Nicely presented hand-numbered/hand-titled edition of 300 copies from Root Strata documenting an evocative, low-level thousand-yard-stare recorded at the Space Room by the Opalio brothers 2005. Some of their most minimal work to date. Recommended.

First ever studio album from Bonus, realised with the help of Yellow Swan Pete Swanson. More exactingly constructed than their previous live improvisations, On Earth flexes static drones into subtle-shifts of specific gravity combined with tubular drone work and the sound of long-abandoned space stations dancing in solitary orbits. Edition of 500 copies.

“Originally released in 2005 as a limited edition CD-R on Yellow Swans' JYRK label, this three-way collab now gets a proper run on wax. Recorded in Oakland at the Huffin House before the Swans made the retreat back to Portland. Despite the weight of these players when they rock alone, this jam really never gets into full on white out territory. Instead, it's loaded to the brim with wavy neon distortion and soothing low end that occasional drops out into huge washes of emptiness. The opening passage of GMS guitar flecks sympathizing with Karl's string wash is alone worth the price of admission. Red vinyl with lime green splatter.” – RS. Cover art by Liz Harris (Grouper)

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. 

Scored a bunch of this fantastic release from big VT faves Metal Rouge, their first ‘official’ release, recorded back when they were the duo of Helga Fassonaki and Andrew Scott. Here they generate ghostly pointillist architectures of slide guitar cut-up with precise constellations of steel strings and with a depth of field that is dizzying. As the improvisations open out this ululating drone rises straight out of the void with all of the stately violence of one of Hermann Nitsch’s ascensions as the two players ride the slipstream on phantom steel rails. Fans of the whole Charalambides/Scorces/Suishou No Fune approach to future blues will find much to satisfy them here. Packaged in offset printed card envelopes in an edition of 300 copies. 

Another major LP release from Richard Youngs, this time out with a series of vocal-led songs that take off on a blueprint of minimal, repetitive electro-metal with an insane bass-heavy bottom end. Some fantastic song-writing here, with Richard riding peak-after-peak of ascending, triumphal melodies while pugilistic drum machine lands doomy retorts and the massive bass stalks the shadow of the songs. “We Are The Messengers” is an instant classic, a mantric devotional/folk piece that works a circular vocal into a stirring lament while “Forever Hills Of Everyday” pushes the remit even further with fast, almost breakbeats pushing stationary bass shapes and wild, roaming fuzz guitar solos into the arc of single, soaring vocal lines. Hard to fully capture the odd, synthesised hard rock/progressive feel of the music but the pull between the electro/metal stylings and Richard’s obsessive and beautifully unadorned vocals makes for a truly magical side that once more sounds somehow completely singular and yet instantly recognisable. Edition of 500 copies. Highly recommended!