Volcanic Tongue Catalogue

The Friday Group
Who Wants To Look At A Bunch Of Broken Pottery When You Can Haul Ass Down The Freeway

Wholly Other No Cat

One-Sided Picture Disc LP
£16.99


All proceeds from the sale of this release will go to Tom Carter. Read more about the appeal here: http://www.volcanictongue.com/tomcarterappeal


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.

Charalambides
Ana/Kata

Beta-lactam Ring Records BLURR-2002

10"
£8.99


2002 10" from the world beating Charalambides trio of Tom and Christina Carter and Heather Leigh. Two beautiful improvisations that float electric string violence into barren desert territories. Hand-numbered edition of 500 copies. OOP.

Heather Leigh
Jailhouse Rock

Not Not Fun NNF-153

LP
£12.99


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!

Eleven Twenty-Nine
In The Sunlight

Drawing Room Records DR-00002

7”
£6.99


All proceeds from the sale of this release will go to Tom Carter. Read more about the appeal here: http://www.volcanictongue.com/tomcarterappeal

Excellent new jukebox 7” from the duo of Tom Carter (Charalambides) and Marc Orleans (Sunburned Hand Of The Man), here joined by Betsy Nichols (Michael Hurley) on vocals and Michael Evans on drums for a full-band sound: very different in tone and attack from their Northern Spy LP, this is fantastic set of vaguely country-tinged hunch and European psychedelic volk. The a side is a gorgeous composition by Tom with his and Betsy’s vocals intertwining with alla the beauty of Gila’s classic Bury My Heart At Wounded Knee before Tom makes with a wild psychedelic fuzz solo. Orleans’ track on the flip has a fantastic sepia-toned early SF feel that’s somewhere between the original Charlatans, the International Submarine Band and early Dead. Totally great. More please!

Badgerlore
Stories For Owls

Free Porcupine Society FPS-012

CD
£10.99


All proceeds from the sale of this release will go to Tom Carter. Read more about the appeal here: http://www.volcanictongue.com/tomcarterappeal

 

Original CD edition of this 2005 release from Badgerlore that saw them operating as a quartet featuring Tom Carter of Charalambides, Ben Chasny of Six Organs Of Admittance, Pete Swanson of Yellow Swans and Rob Fisk of 7 Year Rabbit Cycle. Tracks move from the kind of staggered blues/bliss ragas originally formulated by Charalambides through all-vocal murk ala Skaters/Gyuto Monks.

Gate/Tom Carter
Split

Carbon Records CR-208

7"
£4.99


Killer US tour split 7” from Tom Carter of Charalambides and Gate aka Michael Morley of The Dead C in a hand-numbered edition of 313 copies: Tom’s side is a beauty, with an alternately triumphal/melancholy electric guitar march that weaves post-Sharrock steel string logic into webs of dissolving tone joy that are then Eno-ised for maximum bliss potential. The Gate side is phenomenally heavy, with Morley playing gravity-mashing sludge power chords in a Blue Cheer-play-Outside feel but with a whip-cracking drum machine ploughing through the spectra-thick fuzz. When Morley’s classic narcoleptic vocals drool all over the top the accumulative effect is reality dissolving. No one can sing the edge of the world blues like Michael Morley. In two colour silkscreened Stumptown kraft sleeves with a free download, highly recommended. 

Christina Carter
Four Woman’s Quartet (Rose, Lilac, Mauve, Blue)

Wist Rec. Wistbook-011

3” CD-R + Book
£8.99


Stunning edition of only 100 copies psych bomb from Christina Carter of Scorces/Charalambides et al: part of Wist Recs Book Report Series, the CD is bundled with an original Penguin Classic that has inspired the work, in this case Jean Rhys’s La Grosse Fifi, with a wraparound printed mylar dust jacket on the cover of the paperback and the disc mounted on the inside back page. This is as close to her work with Scorces that her solo jams have ever come, with some savagely beautiful single note guitar violence bisected by delirious overdubs of twin vocal bliss. Less of the spectral/forlorn slow blues style of some of the Many Breaths releases, this is a triumphal navigation of acid guitar and vocal hysteria, coming over like Patty Waters jams Rudolph Grey in Atlantis. One of Christina’s wildest and most grab-you-by-the-throat gorgeous releases, beautifully presented and very highly recommended!

Christina Carter
Character Study

Drawing Room Records No Cat

LP + Chapbook
£14.99


Stunning new conceptual work, long time in the making, from spectral songwriter/guitarist Christina Carter of Charalambides: accompanied by a chapbook that crosses poetic musings with interrogative enquiry, Character Study puts the soul of the 21st century artist on trial across two side long meditations for electric slide guitar, tambourine, bells and dark, miles deep F/X. Hypnotically subdued, with an uncanny feel of being directed, Carter power moans and shivers her way through two ghostly blues madrigals that pin your heart to the floor, transposing the ‘weight’ of Patty Waters College Tour to the kind of parched soul terrain of a Jandek or even a Skip Spence. Stunning, late night soul poetry, highly recommended. 

Eleven Twenty-Nine
A Tithe To Hell

Drawing Room Records No Cat

LP
£14.99


Massively heavy Satanic downer psych vibes on this 2014 album from Tom Carter (Charalambides) and Marc Orleans (Sunburned Hand Of The Man) now an avant/country/rock trio bolstered by Michael Evans on drums: if you’ve caught any of the recent solo blats from Tom Carter since his return to health and playing live 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. Tracks 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 and a ton of thud and electricity.

Christina Carter
Masque Femine

Root Strata RS-093

LP
£18.99


Beautiful vinyl upgrade for what still stands as Christina Carter’s (Scorces/Charalambides) greatest solo side, originally self-released as a CD-R in 2008: the original edition of Masque Femine was a VT Tip Of The Tongue, prompting this deluxe revisiting. Masque Femine represents one of the most radically beautiful and confusing releases from Christina Carter to date. The music is all based around Christina's interpretations of a clutch of old-time standards and ballads, none of which she had actually heard at the time of the recording. Working from simple lyric transcriptions, she moulds spontaneous melodies and intricate guitar stylings from the disarticulated raw material of 17 tracks like "Love Letters In The Sand", "Memories Of You", "I Fall In Love Too Easily", "End Of A Love Affair", "Quiet Nights", "All Alone" etc in a way that is completely different but just as radical as Derek Bailey's Standards and Ballads recordings. The atmosphere is as up-close and intimate as her classic Many Breaths releases, with some tracks so phonetically deconstructed they consist of virtually nothing but strained, breathy syllables suspended above a huge void of throat. The more emotionally distressed readings come closest to Jandek's all-vocal trilogy, especially the claustrophobic diaristic environs of Put My Dream On This Planet, but elsewhere the closest parallel would be Patty Waters at her most formally advanced, space-whispering her way through jazz standards that combine soft, velvet settings and distressed vocal breakdowns. Her guitar playing is gorgeous and super-minimal, supporting her spontaneous channelling of song-forms with two-chord downs and spectral, minor-key substitutions. The combined context seems to be designed to raise questions over the nature of beauty (as something always essentially 'beyond' and therefore only fully 'knowable' via proxy), manufactured versus spontaneous female personas, the nature of the aura etc, all rendered with that amazing lightness of touch and genuine emotional weight that accompanies all of Christina's greatest work. Still sounds completely singular, a necessary vinyl upgrade, highest possible recommendation!

Can't/Carly Ptak/Heather Leigh/Zaimph
s/t

Curor No Cat

2x8" Lathe
£16.99


Limited to 100 copies double lathe set (plays at 45rpm) that bundles four of the foremost female avant/noise insurgents this side of Yoko fucking Ono. And that's the only side to be on. Heather Leigh's "Loch Awe" is the first recorded evidence of her profound post-Adris Hoyos approach to drums and vocal disobedience, with a bandstand rocking sound that references Robbie Yeats's machine gun stagger as much as The Shaggs or Harry Pussy. The Zaimph track is a tornado of levitation with vocals sucked through tiny collapsing galaxies. Can't aka Jessica Rylan presents a synth and vocal piece that draws on all of the most magical aspects of her live shows while Carly Patak of Nautical Almanac presents an excerpt from a conceptual work entitled "Activity: brief fugue", intended to "create change through the process of focussed intent". The whole set comes wrapped up in some particularly fine art by Karen Constance of Blood Stereo/Chocolate Monk/Polly Shang Kuan Band etc. Highly recommended.

Jailbreak
Colour Them Gone

Nyali Recordings #7

CD-R
£7.99


World-beating free music duo of Heather Leigh on pedal steel and vocals and Chris Corsano on drums, following on in style from their Family Vineyard LP. Once more recorded and mixed by Andreas Jonsson the sound is as dazzling as their debut, with three tracks that move from ferocious post-Sharrock power blues through new zones of smoky, spectral tone. The opener comes straight out of The Rocker, with Heather’s bad motor scooter guitar burning asphalt while Corsano plays in four directions at a time, ducking air raid warnings with an amphetamine dexterity. Second track, “White Spider” is a whole new bomb, with the duo navigating a kind of psychedelic giallo atmosphere with Corsano making like an orchestra of Max Roachs while Heather plays spectral strings and floating tones that are straight out of the Nicolai/Morricone songbook. The closing “Freezing Shark” might be the most radical recording they’ve nailed to the floor, with an unaccompanied vocal from Heather driven straight through the wall by Corsano before the guitar explodes like a heavy metal Masayuki Takayanagi playing future blues. This is such a great, invigorating shot from the source and it confirms a whole buncha things that are important in underground music: energy, passion, actual playing, speed-of-thought improvisation. Who else comes close? Hand-numbered edition of 297 copies. Highest possible recommendation!

Heather Leigh
Nightingale

Golden Lab Records ROWF-48

LP
£14.99


Stunning new amp-destroying solo pedal steel album from Heather Leigh: in the tradition of classics of the form like Fushitsusha’s The Caution Appears, the recording for Nightingale was so intense that it left no room for vocals whatsoever, and as such it stands as the premier document of the outer reaches of free pedal steel instrumentalism ever bled to wax. Recorded in Mono, direct to tape, the sounds has a dense, grainy, overloaded aspect that touches on Terry Riley’s tape-trance works while mainlining the guitar smashing part of Jimi Hendrix and pushing further into the free metal/third ear soundings that Leigh minted in collaboration with Stefan Jaworzyn as part of their Annihilating Light duo. Clusters of Takayanagi-scale tone violence flash in dense, gridlocked signatures of pure psychedelic overload, with obsessive, microtone thick motifs repeated to the point of oblivion and a raging country-billy feel that exceeds a fantasy Nanjo-produced Akiyama/Flynt summit in terms of the sound of true American Primitive. In the lineage of Sonny Sharrock, Rudolph Grey, Donald Miller and Keiji Haino, Nightingale may just be the heaviest slice of female ever channelled via savagely protesting strings and lays down a whole new now for the future of guitar as guitar. You never heard such sounds. Comes in a dazzling glammed up Richter-style sleeve with silver on black printing, edition of only 250 copies, won’t hang around for long, so make your move! Very highly recommended, naturally!