OTOROKU Downloads

Download only arm of OTOROKU, documenting the venue's programme of experimental and new music.


Myriad interwoven textural fractures from Grace & Delete - aka no-screen laptop wizard James Dunn and bass clarinet boss Chris Cundy. "Dunn’s electronics are a masterclass in the resources of outdated technology.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  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!" --- 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 – 9.6.16

US guitarists, Eli Winter and Cameron Knowler have been playing and performing together since 2018 but there’s an easy, natural affinity in their playing and interactions that feels informed by a much older collaboration. This warm, joy-infused set, recorded at OTO in May 2022, combines cuts from their 2021 album, Anticipation, alongside solo tracks and an unexpected improvised group closer, where the two guitars of Winter and Knowler are ably joined by members of Shovel Dance Collective and Maxwell Sterling on bass. The back catalogues of both Winter and Knowler draw to varying degrees from the American folk tradition, and in this collaboration the bluegrass-tinged side of their work is unapologetically present. But the duo cast the net wide in their palette, not only in their references to the likes of Robbie Basho, Daniel Bachman, Jack Rose and the UK’s Michael Chapman et al (explicitly so, in the case of the latter two, with covers here of Chapman’s Caddo Lake and Rose’s Fishtown Flower), but also in the weaving through of jazz-inflected, improvised sections and intricate assemblages of shifting tonality, with nods to the 20th century American avant garde scene which at times approach the yearning dissonances of Harry Partch or the effervescent contrapuntal chord structures of Conlon Nancarrow. Hints, maybe, but more than enough to leave the listener in any doubt of the depth of the well these two are drawing from (and for those somehow still harbouring reservations over the extent to which Winter and Knowler are kicking against the hermetically sealed reverence that sometimes afflicts those working within the folk tradition, the title of the third song of the set should put these fears to rest). Ultimately, it’s the mixture of dexterity and space, weight and levity that ends up being so transfixing; conjuring a late summer pastoral haze, with Winter and Knowler’s eddies and whorls of notes carrying the listener effortlessly along like a spinning leaf on the brook. But the sweetness is never cloying, and the easy, seemingly effortless interplay between the two is never less than purposeful. There’s an unhurried focus to the duo’s playing, calm but deliberate in a way that slowly but surely draws the listener in. What leaves the deepest impression is the generosity of spirit in which these songs are offered up; something that the joyous reception that Winter and Knowler are given by an enraptured audience at the end of this set fully attests to. -- Eli Winter / guitarCameron Knowler / guitar -- Mix, master and cover design by Oli Barrett

Eli Winter & Cameron Knowler – 22.5.22

A total of 7 'vocal' pieces for soprano saxophone and piano, some written by Jan Rzewski and some by Steve Lacy. Frederic Rzewski and Steve Lacy met in Rome in the late 60’s when both were participating in Musica Elettronica Viva. Lacy dedicated his “Cryptosphere” to Rzewski - a tune full of a kind of micro playing that would dominate Lacy's playing after his time in Rome. Lacy and Rzewski shared a fascination with poetry and language, and here Rzewski and his son Jan recall moments from two records Rzewski and Lacy made together - "Rushes" based on Russian poems, and "Packet" based on poems written by Judith Melina of the Living Theatre.  --- Frederick Rzewski / piano Jan Rzewski / soprano saxophone --- Frederic Rzewski in conversation with Evan Parker: "Steve Lacy. Well, the important thing about him was that he was a great composer. People think of him as a jazz musician, an improviser, which he was, but he was also a great composer. He wrote probably two hundred songs which nobody knows and he wrote pieces for all kinds of compositions for orchestra and so on. He wasn't just what it's fashionable to talk about, he happened to be a great artist and a great writer. He wrote tone clusters with dozens of notes. They looked like grape bunches - clusters of grapes! So, I was, you know, like any pianist - I would fake them. I would fake them, of course. What you don't learn in the conservatory but what I think any professional pianist knows is that you have to fake if you're going to play music of today, to play Steve Lacy. So I did that, but then in the rehearsal Steve would stop and he would say, "well wait a minute, that's not exactly right." Of course it wasn't right - he knew what he wrote you know. He was a serious composer and he wrote it down and he knew what he wanted to hear. And so I would have to really practice at it."  Cover photo by Fabio Lugaro.

Frederick & Jan Rzewski – 10.1.19

OTO wishes you all a great time over the festive period. To celebrate People Like Us have treated us to this special Holiday Mix. Available for free download. Enjoy! Tracklisting: Matthijs Vlot - HelloLionel Richie on HeliumPeople Like Us and Wobbly - HelloThe Evolution Control Committee - HelloAnimals Within Animals - HelloAE - Tape Cuts HelloKen Nordine - HelloThe Evolution Control Committee - HelloCurd Duca - Cassettedʳᶤᵖ⁻₁₃₃ - ·•● flexButtress O’Kneel - The Britney Spears RecordsButtress O’Kneel - RhapsodyWΔll Flowers - Subliminal RomanceNew Dreams Ltd Initiation Tape - PSR41Limahl - The NeverEnding Story (Indecorum Vaporized)Buttress O’Kneel - NeverendingButtress O’Kneel - Rhapsodybd594 - Bohemian RhapsodyButtress O’Kneel - Martian RhapsodyLes Baxter - Lunar RhapsodyThe Evolution Control Committee - Spandau FiletErgo Phizmiz - Welcome AudioOtomo Yoshihide - TEACGwilly Edmondez - Break Up The PieceRoy Smeck - Waltz Of YesteryearBBC Radiophonic Workshop - Christmas CommercialAelters - Pal-Xmas Cheap GiftDJ BC - Jesu Joy Of Man's DesiringSvein Tuba Johannessen - Oh. What A MealStimmhorn - SchneeGeorge Winston - Skating (Remastered 1996)Unknown - ChariotsAdam Bohman - At HomeVoicedude - Santa Benz Rank Sinatra - Last ChristmasGoulburn Poultry Fanciers Society - Last ChristmasAdam Bohman - At HomeVince Guaraldi - SkatingAntzz - CrimboThe Kleptones - A Night At The Hip Hopera (excerpt)Blood Brothers - Under PressurePeople Like Us & Gwilly Edmondez & Hearty White & Caterina Robertson - BoxesPeople Like Us - ForeverL'Atome - The Air Beneath My MaskLuiz Henrique - Mas Que NadaDirt Bike Boy - Dolce Vita Felicity Glitch MixMatmos - SchwittUrsGwilly Edmondez - Grevious Bodily CharmChristo Graham - Muppet Christ Superstar

People Like Us – Holiday Mix

A rare solo set from composer, percussionist and sound artist Susie Ibarra. Using the full breadth of a unique set up, Ibarra takes a meditative journey across her kit, taking time to find familiar rhythms and knots and allowing them to offer up new space and sound. Delicate, dynamic and extremely focused, Ibarra finds expressive harmonics in gongs and brushes alike, with refreshingly melodic, even pastoral, results.  "Rhythm Cycles is a drum solo that I consider as a performance meditation. I love to perform this piece as it is possible to always arrive at new places while returning to familiar cycles that make so much sense to me. This piece is constructed to weave through certain tempos and hit points during a solo performance that arrive at melodies and textures and phrases grounded in specific rhythms and polyrhythms. The piece cycles through each of these sections and allows me to improvise through a flexible structure, sometimes returning to a section at moments and other times moving forward to create a new rhythmic environment.” - Susie Ibarra. --- Recorded live at Cafe OTO on Thursday 7th November 2019 by Shaun Crook. Mixed and mastered by James Dunn. “Rhythm Cycles” by Susie Ibarra is a commissioned solo performance by the Bagri Foundation for their series " At the Cutting Edge" performed at Cafe OTO. Many thanks to the Bagri Foundation for the support of this release.  About Bagri Foundation The Bagri Foundation is a UK registered charity, inspired by unique and unexpected ideas that weave the traditional and the contemporary of Asian culture. The Foundation, with its roots in education, is driven by curiosity and a desire to learn, and aims for each project to challenge, engage and inspire. Through a diverse programme of film, visual arts, music, dance, literature and talks, the Bagri Foundation gives artists and experts from across Asia and the diaspora, wider visibility on the global stage. Recent projects include At Home in the World, a series of digital commissions; Tantra: enlightenment to revolution at the British Museum; Object, Story, Wonder: Museum Collections Revealed; and From Here to Eternity: Sunil Gupta, A Retrospective at The Photographer’s Gallery, London. www.bagrifoundation.org                   

Susie Ibarra – 7.11.19

Kuljit Bhamra, Evelyn Glennie and Charles Hayward improvise together for the first time as part of Trestle Records ongoing One Day Band series and to mark the release of One Day Band compilation volume 1 on vinyl and download. A masterclass in percussive improvisation from three exceptional musicians from three very different fields of practice.  The One Day Band sessions are an ongoing programme of recorded improvisations hosted by Trestle Records. This will be the first time that the session has left the studio to be recorded live in front of an audience. The idea is to facilitate an environment for musicians to meet and collaborate with one another on a record made in a day. Often the musicians are meeting for the first time in the studio itself whilst other times we ask an artist to curate the participants. This often results with people inviting musicians or friends they have wanted to work with but haven't yet had the opportunity / reason.These recordings are owned equally by the artists who make them. We provide the studio, engineer, mix and master the session for it then to exist on www.trestlerec.com to be heard for free. This is purely an environment for experimentation and improvisation with the results available to whoever may be interested. -- Kuljit Bhamra - tabla Evelyn Glennie - percussion Charles Hayward - percussion -- Recorded live at Cafe OTO on the 24th of August 2019 by Shaun Crook

Kuljit Bhamra / Evelyn Glennie / Charles Hayward – 24.8.19