Co-written, performed (synths, drum machine, sampler), arranged, produced & mixed by Pouya Ehsaei Co-written and performed:Koroleko Moussa (Balafon, Djembe)Sam Warner (Trumpet)Hammadi Valdes (Drums, Congas, Bongos)Tamar Osborn (Bariton Sax, Clarinet)Parham Bahadoran (Duduk)Kareem Dayes (Cello)Yelfris Valdes (Trumpet) Spoken Word:Tara FatehiMA.MOYOMaureen OnwunaliNomakhwezi BeckerTim EtchellsOluwaseun OlayiwolaNisha RamayyaTasneim Zyada Cover Artwork by Farhad QashqaiDesign and Layout by Nahal MarzbanMastered and cut by Frank Merritt at The CarverySound Enginner: Dave HolmesRecorded by Dave Holmes at Lightship 95 StudioArt direction by Pouya Ehsaei & Tara FatehiCreated in Peckham, LondonThe exact number of times one needs to walk on an untrodden mountain for a path to start to appear. All the vibrations that remain from the first time a word is uttered. A flood from another planet, approaching Earth. When you look at a tree and all the ones who looked at the same tree appear for a blink of an eye. A thing you can only fully see from the moon: so scattered, so fluid, and always shifting. Created by London-based Iranian duo Pouya Ehsaei and Tara Fatehi, From the Lips to the Moon brings together a cast of London’s fierce, current, and transcultural voices, fusing live electronics, performative poetry, unearthly melodies, noise, and twisted beats. Their debut album delves into four years of live encounters, remembered as much for their spontaneity as for their unity. This is a record defined by its contrasts: gritty, sharp-edged electronics, raw vocalizations, and organic instrumental textures give way seamlessly to moments of soft, profound tenderness.

This album is a remarkable collection. It has the ear, flair and tone of Ian Rawes as a storyteller, and through the salt spray of Winterton beach I can see him beaming." Chris Watson, for Caught by the River Persistence of Sound presents a posthumous album of field recordings from The London Sound Survey. ‘From Dusk Till Dawn' is a sound-journey through the dark in East Anglia, UK. It roams across the counties of Norfolk and Suffolk to places whose sounds have a precarious existence outside the crowded realities of modern everyday life.Before his death in 2021, Ian Rawes had been making recordings across East Anglia, notably at Lakenheath Fen, an RSPB reserve on the Norfolk/Suffolk border. Like many of Ian’s projects, there was a tight logic to this collection. They chart the journey of natural sounds from dusk until dawn. The extraordinary sound of massed birdsong, the wind thrumming against an abandoned pumping station, the sound of common seals. "A bittern called from time to time, sounding like someone blowing over the wide top of an old milk bottle. A distant machine tone came from somewhere to the south-east: perhaps from an agribusiness factory. It continued into the small hours."At around half past four in the morning I struggled out of my sleeping bag and began to walk east, carrying my bulky wooden mic baffle on its tripod. A small wood drew close and there was a brief pinpoint of light among the tree trunks. I stopped then moved on: the light was obscured. Birds hadn't stopped calling all night but now the intensity and variety of cries and songs was growing."I set the tripod down on a path running between the wood to the north and the reed-beds of New Fen to the south. The pre-amp and recorder were switched on. I listened briefly through headphones and swivelled the baffle this way and that before noticing how the flights of ducks and geese seemed to go from east to west. I set the baffle and its pair of mics to face south, then went to sit on a tree stump about forty yards away. For a short while everything felt unfamiliar while the dawn chorus took over my thoughts, as though suddenly immersed in a remote past."This collection is a tribute to Ian’s matchless ability to capture completely immersive, distinct environments. His recordings are valuable markers of change. They have the power to take you out of everyday life, to slow the heart-rate, and to really listen.

“No, without listening at doors, the ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years. It gathers surprises and impressions, bringing them together in a simple mix. In waking up these ear memories again, which were mostly recorded on magnetic tapes, I am very happy about the collaboration of Eiko Ishibashi and Jim O'Rourke in playing on this mix tape.” Brunhild Ferrari

‘May Spring Last a Lifetime’ is the first duo release from improvising tenor saxophonists Tom Challenger and Evan Parker. The album emerged after years of informal practice sessions; then, following two live performances, the duo recorded this session at Arco Barco in Ramsgate. The album is Evan Parker’s fifth appearance on the False Walls label.Extracts from the CD booklet conversation between Tom and Evan:Evan: “Duo is the simplest form of group playing. And so it’s the simplest, the purest in a certain sense, and the most challenging. There’s nowhere to hide, really. It’s about the exchange. With two tenor saxophones, they have a shared language as instruments and I think we both have a relationship with the saxophone which is about: what does this thing do, what can it do? And then I’ve learned things from Tom that he has discovered: you can do this and can I approximate that? Can I incorporate that into my language or my relationship with the output of the instrument?”Tom: “I mean, as much as there is just two of us and you can tell there’s two of us, there are moments where there’s no one [laughs], and then there’s moments where there are four or five. This duo has challenged the way that I listen, or the way I don’t listen sometimes. But there are these weird moments where there might be three perceivable, four perceivable things going on, you know, in terms of what you might call a voice.”

The 4LP boxset version holds nearly all the music performed over the two nights, minus 5 minutes we were forced to cut to fit the music onto 4 discs. It will arrive in a handcovered and screenprint boxset, limited to 250 copies and will include a full booklet of photographs from the residency by Dawid Laskowski. Please note the artwork may differ slightly from the mock up.  Your order will be packed with care and delivered via a tracked service.  The 2LP version is an edit of the music played on both nights. It will arrive as a gatefold 12" printed in reverse board outersleeves and will include a pull out with photographs from the residency by Dawid Laskowski. The 2CD version contains both sets from both nights. The discs will be housed in a digipak on reverse board and will include photographs from the residency by Dawid Laskowski. It is a huge honour to publish Peter Brotzmann’s final concerts on OTOROKU. When we invited Peter to do a residency at Cafe OTO back in February 2023 we had no idea these would be his last ever shows and he played with such power it would have been hard for anyone present to believe he would never play publicly again. Recorded over two nights this grouping of Jason Adasiewicz on vibraphone, John Edwards on bass and Steve Noble on drums feels especially resonant and personal to Cafe OTO. The first time Peter performed at the venue back in 2010 it was in a trio with John and Steve, (released as The Worse The Better kick starting our in-house record label) so it feels fitting that the last shows he ever played here should also have that trio at its core. The quartet last played together at OTO back in 2013, (released as Mental Shake on OTOROKU), and Brotzmann humbly opened the return of the group saying, "it's a pleasure to be back” before launching straight into a long blast on the alto sax, swiftly met by the relentless energy and engagement of Adasiewicz, Edwards and Noble. There are moments of tenderness to Brotzmann’s playing that feels specific to this small group - one that cuts across three generations - and in a space that’s come to feel like home. Of course, there is dizzying, forceful, singleminded playing, but even amongst a relentless chorus of cymbal splashes and busy vibraphone clusters the lyrical, spacious moments are savoured and held onto. As he remarked after at the end of the group's first visit to OTO, “the Quartet is, for us, a great adventure.” Peter clearly wanted to play to the end. Did he know these might be his last shows? We will never know. What is clear is he wanted to go out in style and on his terms. For anyone in the room at the time or listening to these recordings it’s clear he achieved that. It was Peter’s wish that these recordings should be made public and he was due to finalise the cover design on the week he passed away. We would like to thank Peter’s family for working with us to fulfil Peter’s wishes to release this material but more than anything we would like to thank Peter for all the extraordinary memories, his generosity and all he has given the music. On a personal level for us, like so many, he meant a huge amount and we miss him deeply. --- Peter Brotzmann / reeds John Edwards / double bass Steve Noble / drums Jason Adasiewicz / vibraphone  --- Recorded live at Cafe OTO by Billy Steiger on 10th and 11th February 2023. Mixed by James Dunn. Mastered by Giuseppe Ielesi. Photos by Dawid Laskowski. Pressed in the UK by Vinyl Press. Artwork by Peter Brötzmann. Design by Untiet.