Start Listening To: Otala

Otala on finding clarity in transition, shaping contrast, and letting their sound grow into something more honest.

Now based in London after starting out in Nottingham, Otala are quietly reshaping their sound into something more spacious, expressive and emotionally direct. On Better Than The End, the four-piece lean into atmosphere and restraint just as much as intensity, building songs that feel carefully considered without losing their instinctive edge. We caught up with the band to talk about evolution, collaboration, and what’s changed between releases.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

(Charlotte) Yes! Hello anyone unfamiliar which is usually most people! We are a 4-piece consisting of Oscar (Guitar, vocals) Rory (Bass) Jacob (Drums) and Charlotte (Saxophone). We started out in Nottingham, about 4 years ago, playing mainly post-punk/post-rock but have since moved to London, and our sound is also changing towards a softer end of post-rock.

(Oscar) I am from Keighley in Bradford.

(Rory) I am from Macclesfield.

(Jacob) I’m from Bedford.

Better Than The End feels like a real step forward for you, what changed between this and Fire! To The River?

(Rory) I think Fire! To The River has a tinge of self consciousness about it, like we were thinking too hard about what we should and shouldn’t be doing, whereas Better Than The End has just sort of flowed out of us in a way that makes it sound more honest and true to our emotions and intentions as musicians and friends.

You’re often described as rejecting genre limitations, is that something you actively think about or just how the music naturally comes out?

(Rory) At least personally it isn’t something I think about at all, I don’t think we tend to write with aims in mind other than expressing whatever idea or feeling that song is going to be about, and even that often takes shape as the writing happens.

There’s a big contrast between more immediate moments like ‘A Chase’ and something sprawling like ‘Lord Only Knows’, how do you approach pacing across a release?

(Oscar) It’s important to try and keep listeners engaged across the listening experience, so making sure it’s paced properly is really important. If you listen to 5 similarly styled songs in a row it would probably get a bit monotonous. They’d be zoning out for all the wrong reasons. There’s loads of ways you could do it well, but we thought it would be cool to come in with a bang, slow it down and sit in the atmosphere a bit before bringing back the intensity right before the finale. We had some of the songs written (alongside some extras which weren’t used) and then chose how we thought Better Than The End would flow best. We cherry picked the songs to try and match that pacing. Hopefully it works to keep people interested.

Your sound moves between quite delicate passages and huge crescendos, how do you know when to let a track build and when to hold back?

(Charlotte) Definitely trial and error, through playing live and not shying away from perhaps telling someone , maybe you could cut out or have more restraint in this part! We have built up a long friendship where we all know it’s nothing personal. The other part comes from translating it from something we play live to something we want to be recorded, before going into the studio with this EP we spent many practices just “arranging” things, and even once in the studio our producer, Louis was able to advise even further on how best to make the contrasts between delicate and rough not seem disjointed.

The addition of saxophone brings a different texture into the mix, how has that shaped the way you write and arrange songs?

(Charlotte) When I joined Otala, Oscar and Rory were definitely looking for an extra element in our music tonally and while I wasn’t very strong at playing I learnt alongside them, and therefore all of my additions and parts came from improvising based on getting to know their musical styles and using my own influences. I’d say that it definitely changed the way we wrote things, as when you add new people into the mix there’s a whole other perspective and bunch of ideas to consider too.

You recorded this EP at Premises Studios with Louis Milburn, what did that environment bring out in the sessions?

(Oscar) Louis is a lovely guy and ridiculously good at what he does so it was very easy to not only trust him with the process but also to have a good rapport with. That’s more important than you think when working together for long shifts at the studio. We’d highly recommend him if you’re a musician looking to get some production done! Premises was also easily the nicest studio we’ve had the pleasure of being in. Would also recommend (no hate to the other studios).

There’s a sense of transition tied into this release, what was shifting for you as a band while making it?

(Rory) We started writing the songs on this EP soon after we’d all moved to London from different cities which definitely influenced how we began to work as a band (being able to practice without driving for over an hour was a plus). It’s much less the case now, but when the songs were starting to come together I think we were all feeling like we were in transitional states as individuals

(Charlotte) and with moving south, we had to part ways with our old drummer and synth player. We enlisted a new drummer, Jacob who has been with us this whole London period and made this EP with us. That definitely contributed to the feeling of transition, bringing his personal style into the mix too.

Do you tend to start with a specific idea or mood, or do your tracks grow out of more open-ended jams?

(Oscar) It’s usually an idea that’s brought to the studio with a general mood / direction that tends to blossom over a couple of jams into a beta song. After playing some live shows you can get more of a gist of what works and what doesn’t. Then we get back into the studio and tweak things again until we’re happy.

(Jacob) Oscar usually brings the small idea that worms into your brain and by the time you’re back in the studio your subconscious has built a part around it.

How important is space and restraint in your music, especially when you’re building toward those bigger moments?

(Rory) Very important! It’s something we’ve had to learn even if not consciously. Looking back at our older music it’s nice to see that some learning has been done….

You’re heading straight out on tour after the release, how do these songs change once they’re played live?

(Oscar) I think whereas they’re very lovely recorded, it’s easier to see the emotion of the tracks when it’s live, as with most music. And I think that keeps it interesting, live music is very important.

With Better Than The End marking this new phase, where do you see yourselves pushing things next?

(Oscar) Hopefully we’d be lucky enough to be able to do a bigger project like an album (we’re independent right now if any labels are interested in a multi million pound deal).

What do you love right now?

(Oscar) Cheesy beans on toast

(Rory) Indie web development (plug hogwild.uk)

(Charlotte) Collaging

(Jacob) Blueberry banana bread

What do you hate right now?

(Oscar) boiled potatoes

(Rory) Globalised fascism

(Jacob) Indie web development

Name an album you’re still listening to from when you were younger and why it’s still important to you?

(Oscar) Untitled by Tera Melos. Seeing Tera Melos was one of the first gigs I went to with my brother, at Brudenell in Leeds, and it opened my third eye.

(Rory) Bop Till You Drop by Ry Cooder. His playing has wormed into my brain since before I was born (thanks Dunc & BJ) and I think he captures the idea of finding beauty in longing better than any other artist, often without words. I Think It’s Going To Work Out Fine is a mantra I live by.

(Charlotte) Steve McQueen by Prefab Sprout. If i’m ever in a funny mood and can’t figure out what to put on, it usually ends up being this.

(Jacob) Probably Mellon Collie and the Infinite Sadness by The Smashing Pumpkins. It takes guts to make a 28 song record at your peak but to make it a no skip (for me) is even cooler. Some of the best diversity and musicianship on a rock record you’ll ever hear.

When someone hears your music for the first time, what do you hope sticks with them?

(Oscar) Our tour dates and locations. Which are:

29.04.26 - Norwich Voodoo Daddy’s

30.4.26 - Nottingham, The Bodega

01.05.26 - Bristol, The Lanes

02.05.26 - London, The Grace

06.05.26 - Paris, Supersonic