Digital Downloads

If you are interested in our downloads of high quality live recordings from the venue and exclusive digital releases from some of our favourite labels, it might be worth considering becoming a Digital Member. Members can choose 3 digital downloads a month from any label we stock, as well as receiving a discount on records, books and more from our website.




OTOROKU Downloads

Incredibly pleased to finally release this from the archives! Kumio Kurachi is truly one of the most original figures in Japanese music, and his music exists within its very own colourful world. Recorded across two nights way back in 2009, Kurachi is joined by Taku Unami and London improvisors Steve Beresford and Angharad Davies. These two shows still remain as Kurachi's only concerts outside Japan. "Kumio Kurachi depicts our mind and feelings with unthinkable and bizarre words which can be embarrassing to listen to. And yet he manages to create a world which is so familiar to us - small events of our everyday life that we don't pay much attention to. Whether it is a conversation between a funeral service conductor and his helper that you overheard in a supermarket (Supermarket Chitose), or about the people affected by a dam construction (A Dam with 30,000,000 Teardrops), his songs are fragments of our human behaviours and experiences. His lyrical world is made even more unpredictable by his unique guitar style which is apparently inspired by the koto. The music is so melodious that the mixture of the strange wording, guitar and variations of voices thrives all together and it can haunt you without noticing it, just like the small events of everyday life you can't escape from." - Midori Ogata --- Kumio Kurachi / guitar Taku Unami / guitar Angharad Davies / violin Steve Beresford / piano --- Tracklisting: 1. Train Song (poetry reading)2. Instrumental l3. Asahi4. Cling Film (Saran Wrap)5. Full of Miso (Miso Ga Ippai)6. Instrumental ll7. A Dam with 30,000,000 teardrops (30,000,000 Tsubu Dam)8. Best Camera9. An Event On An Island (Tsudoe Nokonoshima) ft Unami, Beresford10. Slow Walker (Yukkuri Aruku Hito) ft Unami, Beresford11. Supermarket Chitose ft Unami, Beresford12. Here Comes Tatamiya (Tatamiya Ga Kita) ft Unami, Beresford, Davies13. Steel Tower (Tettou) ft Unami, Beresford, Davies14. Soshu Yakyoku (蘇州夜曲) <cover> written in 1940. Lyrics by Yaso Saijo (西條八十) Music by Ryoichi Hattori (服部良一)15. Blues of Blue Natchan (Natchan Blue) --- Mastered by James Dunn from the original recording made by Pete Coward - thanks Pete! Artwork by Kurachi & Oli Barratt. Massive thanks to Midori Ogata, without whom this wouldn't have happened.

Kumio Kurachi - 6/8.12.9

Myriad interwoven textural fractures from Grace & Delete - aka no-screen laptop wizard James Dunn and bass clarinet boss Chris Cundy. In The Screwtape Letters C.S Lewis defines music as a "meaningless acceleration in the rhythm of celestial experience," but it can also be a sped up inferno complete with the alien cries of the damned. Either way, the cat cannot get enough. She rolls on her back and flashes her claws in the air when this music plays. She is blown away by the concept of a bass clarinet; the longer a note lasts, the more she purrs; it seems to stretch her actual perception of time. She wriggles with pleasure; she twists and switches her tail; she forgets to close her mouth over her thirsty pink tongue. "Tinnitus!" she mews, "I have it! Come closer!" "Dunn’s electronics are a masterclass in the resources of outdated technology. After being exposed to so much laptop texturing, the ear appreciates its limits. The electronics give Cundy’s contributions a jagged starkness, like coming upon a crude screenprint in an exhibition of digital printouts. The musicians are fully in control of their pitches and the music often proceeds by finding a harmony and then forcing it into crisis, unbearable tensions resolved into rhythmic exchange. Cundy also uses a Tinnitus Analyser to detect noises and elevate them into audibility. This provides the musicians with a stimulating randomness - the difference between the unexpected shapes generated by looking and drawing rather than simply doodling and reproducing habit, the eversame." - Ben Watson  --- Chris Cundy / bass clarinet, alien toy James Dunn / electronics, tinnitus analyser ---   --- Recorded live at Cafe OTO by Paul Skinner on Friday 9th June. Mixed & mastered by James Dunn. Words by Patricia Lockwood - Priestdaddy

Grace & Delete - 9.7.16

"A wonderful album of crunch ‘n’ roll, as Manchester drumming -legend Phillip Marks leads Rex Casswell (electric guitar), best known for his tenure in Stock,Hausen & Walkman, and Paul Obermayer (sampler) through some entertaining and very original music. They’ve managed to inject the rhythmic humour of Thelonious Monk into all the abraded textures favoured in post-rock and electronica, vanquishing its tendencies towards Enoesque pretension with ribald physical beats. Casswell is an astonishingly original guitarist, reconstituting the instrument from pick-up to amplifier. His beautifully-judged architectonics provide a cool spritzer to the others’ heat, as well as providing a bridge between the actuality of the drums and the virtuality of the sampler. Obermayer disdains the use of off-the-peg samples which plague much trendy electronica. He uses his sampler to bring tiny sounds into audible range. The resulting timbres are like microscopic slides in the hands of a master surrealist. Swing sans nostalgia achieves electrified materialism. Short track timings add to the decisive feel. Historic!" - Ben Watson --- Rex Casswell / electric guitarPhillip Marks / percussionPaul Obermayer / electronics --- Tracklisting: 1. mal - 3:152. swing - 7:453. meshes - 6:494. Pavo - 10:465. nobody's sweetheart - 3:166. aise - 2:347. Vela - 5:248. Grus - 12:569. swerve - 8:38 --- Recorded at LMC Sound, London, England on 10th April and 18th of September 1999. Front cover: Philip Marks

Bark! - swing

Inspired by Bailey's duo with Han Bennink, Sonic Pleasure (Marie-Angelique Bueler) and T.H.F Drenching sent a brick-and-dictaphone improvisation they’d recorded in a Liverpool Airport disabled toilet to Bailey. Bailey, impressed by the collage artwork and a Manchester postcode, sent them his number and invited them to play at his house on Downs Road, with a very young Alex Ward and Tony Bevan. Built on the percussive duo of Pleasure and Drenching, what follows is one of the weirdest and most underrated Incus records.  "Recording it was lovely. We just did it more-or-less straight through. I think there was only one tune that we didn't include. Derek was in a good mood, and he'd brought mince pies for everyone since it was coming up to Christmas 2002. Everyone's playing really well, all of us are communicating really well. I was proud that Derek let me come up with the titles and the band name I miss Derek, because I didn't feel at all like I'd finished playing with him.”  -THF Drenching, 2017 “At the launch of the Incus CD Limescale aboard Sybil Madrigal’s Boat-Ting venue on the Thames I heard some punters complain at the back: ‘Where’s Derek? I came to see Derek Bailey and I can’t see or hear him!’ It was difficult to explain that, with Limescale, Derek had found the nirvana he stumbled on in drummer John Stevens’s Spontaneous Music Ensemble: the extinction of the ego in a musical collective. Limescale was built on the foundation of the Bueler–Calton rhythm section as surely as the SME was founded on Stevens (or the Joseph Holbrooke Trio on Oxley), and Derek loved it. So right near the end, he rediscovered the collectivity which he’d enjoyed when he first played free music in London.” –Ben Watson --- Tony Bevan / bass clarinet Alex Ward / clarinet Derek Bailey / guitar Sonic Pleasure / bricks T.H.F Drenching / dictaphone --- Recorded at The Moat Studio, London in December 2002 by Toby Hrycek-Robinson. Layout and design by Karen Brookman-Bailey.

Limescale - Limescale

Released in 1998, this was Bailey's first solo record after the magical number of 7 years - realised after a long period of playing with just about anybody that made sense to him. The artwork for the original CD is just textures in greyscale, the font Times New Roman and on the inside sleeve of there are no notes, just the word 'listen' in lower case. Ken Hollings wrote in The Wire upon its release, "this is the end of a dialogue."  'Takes, Fakes' starts with an abrasive 13 min live recording from a '97 concert and builds through eight gaunt and nuanced acoustic studio cuts, each snipped and selected by Steve Beresford. Once we get to 'Dead She Dances', arguably the keystone track on the record, each miniature starts to make sense as Bailey reads a deathly description of a female from his pal Peter Riley's poetry book 'Distant Point'. By the time he picks up his electric Gibson it feels like the perfect solo release - super raw and with purpose. A gem from '98 for sure. In fact, Brian Olewnick called it the best record of 1998. Oosh.   --- Derek Bailey / guitar --- 1 & 10 from a solo concert recorded by Paul Tyson, September 1997. 2-9 studio recordings by Dave Hunt, produced by Steve Beresford, May 1997.  Post Production by Tony Robinson, and desgin and layout by Karen Brookman.  Acoustic guitar built by German cello maker Henner Hardenberger.  Electric on 10 is a Gibson 175. 

Derek Bailey - Takes, Fakes and Dead She Dances

".... it was October 2013 ... Radu, Klaus and Nikos came to Japan. The last day of their tour, Ftarri was booked but it was uncertain what would be done there ... so we decided to invite all our friends to join just a few days before."- Taku Unami "In the fall of 2013, Radu Malfatti (trombone), Nikos Veliotis (cello), and Klaus Filip (ppooll), were on a tour of Japan where they performed in various combinations, including a number of collaborations with local musicians. For the last day of their tour, the three were invited to play at Ftarri, a music store and performance venue in Tokyo. They were joined by a stellar cast of musicians, most of whom they had long-standing relationships with (Taku Sugimoto, electric guitar; Tetuzi Akiyama, acoustic guitar; Taku Unami, electric bass; Moé Kamura, voice; Kazushige Kinoshita, violin; Masahiko Okura, tube; and Toshihiro Koike, trombone). The recording and mastering by Unami captures the proceedings in intimate detail, placing the muted shadings and open structure of the piece in natural contrast to the room sound." – Michael Rosenstein, Point of Departure  --- Tetuzi Akiyama / acoustic guitar Moé Kamura / voice Radu Malfatti / trombone Kazushige Kinoshita / violin Masahiko Okura / tube Nikos Veliotis / cello Taku Unami / electric bass Toshihiro Koike / trombone Klaus Filip / ppooll Taku Sugimoto / electric guitar --- Recorded live at Ftarri on 16th October 2013 by Taku Unami. Mastered by Taku Unami. With thanks to Mark Wastell. 

Akiyama / Kamura / Malfatti / Kinoshita / Okura / Veliotis / Unami / Koike / Filip / Sugimoto - 10tet

Field recording artist Jeph Jerman and percussionist and sound designer Tim Barnes offer powerful, minimal music rooted in a shared dedication to the creative act of listening. Recorded live during their 2015 visit to Non-Event in Boston, MA, Goethe is an impossibly detailed and displaced inventory of sounds composed and structured in the sonic territory of Graham Lambkin or Taku Unami.  From the Confront press release: "Across a dozen years, the duo of Jerman and Barnes has offered powerful, minimal music rooted in a shared dedication to the creative act of listening. Jerman is a veteran of the creative music scenes in Denver and Seattle, and in more recent years has been thoroughly investigating the sonic possibilities of the desert Southwest where he lives and works. Tim Barnes's resume as a percussionist, engineer, and curator is studded with all-star collaborators including Tony Conrad, Sonic Youth, Ken Vandermark, Royal Trux, and Tower Recordings. With two acclaimed releases under their belt, Matterings (erstwhile) and Versatile Ambience (idea intermedia), Jeph and Tim feel that they are in the most productive period in the duo's history. Goethe is a live performance from their 2015 visit to Non-Event in Boston, MA." -Confront --- Jeph Jerman / tapes, objects, harmolinTim Barnes / tapes, objects, sampler --- Recorded by Ernst Karel live at Goethe Institute, Boston, MA on Matterings Tour 2015. Mastered by Chris Kincaid. With thanks to Mark Wastell. 

Jeph Jerman & Tim Barnes - Goethe

In ancient Roman religious ritual, exta were the organs of a sacrificed animal offered up to the gods - the lungs, heart, liver and gall bladder; here, Exta is a selection of four pieces (one in two parts) carefully extracted from a long studio session. "Butcher’s sax ranges from soft, whispery purrs to teeth-chatteringly spiteful blasts. Lehn’s analogue synth leaps in a moment from burbling tones to fiercely sizzling abstraction, and Tilbury slips from his familiar melodic interludes and fragmented arpeggios to crashing, seismic attacks on the inside of the piano. What sets this album head and shoulders above similar offerings is the understanding between the trio. It’s not just the way all three move together as one from subdued lull to explosive rupture, but how each pushes at the others, stopping the music from settling into routine. Throughout the two-part “Pulmo”, each of the trio takes the opportunity to wrench the music from one direction to another with a sudden attack just as it settles into a plateau. More than a routine outing for three old heads, Exta is as vibrant, powerful and testing as anything we have heard from any of them in a while, which in itself makes it an essential addition to Improv’s history. " - Richard Pinnell, The Wire  "This gloriously unhurried, constantly shifting music—each dynamic stimulus tempered by currents of textural stasis, notably on the initial stretch of 'lecur'—resists summation. It is an enthralling, exemplary piece of work." - Tim Owen, Dalston Sound --- John Butcher / saxophones  Thomas Lehn / synthesizers  John Tilbury / piano  --- Recorded by Rick Campion at City University Music Studios on 25 June 2012. Mixed by Thomas Lehn. Mastered by Rupert Clervaux at Gray’s Inn Road. Photograph by Andy Moor (The Ex) Music by John Butcher (PRS), Thomas Lehn (GEMA) & John Tilbury (PRS) 

Butcher / Lehn / Tilbury - Exta

A deeply enigmatic duo of trumpet and drums augmented by live electronics and an expanded percussive array (tam-tam, multiple high hats etc.), Stonecipher is a mesmerising work that operates in the blurred regions between the electronic and acoustic. Dörner's electronics have never been more effective, creating viscous clouds of sound which are illuminated by Sanders' sparse, precise formations, producing a dense fabric of insidious extended tones, gradual inclines and sudden drops, and sounds that slowly fold back into themselves or abruptly open onto unexpected plateaus. There's something wonderfully unhurried about the way that Stonecipher develops, but there's a real quickness bubbling under this apparent slowness that prevents the music from ever completely solidifying: just when you think you're on firm ground something moves and the whole landscape is reshaped. "Understated throughout, the pair fold together softly muted sounds – hissing, breathy escapes of air and their digitally transformed, equally subtle cousins from Dörner, and a masterfully restrained, widely varied palette of soft tones and brief peaking flurries from Sanders. The end result is a slow, naturally fermenting but never boiling-over landscape of beautiful, surprisingly restrained music formed with remarkable understanding." - Richard Pinnell, The Wire  --- Axel Dörner / trumpet, electronics Mark Sanders / drums, percussion  --- Recorded by Rick Campion on 19 June 2011 at City University Music Studios. Mixed by Axel Dörner. Artwork by Jane Millican (detail of Scene, 2010, pencil on paper) Music by Axel Dörner (GEMA) & Mark Sanders (PRS) 

Axel Dörner & Mark Sanders ‎- Stonecipher

A stunning series of duo improvisations from two of the world's finest string players, whose shared dynamism and intensity of purpose produces fluid, powerful music that ranges from dense viscosity to swift effervescence. With all-strings improvisation there's often a danger of pseudo-classicism, of sounding vaguely like modernist chamber music, replete with refined flourishes and familiar motifs. Edwards and Lee don't just avoid this but go nowhere near it, heading off in another direction entirely. White Cable, Black Wires is full of rude vitality, driven by an intensely physical interplay which encompasses growling blocks of noise, subtle melodies, and nimble rhythmic entanglements. "White Cable, Black Wires frontlines two obscenely talented improvisers who can sometimes take a backseat next to the “big names” they keep company with. If you’re anything like me, though, theirs are the names that draw your eye when seeking out exhilarating music. It also marks another resounding success for Fataka, quickly becoming a label to watch on the improv scene." - Dan Sorrells, Free Jazz Blog --- John Edwards / double bass Okkyung Lee / cello  ---Recorded by Sebastian Lexer at The Welsh Chapel, London on 25 May 2011. Mixed by John Edwards. Mastered by Rupert Clervaux at Gray’s Inn Road. Music by John Edwards (PRS) & Okkyung Lee (ASCAP). Produced by Trevor Brent. 

John Edwards & Okkyung Lee - White Cable, Black Wires


Blood n guts folk from the Anglo-American duo. Searing harmonies and sparse, vital instrumentation breath new life into timeless tales of love, loss and death. Originally released to critical acclaim by No-Fi Recordings and then reissued by MIE Music in 2011, Dumb Supper is by all means one of the most interesting and exciting revivalist recording of traditional songs we've heard in years. Cath and Phil believe in folk retaining its original storytelling function, so all the songs on the album are adaptations of songs they have unearthed or which have been passed on to them through family members, musical collaborators, and their own love of the original information highway - folk music. If you missed the physical, snap this up and get yourselves down to see them here this Thursday. “Dumb Supper is one of those rare modern folk albums that will find a home in both the longstanding ‘traditional’ music community and among those attracted to the form’s more experimental and lo-fi possibilities….It’s a weird looking-glass effect many folk fans will be familiar with: the straighter you play it, the stranger it gets…Shirley Collins always understood this and so do Cath & Phil Tyler.” – Frances Morgan, Plan B Magazine --- All songs traditional except: Farewell My Friends & Morning - adapted from Sacred Harp. Death of Queen Jane - Words trad. Music Tyler Yellowhammer - Tyler Dewdrop - Words trad. Music Tyler Wild Stormy Deep - by Homer Cornett Slumber Boats - by Alice Riley/Jessie Gaynor  --- Recorded at Summerhill Square, Newcastle Upon Tyne in the first half of 2007. Arranged by Cath and Phil Tyler. Artwork by Jim Oss. Produced by Andrew Hodson. 

Cath & Phil Tyler - Dumb Supper

Effigy is Pelt's first new batch of new recordings since 2007, and their first album since Jack Rose's death in 2009. Simultaneously frenetic and meditative, it's a raga seared in pulsating low-end piano, scorned and mournful strings and swarming harmonium.  “What separates Pelt … is the willful sonic escalation from monk chant and Appalachian bowed sitar to Blue Ridge mountain grinding ear-death. … They’ve not become giants; they’ve become the mountain.” - The Washington Post From the original MIE press release: MIE Records are unbelievably honoured to be releasing, the first album recorded since 2007 by the acoustic-only droners Pelt. Recorded live in June 2011 in an old yoga studio in Mount Horeb, Wisconsin and a decommissioned synagogue called the Gates of Heaven in nearby Madison, the band have laid down their most accomplished and fully realised work to date. Epic in every sense of the word, Effigy is a sprawling journey through their singular plan on the musical map. Layer upon layer of droning strings melt over never-ending harmoniums which threaten to engulf you whilst peals of gongs ring out to mesmerising effect. Effigy sees Pelt reaching their blissful sonic enlightenment. Effigy is a testament to the ancient animal shaped mounds called ‘effigy mounds’ which dot the landscape in and around Madison, Wisconsin. No one has yet managed to work out who built these creations. Over the centuries they have greatly reduced in size but still the largest can measure up to 400ft in length, and the outlines of birds, lizards, deers and bears are all clearly visible to the observer. Soil would have been carried from afar to construct these huge monuments with only crude implements to hand. The erection of the monuments would have surely have to have been carried out by practically an army of workers or inhabitants and taken a very long time to build indeed. --- Recorded by Pelt. Mixed by Jason Meagher. Mastered by James Plotkin. Artwork by Jake Blanchard. With thanks to Henry MIE. 'Ecstatically dedicated and indebted to eternal spirit of Jack Rose.'  

Pelt - Effigy

Long out of press mighty gamelan collab from members of US drone collective Pelt, the UK's Part Wild Horses Mane on Both Sides and New Zealand guitarist Michael Morley aka Gate. Recorded at 2012's TUSK festival in Newcastle-upon-Tyne, the huge ensemble folded up into a mid-size room in a little corner of England and tapped into the music that has long transfixed the world - but with as much raga and hillbilly influence as Indonesian. Be warned, this is not 100% holy. Soon, avain hymns give way to drones akin to those of Vibracathedral Orchestra, and low, slow tones eat at your redeeming thoughts. A one time super-group and damn were they super. Official MIE press release: "In October 2012, at the Tusk Festival at Newcastle-upon-Tyne, noise emissaries from three continents came together on a Sunday to make music for an hour or so. From the United States came Mike Gangloff, Nathan Bowles, and Patrick Best of the mighty Virginia drone collective Pelt. Representing the United Kingdom were sonic pilgrims Pascal Nichols and Kelly Jayne Jones of Part Wild Horses Mane on Both Sides. And from Oceania came the transcendent New Zealand guitarist Michael Morley of Gate and, of course, the legendary Dead C. This summit proceeded without words. Their chosen means of deliberation was the gamelan: an array of gangsa and saron metallaphones and singing bowls sprawled out on the patchwork oriental rugs; a rig of gongs; the flurry of hammers and mallets; a few dozen onlookers seated cross-legged or just laying prostrate on the floor. And everyone and everything was transported. - Brent S. Sirota ---  Recorded at TUSK Festival 2012 at Star & Shadow Cinema, Newcastle upon Tyne, UK. Live sound by Steve Nicholson and Stosh. Recording by Sam Grant. With thanks to Henry MIE.

Pelt Part Wild Gate - Hung on Sunday