Experimental electronic artist Kirk Barley unveils a split release between his two different monikers. Utilising a similar set of tools and reduced sound palette for each, he bridges the gap between the two approaches, while also allowing room for each to flourish in their own distinct forms. Under his own name, Kirk embraces floating four world motifs. Juiced-up keys spurt and twinkle in an algorithmic maze, sprouting swirling motifs and melodies before dissolving in a synthetic water bath. On the 'Church Andrews' flip he lets these tools slip out of free motion and lock themselves into distinct percussive patterns. Similar to the approach of the likes of SND, Kirk teases the temporality in house and footwork styles to scribe his own skittering dancefloor style. Over both sides Kirk's improvised approach to sound energises each note, bass and snare clap and wandering phrase. Listening to his music is like watching plant life blossom, winding itself in and around towering city concrete in real time. -- Written & recorded by Kirk Barley / Church Andrews -- Cover by Oli Barrett

Tracklisting:   1 - False Self plays music for six pianos I [13:27]2 - False Self plays music for six pianos II [13:35] 3 - False Self plays music for six pianos III [13:50] 4 - False Self plays music for six pianos IV [14:43]False Self* works are electronic music compositions that explore identity, authorship and the delineation between self and other. The series so far, comprises of three albums: False Self plays music for six pianos (2021) A false memory of a sports party (2018) False Self (2016) The first two albums were created in collaboration, and sometimes antagonization, with a self authored SuperCollider algorithm — that I named False Self. I envision this algorithm as a fractured version of myself. False Self plays music for six pianos was composed whilst undertaking lessons with Jim Denizen Simm. Jim kindly indoctrinated me into his own working methods and some of the methods of his friends, many of whom are ex-Scratch Orchestra members; such as Michael Parsons, John White, Christopher Hobbs and Howard Skempton. These lessons led me to abandon SuperCollider in favour of working with more flexible, and to my mind, more interesting systems designed on paper. The compositions are experimental, system based works for six pianos. They deploy integer tables to arrange cells of slow, jazzy piano music. Each piano has eight cells of music and one silent cell. The cells mobilize as hypnotic cyclones of repetition, that move in and out of sync, to create complexity from simplicity. As the compositions progress, the cells extinguish themselves in a languid, stuttering fashion — before the process begins anew. Rudi Arapahoe 2021 Composed, recorded and mixed by Rudi ArapahoePerformed by False SelfProduced by Jim Denizen Simm Artwork by Oli Barrett *The term False Self is lifted from the psychiatrist Ronald David Laing's writing. I use the term to imply that there is another self working on the compositions with me.

Following on from his preposterous 'MUJZIK MONSTRØSA SPEEDRUN', which was released in 2020 on Takuroku, Goodiepal returns with an all new radio-based experimental sound work. On 'The Pole Imposter & The Databar' he embraces his ongoing audio-based crypto-academic documentation of the strange sides of European computer music. As ever with Goodiepal's work, it's best for words to pare back and let the piece speak for itself. --- Cover design by Oli Barrett

Film running time: 1 hour 44 minutes File type: .mp4 A feature length film, directed by Tori Kudo (Mahar Shalal Hash Baz) This film is made by digital images from the early 00s to 2019, when I started taking pictures with cellular phones. You can see that upgrades in resolution have drastically changed "l'imaginaire" , as we move to smartphones. Most of the images are taken by myself, but my portraits are taken by others. I can't name all of them exactly. But if I had to name who, among them, are working as photographers in their honor, it would be Seiichi Sugita and Maki Abe.- Tori Kudo -- The cover of this release was selected from one of six images sent to us by Tori of a sculpture incorporating layered photographs made by his mother. Tori wrote to us saying: "These six photographs are almost like my mother’s posthumous work. The photographs show a Mobius ring of sheet iron onto which she sticked old photographs on top of each other. My mother’s father, my grandfather, was a painter who lived in Paris before the war. His style of painting was that he would layer paint very thickly. Georges Rouault scraped off layers of paint so he could create flat paintings. My grandfather’s paintings have 1cm thickness but they seemed more like 3D works rather than the perspective paintings. My mother piles up photographs on top of each other. So in a way her style resembles my grandfather’s technique from that point of view. It is quite interesting that I was doing something similar to my mother with the film I made for TakuRoku during lockdown. However in my case I displayed my photos side by side not on top of each other. All is shown, no layering, nothing hidden underneath. It may mean that I still have an attachment to this life. Archiving seems to be a theme of this time. The thing is what do we archive from history. “You could see the movement of power in the erased history “- I think Jacques Derrida was talking about something like that… Freud on the other hand, hated the idea of archiving…he said “it’s the end of one’s life once one started making their own autobiographical anthology.. that kind of wrapping up one’s life while you are still alive.” Yet recently I had an idea of looking into archiving from the perspective of a dead person looking back at their life. And this could fit into this time of pandemic as everyone is facing more or less this issue so I made this film. The first half of this year since the lock down I had done nothing as I received a state grant but the offer from TakuRoku label encouraged me to finish this work. It has been a good practice for me." -- Tori Kudo - film & direction -- Kota Takeuchi - Font for the title at the endhttp://kota-takeuchi.net/ Tori Kudo - The song "archive" that plays in the end roll. Recorded in March 2020. Oliver Barrett - artwork design

Tracklisting:   1 - chit perc [06:57] 2 - due cani [06:27] 3 - carrubbe foglie voci [06:14] 4 - intervallo Ka [04:55] 5 - carrubbe chit Ka [07:58] 6 - quattro pioggia [13:08]Italian duo Rosso Polare treat us to their 2nd album, following the wonderful 'Lettere Animali' album, which was one of our highlights of 2020.   Cani Lenti is a collection of duels, some may say. As the two minds of Cesare Lopopolo and Annna Vezzosi converge, a dichotomy of harmonious and contrasting sounds ebb, swirl and clatter in and amongst themselves. Using techniques from call and response improvisation, tape manipulation, experimental music and free-form folk, their approach to music making feels both atypical and familiar, organised and free-flowing, rooted and landless. Like the films of fellow Italian film-maker Alice Rohrwacher, Rosso Polare's music feels grounded in the earth, but sprouts and spreads in strange and often anachronistic ways.   The duo describe this album as it’s a struggle – a skirmish – that strives to resemble filmic sonorisations and forgotten sounds. Together they lead us on a journey into the depths of Chthonian Music. Fans of the likes of Sun Araw, The Art Ensemble of Chicago and General Strike - dive in!   --   Written and performed by Cesare Lopopolo & Anna Vezzosi --   Recorded between Milan and Brescia in 2020-2021 Mixed and produced by Cesare Lopopolo Mastered by Alexander Pustynsky Album art by Anna Vezzosi

Tracklisting:   1 - Wormhole to Nowhere [16:55] 2 - Epilogue [5:03]"Having brought together two entirely independent solo improvisations like this, one from near the start of the lockdown and the other very recent, and finding that they fit together so well that I must have been  following the same pattern albeit on two very different instruments, what does that tell me? Have I merely folded time on itself without any corresponding fold in space and thereby gone precisely nowhere? Have those intervening months vanished in the attempt? And what can I call the fruits of that attempt? An imaginary duo between present me and early-lockdown me, made real by a stray thought taken too far (because I hadn't intended to put the two together when I recorded them). Have I learned nothing? By themselves, each is both an attempt to reach beyond time in itself, by touching the infinite variability of the reality beyond illusion and, by that very variability (and unpredictability) a blow struck against the homogenising forces of consumerism, a wrench thrown in the gears of the satanic mill. But when combined, then, the variability is multiplied. Not by dialogue (since each was blind to the other) but the stark fact of their separation in time and the events that they book-end. 50,000 dead, give or take. Have we learned nothing? Must the same battles be fought over and over again every single time? Will we still follow the same pattern, when this is all over?" - Massimo Magee, London, 11 May 2020 Cover image: '144 Pills' by MiHee Kim Magee

Available as 320k MP3 or 24bit FLAC    Tracklisting: 1. Scene 1, after Hobart Smith - 5:58 2. Scene 2, after Dock Boggs - 4:06 3. Scene 3, after Dink Roberts - 3:02 4. Scene 4a - 5:49 5. Scene 4b - 3:27 6. Scene 5 - 4:43 7. Scene 6, after Margaret Barry - 4:49Dusting off the earthy sounds of American old-timers Hobart Smith, Dock Boggs and Dink Roberts, as well as Irish singer Margaret Barry, London-based Jacken Elswyth lets their influence flood their consciousness and weave itself into 7 stirring tracks. Side-stepping any revivalism, Jacken allows each track the space to trail its own path, letting the spindling strings of their banjo knot their own patterns and colours. With occasional accompaniment by shruti box and melodeon, there's a trance like nature to each proceeding, situating Jacken's work firmly in the tradition of the "avant-folk" (see Henry Flynt's experiments in country music), but very much tempered to their own voice, as if the listener is being given an intimate private view to Jacken's memories: both past and present. --- Jacken Elswyth / banjo --- Recorded and mixed by Jacken Elswyth. Mastered by Oli Barrett.  Cover design by Oli Barrett from a photo by Molly Budd.

Tracklisting:   1 - You Can Only Be Good Enough [05:14] 2 - Three Thousand Four Hundred and Thirty Two Hours of Protest [04:34] 3 - Love Is More than God Could Ever Be [05:56] 4 - What if the Autumn Never Ends [05:40] 5 - Respond, Don't React [06:58] 6 - Be Curious and Flexible [05:00]"Drum improv: polyrhythms, Bonham and Roach and Graves and Art and Bacon and blastbeats and that voice in the fire escape and nowhere and potatoes and the earth and chickens and greeness and moon observance, solos for solo and duo dancing. We all miss being with people. We’re all doing things to keep going, knowing how much worse the experience of the Other could be. One day maybe we’ll play music with other people in a room." -- Blood Music - Drums & electronics -- Recorded live at The Park Studios rehearsal room, September-October 2020. The cover is a sketch of Dogen with stuff coming out of and into his eyes. Play loud.

Tracklisting:   1 - Japan is Democratic [10:39] 2 - Saturday's Den [7:08] 3 - Monday in D [11:05]Whipped up live and onto tape in Brussell's experimental music mecca Les Atelier Claus last summer, 'Dork Star' is a gloriously breezy suite of weightless psychedelia and blues. Guitar, bass and drums weave in and out of one another seemlessly, drifting across an open plain and reaching towards ecstatic heights. If you love those early Träd Gräs Och Stenar records, you're in for a real treat here. "In the past 15 or so years Ignatz has explored all visible cracks and overlapping layers between (or underneath) folk music, blues, singer- songwriter and psychedelia. De Stervende Honden (Dying Dogs in Dutch) know their place more than well, sending the anxious listener with endless psych bass and primitive percussion into a kennel where after a few bites dream state replaces sense of direction." - Dennis Tyfus -- Bram Devens - Vocals, GuitarsTommy De Nys - BassErik Heestermans - Drums -- All tracks recorded at Les Ateliers Claus, summer 2020 mixed by Erik Heestermans, mastered by Tommy De Nys

Tracklisting: 1. Sometimes My Heart Bleeds For No Reason2. Fire Is Armor3. The Plain Does Not Give Way4. Banal And Evil, Corroded By Hope5. The Euphoria of The End6. Eternal Autumn Iztok Koren's introduction to ’Lonely Hymns and Pillars of Emptiness’: Since 2000 i've been active in several bands and projects (Širom, Škm banda, Hexenbrutal etc.), but this is the first time i’ve released any solo material. During spring lockdown 2020 in Ljubljana, Slovenia, I created six compositions for banjo, prepared 3-string banjo, acoustic guitar and field recordings. I carved material at home in my bathroom. That was the only place where I didn't bother my partner and two years old daughter during their sleep. Luckily the acoustics were great. The idea for a solo project matured over several years, but the final push to bring it into fruition was courtesy of my friend Raphael Roginski. His encouragement to take this step gave me faith and boosted my motivation.  The initial inspiration for the music came from contemplating the possibilities of overcoming my feelings of selfishness, stubbornness, anger, guilt, regret and envy, and reading ancient Chinese text Yi Jing. A big inspiration also came from the melancholic mysticism of flatland Prekmurje (northeast part of Slovenia, close to Hungary) where I was born and spent my childhood: a place which has always aroused feelings of nostalgia, homesickness and splitness for me. Lockdown in spring was crucial for finalizing my album. That period was very strange. I had a feeling that my life was shrinking into a small bubble. Different aspects of daily living started to coexist and influence one another. Feelings and moods shifted very fast: Job, family life, intimate partner life, free time, time to relax, time for music etc. All these different parts of daily life could take place in a period of just a half an hour. That was very new for me. With the creation process of this album I tried to grasp and hold onto feelings of being present, to be "here and now", to accept my new reality, but also to be away from the everyday pressure of bad news, worries about the future, and heaviness of emerging existential questions. I thought a lot about the insignificance of human existence and tried to inhabit a more non anthropocentric and holistic view on nature. Everything is part of nature - which will always find its balance - but this balance may not be good for humans. And perhaps it’s ok like this. When I learned this, I felt humility and humbleness emerge within me. When living space and movement is shrunken, one can start to see new life emerged in what before might have seemed rather boring or insignificant. For example, how daylight changes and paints different color shades on the wall at different time of the day. Or how certain weather influences on how plants in the garden and soil smell. Or how sounds of neighbours children playing resonates in some places differently depending also on the wind blowing and air pressure. Or seeing beauty in geometrical patterns in constellations of electric wires. Or echoing sound of lonely train in empty city, or smell of hair after long walk, or dissonant music of creaking stairs, or the special sound of a daughter's voice when she's just woken up. All those new sensations built for me new mental images, which filled my mind during the creation process, and also became material for the songs. As part of the album I included field recordings which were all taken during the spring and summer of 2020, except the excerpt of an interview with my uncle included in The Plain Does Not Give Way. My uncle lives in a small village in Prekmurje region, living a very ascetic life full of sacrifice, renunciation and deep faith. I talked with him about local folklore, myths and stories about witches and ghosts. During the conversation there was one very interesting part where he was talking about 10 signs which will announce forthcoming apocalypse. One of those signs started to appear recently in his dreams. That interview took place in beggining of 2019. Then spring lockdown in Slovenia was over and I was able to go into the studio. With Chris Eckman as a producer I recorded in one day (15th august 2020) six partly improvised compositions. That recording process was very intense for me. I felt a big emptiness after the session and I didn't touch my instruments for a month. Luckily my energy now came back and I'm looking forward to seeing how this material will shape itselves during live performances. November, 2020The debut release by Slovenian musical polymath Iztok Koren, best known for his work in avantefolk outfits Širom, Škm banda and Hexenbrutal. Made in the heat of 2020’s lockdown, Iztok transmutes the intensity of the period into 6 pieces that sensitively unfurl over time. With various stringed instruments and field recordings in hand, he weaves his interests in Slovenian mysticism, ancient Chinese divination texts, his family and his new found love of nature, revealing an intimate snapshot of life up-close. -- All compositions by Iztok Koren: banjo, prepared 3-string banjo, acoustic guitar, electric guitar, field recordings -- Recorded and mixed by Chris Eckman, 15th august 2020Mastered by Dejan Lapanja Cover art by Tina KonecDesign Oli BarrettNovember, 2020

Tracklisting: 1 - Country Dustbin [52:52] --- BOOK VERSION 72 page paperback featuring ALL of the lyrics to the longest song in history. Essential companion piece to the musik. Also an unputdownable piece of standalone verse. Dan Haywood's practice exists in the liminal space between folk, pop and outer-musics. Indebted to troubadour cultures as much as natural history, psychogeography and centuries of British poetry and prose, his work takes singer-songwriter culture to the edge of the cliff, tip-toeing off the precipice, occasionally flying freely over uncharted territory. For this new one-track album Dan uses the aesthetic language of American music (the cyclical dirge of blues and rock'n'roll, the organ funk of r'n'b, the rhythmic syntax of hip-hop) and folds them into a subjective template for his 'Country Dustbin': a song that attempts to come to terms with the clutter of a life in the 20th & 21st century. He utilises the Country Dustbin, in his own words, as “a bottomless pit when you need to dispose of a traumatic episode, a confession booth, a time capsule… an alembic to distil experience, a torch to illuminate a mystery, an arena for a reckoning.” From Los Angeles to Peckham, from Armenia to Perry Barr, switching between autobiographical scenes and stolen observations of the lives of British people, Haywood conjures poetry that walks a tightrope across the joyful, the sad, the wondrous, the banal. Unburdened by dogmatism or linearity, there are glints of Ted Hughes, J.H. Prynne, Robert Burton and Bob Dylan, whipping his observations to allegorical and metaphysical heights. Each syllable is wedded to the band’s hypnotic beat as organic sounds unfurl throughout the 53-minute duration of the piece.Following a slew of ambitious projects, beginning in public with his star-gazing New Hawks triple LP in 2010, and more recently a series from his high gain outfit Pill Fangs, 'Country Dustbin' finds an uncompromising artist playfully pushing songcraft to new places. -- “The best songwriter you’ve probably never heard of has delivered another diamond” Record Collector  “Very far out” David Berman

Tracklisting: 1. Of Nostalgia [05:37] 2. Duetto [03:07] 3. The Future [05:00] 4. Quartetto [01:31] 5. Musiques de Chambre [02:49] 6. Het Varken [04:35]   Deluxe version of the album now available to pre-order including bonus tracks and remixes from:  https://pomeraniansnout.bandcamp.com  “Nostalgia (from nostos – return home, and algia – longing) is a longing for a home that no longer exists or has never existed. Nostalgia is a sentiment of loss and displacement, but it is also a romance with one’s own fantasy. Nostalgic love can only survive in a long-distance relationship. A cinematic image of nostalgia is a double exposure, or a superimposition of two images – of home and abroad, past and present, dream and everyday life. The moment we try to force it into a single image, it breaks the frame or burns the surface.” - Svetlana Boym, “The Future of Nostalgia” “I’m not deliberately out to antagonise an audience or spite them or anything like that, but if they adopt the attitude of ‘This isn’t what we expected’, then yippee, I’m gonna wallow in that, because you shouldn’t sit back and expect anything at all.” - John Lydon, “Anger is an Energy” Spring time. Three period instruments from the turn of the century: Yamaha CS1X, Korg MonoSynth 2000, MicroKorg Synth Vocoder. Fingers fumble, sounds happen - obnoxious, unapologetic, fragile like a wobbly cassette that you’ve listened to a million times on the Walkman you dropped before you could afford a Discman. I’m not playing the instruments, they are playing themselves, they are playing me and there is no forcing or fighting them. Faded-photograph sunshine sounds of ’90s electronica, caramelised sweetened condensed milk, the beach, rage, DIY chamber music for cats. Then, it stops: the end of nostalgia and the end of the world as you know it. We are getting old and the sounds have lost their innocence. Thank you to Ed (Teddy) Bennett, Michael Keeney and Hannah Peel for the synth love.  -- Xenia Pestova Bennett - composition / performance / recording / mixing -- Ed Bennett, production / creative & artistic concept Antony Ryan (RedRedPaw), mastering Oliver Barrett, cover design from a photo by Xenia Pestova Bennett

Tracklisting: 1 - How to spot a rip [16:00]One way to spot a rip current in the ocean is to search for a rippled surface surrounded by still water. When many different currents are pulling in different directions, a rippling effect is created on the water's surface. This piece is for 4 unamplified electric guitars. It’s in a 13-limit tuning that I've been exploring in various contexts recently.  Over the the piece's duration, the guitars are tuned up or down at specific points, so that they cross each other, moving from a close cluster to a spread voicing over three octaves. As the frequencies push away or pull towards each other, the stillness is disrupted, sometimes only subtly, other times quite chaotically. At times many shifts happen at once, at other times the movement is against a backdrop of static pitches. -- Julia Reidy - 4 unamplified guitars -- Recorded in 2021 Mastered by Oliver Barrett Album cover photo courtesy of Adam Pultz Melbye

Tracklisting: 1 - Metalessness [27:12]For Erika.In memoriam William Thomson, potman, pub pianist who died of TB at 39, the grandfather I never knew. -- Text, 'Lessness' by Samuel BeckettMusic by John Tilbury --John Tilbury: voice and clavichord -- Recorded & mastered by Shaun Crook Cover art by Billy Steiger N.B. The play-back level should be quiet; the text should be comfortably intelligible.

Tracklisting: 1 - Ruminations Until All Done [23:40]Wild Rani's music emerges from the sonic dirtbin of two different experimental traditions; the laconic and dry no-wave synth and tape work of late 70/80’s UK acts like Cabaret Voltaire, and the gooey dirge of Michigan noiseniks Wolf Eyes. Both approaches infuse her sound world with an eerie aura, filling the space with slime dripped synths, discombobulating drones and flurries of flute and rattle-snake percussion. Becky’s words are pushed to the fore, spelling out her upheavals, desires and alienation in direct, matter of fact syntax. This is an incantation and excavation – dispelling the ghosts of 2020 and 2021 in aural form. Having this as part of our final set of releases is fitting: an ode to an extremely strange, dark time. -- Wild Rani - synths, vocals & various instrumentation  -- Mastered by Oliver Barrett

Tracklisting:1 - 'SISTER' [23:48]When we asked Mariam Rezaei to submit a Takuroku release late in 2020 she responded by saying “I want to do something, but I want to make sure it's something special”. Almost a year later Mariam decided to team up with vocalist Alya Al-Sultani, presenting a first time duo on turntable and voice, sending lightning fast sonorisations bouncing off the walls of OTO. Mariam and Alya come from different but overlapping disciplines. After growing up as a classically trained pianist, Mariam has built a reputation over time as a prolific turntablist, DJ and improvisor, never shying away from interdisciplinary and experimental projects. Alya meanwhile is a British-Iraqi soprano, but has spent the last few years integrating improvisational techniques, microtonal ideas and Eastern influences in her music. Together their dexterous lungs and nimble fingers birth forms that dance in and out of each other: shifting, soaring, dipping, diving, but never sitting still.Mariam takes Alya’s vocals as content to throw back into the mix, forming multiple layers of chops and edits that ricochet back and forth. Alya’s vocals move between tender refrains, textural flurries and righteous bursts of operatic expression, meeting Mariam digital fx, textural drones and sonic swells in ecstatic symbiosis. Alya’s repeated aphorism “I want you, female,” throughout the start of the set spells it out. This is music about desire and liberation: fiery, sonically rambunctious and forever reaching for new heights. -- Alya Al-Sultani - voice Mariam Rezaei - turntables -- Recorded in Cafe OTO by Shaun Crook on the 30th of June, 2021 Mixed & mastered by Oliver Barrett

Tracklisting:1 - orioNoiro [32:59]Since 2006 the Portugese duo of Marta Ângela and João Artur (CALHAU!) have been quietly labouring away on their wonderfully tilted practice, embracing music, text, film, and visual arts on a path that has included performances, exhibition projects and several artistic residencies. For this new release on Takuroku they take influence from medieval Galician-Portuguese songs/poetry of insult and mockery called cantigas d'escarnio e maldizert. A carnivalesque sense of play, pathos and absurdity haunts the 33 minutes run time as they shift between sung and spoken incantations, baroque organ dirges, junk-yard musique concrete, layers of tape mush and sonic trickery. Although medievil in theme, there is a particular timelessness to proceedings. One of the main instruments CALHAU lists is "the ghosts of an old cassette re-recorded thousand times during the last 20 years" - with sounds fermented and rendered into beguiling forms. Another is "a crappy electric organ from 1980 called ORION", which dispels both baroque and twisted sonics from its tired engine. When first listening to this it instantly brought to mind the late Ghédalia Tazartès, who sadly passed away this year. Similar to Ghédalia's work this is ageless, contradictory, old, new, sad, strange and often hilarious music. Music that fearlessly reveals its multiple facets to slowly unfurl its twisted, tender core. -- CALHAU are Marta Ângela and João Artur -- Mastered by Oliver Barrett

Tracklisting: 1. Paused Ident [2:14] 2. Temporary Facilities [1:37] 3. Seeing Proper Houses [2:48] 4. Dorsal [2:45] 5. Wrong Aspect Ratio [1:54] 6. Retroflexion [6:00] Patrick Ward’s performances are dynamic contractions of his gallery installations in which video sequences designed for multiple screens are 'stacked’ within a single frame. Following up his Retroversion/s performances at Cafe Oto Ward’s Video Evidence presents a collage of sounds sourced from old VHS tapes, incidental phone footage and barely viewed YouTubes. Edited and mixed in Tottenham, September 2021 -- Mastered by Oliver Barrett