Edition of 214 one-sided LP with blood red silkscreened flip. Looped and live collaged ritual atmospherics and crude guitar/drum psych stand-offs that orbit a similar zone to early NNCK from a group that feature Tom Carter of Charalambides, Shawn McMillen (Ash Castles On The Ghost Coast), Brian Smith (Iron Kite et al) and Blake Carlisle. Less drone-focussed than previous releases and deeper into a kind of savant ESP Disk Godz/Fugs séance style.

Great glob of profound solo thought by this confirmed margin walker. A dose more fractured than his Charalambides work, Root King makes for a perfect late-night listen as Carter scrambles chords and brain cells via electric and lap steel guitar while choruses of far-off bells rattle like the bones of tiny fish dancing in yr veins. Real rock bottom blues.

Much requested CD reissue of this hard-to-score Charalambides release, originally issued as a Peter King lathe LP on Eclipse in an edition of only 100 copies. Dedicated to Bruce Connor, it features inkblot artwork by Heather Leigh. The sonics are supremely dilated and fully orbit the kinda late-90s/early ‘00s mystery zone that would combine extended improvisatory modes ala FMP/Incus with F/X clouded dreamtone works, gorgeous otherworldly vocals from Christina and sudden surges of volume pedal gliss from Tom. This is still one of their most beautifully fucked recordings and speaks of their ability to inhabit the furthest edges of form while still sounding like the best rock band of your life. Can’t think of anyone today who could pull off the same kind of seamless psychedelic schizophrenia with such fucking aplomb. A great record from a great group, highly recommended.

Second of two solo guitar collections from Tom Carter of Charalambides/Zaika et al. This one bundles two raggedy live blow-outs of solo guitar gnosis, one recorded at Nemo Bidstrup of Time-Lag’s record store, the other in Burnt Hills’ legendary Albany basement venue.

"Eva (Inca Ore) is a noted abyss whisperer and lung purger whose vox exertions have added a great deal of chokehold potential to JOMF in addition to a slew of other collaborations, most notably yellow swans. her new cd on 5rc is a heart-punching freedom grab that has folks across the globe falling bewildered onto either side of their self-drawn boundaries. This collab with tom partakes of some of the nursery rhyme fragility of her jyrk/weird forest debut, w/out fearing the blown open furnace door (nor the white heat inside. nor the wah pedal). 43 minutes, 150 copies, spraypaint stencilled by eva w/ an image of a popular medicinal plant of the western hemisphere." - Tom Carter.

"Sky City features Tom Carter (Charalambides), Robert Horton, Lisa Cameron & Lee Ann Cameron. Lisa Cameron is a drummer and percussionist from Austin, Texas, whom Tom Carter has played with in the past. Lisa creates exquisite noise by vibrating snares and cymbals with feedback. When she heard Tom Carter and Robert Horton's Lunar Eclipse, she wanted to record with them. Lisa and vocalist Lee Ann Cameron drove from Austin to the Bay Area and a session was planned. In the meantime, Tom was journeying in New Mexico and drove by a road sign to Sky City, so he had found the name for the new group. The day of the session, Lisa and Lee Ann drove from San Francisco, picked up Tom in Oakland and arrived at the studio on the hill. Lisa had somehow left her equipment in SF. As they drove up, I heard Tom say, "That's so Texas." Then the magic started. Lisa asked, "Do you have a cymbal?" "Yes" "An extra contact microphone?" "Yes." "A snare?" "Yes." "Some strips of metal?" "Yes." Then we walked over the abyss together into Sky City. Sky City is psychedelic space music with all the atoms of surfaces freed to inter and counter react. Noise in the outer dimension. Horton's homemade inventions, Carter's lyrical ebow guitar lines. The walking on the moon vocals of Lee Ann Cameron. The vibration of material planes by Lisa Cameron. The broken blues of the boot ( Horton's oldest instrument 4 strings on a piece of wood the shape of italy). Sun Ra ark and Neil Young's arc put through a digital blender and reconstituted for space travel. The magical musical thing (MMT) a toy synthesizer from the 70"s. A great drawing on the inside cover by Natacha Robinson. A chance for music induced time travel to parallel worlds and an opportunity to recieve a collect call for the future from Sky City." - IR.

New duo project from Tom Carter of Charalambides and Marc Orleans of Sunburned Hand Of The Man. If you’ve caught any of the recent solo blats from Tom Carter since his relocation to NYC then you’ll know that that these days his guitar is fully set to shred and this is a stunning document of two string-thinkers working with maximal freedom and organic rhythms. The opening “Eyes Of Jewels, Mirrored Bodies” marries Orleans great fingerpicking style – which comes from a similar place to Glenn Jones – to Tom’s wild west coast style. Later tracks explode the blueprint even further, marring a 90s underground feel for squeal with an immolating post-Sonny Sharrock aesthetic. Easily one of the wildest sides either of these guys have cut and if you’re into bloodied six string euphoria then you’ll even be able to forgive them their ‘poem’ to Jack Rose. Stick to the string-slinging, brothers!

New duo project from Tom Carter of Charalambides and Marc Orleans of Sunburned Hand Of The Man. If you’ve caught any of the recent solo blats from Tom Carter since his relocation to NYC then you’ll know that that these days his guitar is fully set to shred and this is a stunning document of two string-thinkers working with maximal freedom and organic rhythms. The opening “Eyes Of Jewels, Mirrored Bodies” marries Orleans great fingerpicking style – which comes from a similar place to Glenn Jones – to Tom’s wild west coast style. Later tracks explode the blueprint even further, marring a 90s underground feel for squeal with an immolating post-Sonny Sharrock aesthetic. Easily one of the wildest sides either of these guys have cut and if you’re into bloodied six string euphoria then you’ll even be able to forgive them their ‘poem’ to Jack Rose. Stick to the string-slinging, brothers! 150g vinyl with download. 

Finally got a bunch of copies of this inspired collection of poetry, sex memoirs, paeans to post-rock poon and subcultural subterfuge by one of the most consistently savvy wordsmiths of the post-literate underground, Mr Byron Coley. Printed back in 2003 in an edition of 100 copies by Tom and Christina Carter of Charalambides, this one went precisely nowhere for reasons that are buried beneath many, many hangovers but here it is, finally. Stapled, A4 format with a buncha poems that touch on subjects as close to your heart as Jayne Mansfield's corpse, Barbara Bush's puke, Touch & Go Records, Lester Young and Albert Einstein, early-60s glamour, shaven versus unshaven armpits, Genesis P-Orridge and Jordi Valls, the art of the money shot, Alice Coltrane and a whole bunch more worthwhile musings on lady hair from a guy who does little else but. Highly recommended.

"Long-, long-, long-, loooooong-awaited and singular entry in the Charalambides and Klang Industries discographies; one of those does it really exist? items thats finally seeing daylight, or moonlight. A stark, unsettling and beautiful slice of duo Charalambides invocation/incantation, taken from the period between Jason Bill and Heather Leigh's tenures with the band and featuring extraordinary chord organ and vocal work from Christina and some signature lap steel mastery from Tom. Fans of the bands most recent, more song-based work will find this revelatory, long-time listeners will say ahhhh and settle in for the flight. Heavy vinyl, limited pressing, covers handiwork by Tom, the first release in years from Klang and a sign perhaps of a truly epic revival." "Long-awaited Klang debut of Charalambides. This record has been brewing since 2000, and is now finally available under the auspices of Eclipse/Klang. Two side-long improvisations in much the same vein as IN CR EA SE, a bit more topographical perhaps, but still horizontally serene and horizonless. Chord organ, lap steel, vocals." --Wholly Other.

Deluxe vinyl edition of this classic solo album from Heather Leigh (Jailbreak/Scorces/Jandek et al) originally released in a tiny edition on cassette by Fag Tapes. Two fully-extended high metal masses for amplified pedal steel and vocals that blow all notions of form, fidelity and frilly fucking folk-picking fops to the kinda sweet metallic ribbons previously worn as crowns by Keiji Haino, Jojo Hiroshige and Teenage Jesus & The Jerks. Very different in tone and attack from the recent Jailbreak LP, Jailhouse Rock has a more amorphous sound, with muzzy smears of guitar caked in NZ-style fuzz and clouds of high string tone that conjure the miasmic electronics of Maurizio Bianchi. One of Heather’s most blasted sides with all-new nuts artwork by Heath Moreland. “Jailhouse Rock is in fact a wax reissue of a long OOP 2006 cassette classic on Michigan crud factory Fag Tapes. It was a fave of ours that year (and every year), so it feels extra celebratory to be able to offer up a freshly remastered (by Pete Swanson) LP edition of the album for global re-appreciation. Sprawling, long-form descents/ascents into mythic electric disorientation, powered by her trademark recipe of FX-soaked pedal steel and voice. Jailhouse feels loosely more aligned with a mid-aughts drone/noise aesthetic than the outsider dirt road Americana of her Devil If You Can Hear Me LP (also on NNF), but the distinction is a slight one. Side A swims in swooping sheets of vox and tempestuous wind tunnel dynamics before slowly dying away to wheezing disembodied harmonica. The B piece begins in a more overtly beautiful mode, a trinity of crystalline notes picked and stretched until they’re transformed into a rapturous sky of textural distortion. Sensual and vertigo-inducing in equal measure. Black vinyl LPs in jackets with brand new paint/collage artwork by Heath Moerland (of Sick Llama, Slither, Odd Clouds, etc). Edition of 400.” – NNF. Highly recommended!

Latest broadcast from Rob Fisk’s Common Eider, King Eider sees the group expanded to a four-piece with guest appearances from Liz Harris (Grouper) and Tom Carter (Charalambides) playing austere rural drone that owes as much to Arvo Part as it does to Popol Vuh. Piano, bowed strings and soaring psychedelic guitar combine in dark cinematic madrigals that move in orchestral sweeps to euphoric crescendos before dispersing into clouds of foggy tone. The closing track, featuring both Harris and Carter, revisits the autumnal drone style of Grouper’s Way Their Crept via hazy choral sonics and non-corporeal guitar. An impressive, ambitious set. Comes with a fold-out poster sleeve and a free download. 

Edition of 300 copies 7” on Metal Rouge’s own private imprint, the first instalment of their Alone Together series of solo performances. Using nothing but bells and vocals Christina casts a frozen spell over space and time, the sound of her breath expanding via phantom doses of reverb into an abyss of floating tone, singing in a heartbreak style that would reconcile Suzanne Langille with the outer space poetics of Amy Sheffer. These tracks wouldn’t have been out of place on one of her classic Many Breaths side like Human As Guitar or I Am All The Same Song. Highly recommended.

Debut full-length vinyl from this Northern California “free drift” unit, with one massive track per side. If you caught these guys live on their recent tour you’ll know that their sound has developed from nascent drone rock moves into a more fully orchestrated and all-enveloping free music behemoth, one that crosses sophisticated washes of slowed-down narcotic synth with waves of orchestral machine noise and repeating rhythmic structures. This is the best document of their stunning live form thus far, two epic tracks that feel fully-scored and deliberately sculpted but that capture the anything-can-happen energy and higher-minded free music spontaneity of the group at its best. Comes packaged in deluxe gatefold sleeves with silkscreened art by Nate Nelson of Mouthus/Religious Knives/Crazy Dreams Band. Edition of 470 copies.

Limited album from Starving Weirdos in an edition of 500 copies. Very different from their last few screwed and chopped drone sides, B/P/M is mostly based around the transportive potential of various piano strategies, with the opening track possessed of an aggressive avant garde edge that combines splinters of ivory with sudden percussive thunks. Further strategies include deep-sea key soundings, with haunted melodies bubbling up through an ocean of F/X and some fast, strumming piano minimalism somewhere between John Cale and Charlemagne Palestine before we arrive in more familiar territory with the extended electronic tones of the closer. OOP.

These guys have been busy with a bunch of uniformly great side-projects – Ensemble Economique, RV Paintings et al – but it’s great to see them back with the mothership for this major new release. Here the duo of Brian Pyle and Merrick McKinlay are joined by a host of collaborators for an album that drifts with alla the allusive logic of dreams through a series of spectral drone works and environmental improvisations. The opening “In Our Way” is stunning, conjuring the ghost of Skip Spence from the kind of tape and electronic fuckery that could almost be Dome. Later tracks have an improvisatory feel that is equal parts ghostly gamelan orchestra, Maya Deren soundtrack and SME circa Karyobin with breathy reed sounds and melodica over fourth world jungle environs and great ascensions of devotional keyboard drone. Indeed, there’s a spontaneous orchestral quality to the music that lends it a particular grandeur, building on the kind of phantom scale that Pyle first formulated on the Ensemble Economique sides, with a scope and a sonic palette that is well beyond your average F/X jamming droner. Modern devotional music never sounded so widescreen. Recommended. 

These guys have been busy with a bunch of uniformly great side-projects – Ensemble Economique, RV Paintings et al – but it’s great to see them back with the mothership for this major new release. Here the duo of Brian Pyle and Merrick McKinlay are joined by a host of collaborators for an album that drifts with alla the allusive logic of dreams through a series of spectral drone works and environmental improvisations. The opening “In Our Way” is stunning, conjuring the ghost of Skip Spence from the kind of tape and electronic fuckery that could almost be Dome. Later tracks have an improvisatory feel that is equal parts ghostly gamelan orchestra, Maya Deren soundtrack and SME circa Karyobin with breathy reed sounds and melodica over fourth world jungle environs and great ascensions of devotional keyboard drone. Indeed, there’s a spontaneous orchestral quality to the music that lends it a particular grandeur, building on the kind of phantom scale that Pyle first formulated on the Ensemble Economique sides, with a scope and a sonic palette that is well beyond your average F/X jamming droner. Modern devotional music never sounded so widescreen. Recommended.