William Burroughs was in and out of London from the mid-50s through to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works.The work here is in 2 sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves also being cut-ups of words on the page. The first section of the tape uses further processing by means of a 2nd tape recorder. Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.  The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP.

William S. Burroughs - Curse Got Back LP

Slow, quiet and relaxed - Eva-Maria Houben’s first appearance at OTO touched all that heard it. Part of the Wandelweiser collective, Houben creates vast, incorporeal forms from almost nothing - music that lingers long after the last note has dissipated. Includes the premiere of Tiefe – Depth for Piano - a flawless study in decay and resonance. --- Eva-Maria Houben / piano --- Recorded live at Cafe OTO by Shaun Crook on Tuesday 30th August, 2016. Mixed by Abby Thomas. Mastered by James Dunn.  --- Transcipt from the evening:  “I’m very glad to be here. I had some very nice days here in London before this night, and I am very glad this night to be here. We spoke about the programme for this night and we decided upon 3 sections, and if you allow I would like to say some words. On the whole, I will play two first performances, and then I will play a few other pieces, and the first section will be a piece form 2014, Loosely Connected. It is not the first performance, it had already been performed in August in Germany, and it was a full experience for me. And then I will play the piece Depth - it’s short, and this will be the first performance. So, both pieces together will come I think, to twenty minutes. Two ten minute pieces. And then we have the first break, and you could take something, and then follows Sonata Number 10 that will have a duration of twenty four minutes, and then, at last, I will finish with Dandelion, a new piece, a first performance, and then The Hanging Garden or The Suspended Garden. Yes. And now, Loosely Connected and Depth. Thank you very much.” — "And now, the second set and it will be Sonata for Piano Number 10. This Sonata has a subtitle - it’s called in French, erm, Le Croche de Soils - Dreambirds. I have dreamt this piece and there were different sounds of birds from different countries and different towers and I listened before to a piece by Enescu, a Roman composer, and it was very impressive. And he imitated real birds by the piano, by sounds and keys which seemed to be wrong but they sounded like birds because there are birds which have disharmony partials - or harmonic partials but disharmonic partials too - and this was very fascinating for me and I tried to be on the traces of different composers. This sonata has 5 movements, and the first movement is dedicated to Mussorgsky, the second movement to Enescu, the third movement to Schumann, the fourth movement to Liszt, and the last and fifth movement to Olivier Messiaen. It is not their sounds but traces, smells, of those composers. Not more. You will listen to 5 movements and the whole sonata will have a duration of 24 up to 25 minutes. Then we will have the second break. Thank you." — "So or the last set we have at first, Dandelion. Dandelion could be a very long piece - it is a collection with many pieces of paper and every sheet is a world on its own, and I will play 3 pages, not more. But I could play many pages and could have played only Dandelion this evening, it’s a collection with many pages, but I play 3. It is a study on partials of the piano. And then follows Les Jardins Suspendus - The Hanging Gardens, yes, and this piece closes the night. And both pieces together I think will last I think 15 minutes. The first perhaps 8 minutes, and then 7 minutes." — "Thank you very much for your kind welcome. And I could play the famous Drei Choräles, they are very short. They have repetitions and I would think I will take about 4 or 5 minutes. Yes." —

Eva-Maria Houben - 30.8.16

Black Truffle present the first vinyl issue of Keiji Haino's Milky Way. Originally released as a limited CD in Japan by the short lived Mom 'N' Dad Productions in 1993, this release documents a blistering live performance recorded in Kyoto in 1973, five years before the formation of the first line-up of Fushitsusha, and eight years before Haino's first solo album. Working with a mysterious set-up including primitive electronics, homemade acoustic instruments, piano and voice, Haino lets loose a single 48-minute psychedelic maelstrom, marrying the immersive echo-fields of kosmische music to the rough and ready hands-on feel of classic 1960s live electronics à la MEV or Robert Ashley's Wolfman. Despite the absence of guitar, this recording clearly lays the groundwork for the epic blowouts which were to make Haino's name in years to come, building up to a point of almost unbearable intensity in its final minutes as Haino's voice wails over a wall of distorted DIY electronics. At times presaging the psychedelic noise of C.C.C.C., Milky Way shows Haino's singular intensity and ritualistic performance style already in full flower at this early date in his long career. Presented in raw and immediate room fidelity (complete with dramatic tape drop-out), this is both an essential historical document and a classic performance in its own right. Presented in a deluxe heavyweight sleeve with an inner sleeve featuring Haino's poetry in Japanese, with an English translation by Alan Cummings. Original design by Keiji Haino & Yasunori Arai. LP reissue design via Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin June 2016.

KEIJI HAINO - 天乃川 1973 Live - Milky Way LP

The remarkable series of releases from the trio of Keiji Haino, Jim O'Rourke, and Oren Ambarchi continues with I wonder if you noticed "I'm sorry" Is such a lovely sound It keeps things from getting worse, which presents the entirety of an 80-minute set performed at Tokyo's SuperDeluxe in March 2014. While the trio's 2012 performance was divided into two releases (BT 011LP (2014) and BT 012LP (2015)), the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Haino's 1995 classic Tenshi No Gijinka, the first side is dominated by Haino's impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. The end of the second side presents a special treat: Haino's first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. O'Rourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. O'Rourke's bass, which takes center-stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the set's third side, he gestures as much toward Ronald Shannon Jackson's stuttering marching band funk as toward any classic rock moves. When the trio finally moves in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio's previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English. Gatefold sleeve with gorgeous photographs by Jim O'Rourke, designed by Stephen O'Malley. Cut by Rashad Becker at Dubplates & Mastering, Berlin.

HAINO / O'ROURKE / AMBARCHI - I wonder if you noticed "I'm sorry"... LP