals. Recorded up close and in real time at Fylkingen’s soon-to-be-abandoned temporary location in Stockholm’s southern suburb of Bredäng, Astral Twins sings with the possibility that one plus one can equal more than two. Fredrik Rasten:
 Sojourns explores the live retuning of guitar and double bass in a sequence of just intonation harmonies. A guitar ostinato runs throughout the piece where the retuning becomes an integral part of the composition. The slow pace reveals every detail in the transition from one harmonic arpeggio to another — how interfering waves emerge and disappear as the tonal interactions settle in electric clarity. The double bass shadows the guitar's process and comments with occasional pizzicato tones and register jumps, at times providing a low foundation for the sound and sometimes soaring together with the guitar. This is music that is deeply listening; experimental and at the same time humbly inviting many kinds of being with sound. Vilhelm Bromander: 
As the title suggests, this song has a partially dancing character. The title also has a double meaning with reference to the partials and harmonics that dance together. The basic idea was to write music in just intonation that instead of being drone-based is reminiscent of a lightly dancing folk music, where the joyous feeling of just being in the music — “musicking" — is allowed to lead the way. The double bass plays repeated overtone double stops in an open harmonic progression with subtle modulations that is inspired in equal parts by Steve Lacy's persistent repetition of phrases as east-asian khaen music. The guitars and mandolin have a freer role, with plucked retuned strings that enhance the bass's modulations and provide forward movement. The music invites to both melodic and spectral listening, suddenly halting so that other focal points can reveal themselves. For example, a chord sequence suddenly transitions to a more spectral part where Fredrik is playing a bowed guitar with a chain, several plucking guitars, voices, and pitch pipes. I wanted to make something ‘orchestral’ with just two people and no overdubs: a dance of overtones and open resonant strings, where we seamlessly take turns standing in the foreground.  Vilhelm Bromander Double Bass, Voice, Pitch Pipe Fredrik Rasten Guitars, Mandolin, Voice, Pitch Pipe

Killer outing by Lisa Ullén (Piano), Elsa Bergman (Double Bass), and Anna Lund (Drums) — aka Space — ripping live at Cafe Oto in 2023, at long last issued by the Stockholm based fönstret on LP and CD. A space is often described by its dimensions. The height of the ceiling, the expanse between walls. Division into functional elements of varying density follows. We have ideas of how such dimensions should be balanced to work well for sound — the classical concert hall, a Northward mastering room. It’s tempting to try and use this idea of space to understand Space the group (Lisa Ullén, Elsa Bergman, Anna Lund). To calculate their cartesian co-ordinates: dynamics that run from whisper soft to punishing, shaking force; Ullén’s piano running the full expanse of the frequency spectrum; the mix of sudden, surprising and suggested variations in density (the space) that generates their musical structures. But (a) space is a social phenomenon where meaning is accumulated and possibilities created by and through a constantly shifting set of social relations and their histories and entanglement inside and beyond the physical structures of a room or building. Reduced to its raw dimensions, Cafe OTO shouldn’t sound good: the low ceiling, the hollow void underneath the stage-not-stage, the hard glass windows out onto the street. But OTO as a social space — for gathering close to listen; the serious pursuit of a convivial good time (its productive mythology that an OTO audience is both up for it but also expects more); and then the idea of all that has happened before and what will come; that this is also part of ‘the music’ and changes what sounds to the point that none of those cartesian co-ordinates matter.* It’s less of shock that Space sound good. Lisa Ullén is easily the most singular pianist in Sweden right now and Elsa and Anna’s ability to reroute in realtime reaffirms just how well they function as a group. The trio might have got their shit together holding down the rhythm section for the first incarnation of Anna Högberg Attack — but much like Högberg’s ongoing pursuit of artistic renewal, the trio avoid being shackled to any ideas about what a piano trio should be and there is something that happens (happened) in that room, on that night, with those people that made for something beyond just good. It’s a gift that the sound of every concert at OTO gets recorded. A choice handful of these transcend their decoupling from that social space and radiate the room’s attendant energies. This record is one of them.

Softcover, 51pp Taco!, September 2026  someone is driving between two fieldssomeone else is feeding the baby you’re at the buffet24 hour buffetall you can eat meatthat is me Written in the Year of the Dragon, Zara Joan Miller’s long poem traces fire across a year. Moving through the experience of becoming a mother, it repurposes rage and tenderness as forces of transformation. A radical re-centering that calls into question wider meanings of home, security, faith and survival in the face of global imperialism. A year of feeding fire, of dousing and soft loving.

Softcover, 97pp Verso Books, 2025Men in the Sun and Other Palestinian Stories  Translated from the Arabic by Hilary Kilpatrick   Three Palestinian men embark on a brutal and treacherous odyssey across the Iraqi desert to Kuwait, not for liberation but material betterment. Under the indifferent brutality of border bureaucracy and the blank aggression of the sun, things grow increasingly oppressive. Breezily conversational and disarmingly lyrical, this short novel delivers a shuddering dose of horror.Collected here alongside the titular novella are six short stories, including the timeless, resonant ‘Letter from Gaza’, Kanafani’s first published work.

Softcover, 142pp Fonograf, 2026Translated by Lara Norgaard A lyrical feminist novel by Brazilian journalist Cris Judar, translated from the Portuguese by Lara Norgaard. Ana and Joan. The first, a woman of daytime, of the contemporary, bombarded by consumerism and the aesthetic and behavioral pressures of our times. The second, a woman immersed in the realm of the night, attuned to ancestralism, rites of passage, and the intuitions of her subconscious. Both are on the brink of turning eighteen, and their stories run in parallel, month by month, until their birthdays. But more than just a tale of the two young women’s journeys, They Marched Under the Sun is a novel about violence, religious persecution, the loss of freedom and rights, as well as a statement on our need for ritual, dreams, and the resignification of bodies and social roles, conveyed in the author’s vibrant and singular literary voice.