Volcanic Tongue Catalogue

Imaginational Anthem
Imaginational Anthem 2

Tompkins Square TSQ-1424

CD
£8.99


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


Follow-up to the first volume of this on-going series that joins the dots between an earlier generation of American Primitive guitarists and contemporary intuitive sound-as-thought players. Once again Jack Rose is featured (with an absolutely gorgeous 6 string re-think of "Cross The North Fork 2") but every other player puts in a first-time appearance on this volume. The inclusion of Christina Carter is a particularly inspired move and one that speaks of the liberated range of the series in general and her track is a beauty, a stubby acoustic guitar miniature. Nice cover snap too. Other tracks include a particularly mesmeric recording from UK guitarist James Blackshaw and contributions from Peter Lang, Jesse Sparhawk, Michael Chapman, Sean Smith, Fred Gerlach, Billy Faier, Sharron Kraus, Robbie Basho and...uh...Jose Gonzalez. Another rich, far-sighted assortment from this great label.

Christina Carter
Of The Gutter

Many Breaths Press No Cat

CD-R
£12.99


"Incredible archival set by Christina Carter from a solo performance in London on 26 October 2004.  This art edition comes in a run of only 122 signed and hand-numbered copies with a variety of art paper sleeves in the usual Many Breaths style and is available exclusively from Volcanic Tongue.  Described by Christina as her ‘most broken and expressionist performance to date' this set features radically reworked interpretations of early solo and Charalambides material in a style that can be best described as deconstructed Texas blues by attempting to combine the voice, rhythm and slide guitar of these complex songs via a single solo performance.  Here Christina seems to be taking direct inspiration from original country blues slide players like Blind Willie Johnson and Bukka White while translating them to the present via a variety of aggressive playing styles filtered through the psychedelic blues of Jandek and Keiji Haino.  At times the playing reminds me of Bill Orcutt, not necessarily in terms of technique or sonics, but more in approach, the way the guitar is attacked furiously combining both lead and rhythm techniques simultaneously. She launches frantic flurries of slide notes while always returning to the root chord’s open tuning in the same way that Orcutt's playing always returns to that de-tuned bottom C-string.  The rhythm playing itself is anything but straight-forward with syncopated and staccato-styled playing of slashed chords.  You could imagine this as being a very physical performance with Christina moving and contorting between playing high-end slide and off-beat open chords that seem to continually resonate providing the songs' wayward rhythms and building intensity.

 On the opening track "Namaste" the slide playing gets particularly aggressive towards the end, with flurries of improvised notes sounding almost like Christina's interpretation of Heather Leigh’s wilder pedal steel work transposed to slide guitar.  The song is offset by a vocal melody that sounds as connected to traditional Celtic folk as much as country or gospel blues, giving the track a strange balance that reflects the inner conflict perfectly. One of the highlights is her interpretation of two classic early Charalambides tracks from Joy Shapes and Unknown Spin: "Here, Not Here" and "Voice Within".  The guitar playing moves seamlessly between delicate finger-picked melodies and crashing chords laden in reverb and echo providing a permanent wall of sound.  Slightly reminiscent of the atmosphere on Keiji Haino's classic Affection album and with a similar use of overlapping repetitive rhythms as on his recent Seijaku recordings.  This also really demonstrates Christina's ability as an accomplished guitar player with at times some slightly more eastern or Malian blues-sounding scales being used.  The more aggressive wailing vocals often heard on her Scorces recordings is also evident.  There is a wonderful moment where Christina moves between one of her falsetto screams and her softer tone when her voice breaks reminding us of the fragility of the performer herself. 
With so many of the recent Many Breaths releases focusing on voice and melody such as A Blossom Fell or even poetry as on Seals, it’s great to hear this other dimension of such an important artist. This is Christina as a blues-influenced solo performer jamming wild interpretations of the form in a psychedelic outlaw style that could only come from Texas. Highly recommended." - Andrew Ross

Christina Carter
Texas Blues Working

Blackest Rainbow Recordings BRR-056

CD
£7.99


CD edition of what was originally a limited cassette album from Christina Carter. It feels like we have been pretty much constantly drooling over new Christina releases of late but she seems to be in the middle of one of the most creatively-accelerated phases of her career right now and Texas Blues Working is yet another monster in a dazzling run of blats. This one matches choirs of overdubbed voice soaked in a ton of mystery and F/X over electric guitar shapes that move from knotty, almost Jandekian chord puzzles through lucid single-note heartbreak that feels closest to Loren Connors amazing form circa Hells Kitchen Park or Keiji Haino's recent midnight loop work. But it's the vocals that really grab you by the back of the neck, with supernaturally mournful wordless cries echoing through deep space and lucid sunbursts of west coast-style psychedelic oblivion (something of Jefferson Airplane circa After Bathing At Baxters/Volunteers) carved into some of the most emotionally barren and personally spooked song forms. Haunting and unforgettable, another masterpiece from Christina. Already sold out at source. Highly recommended!

Various Scrawl
Pine Meoquanee: An Anthology Of Poetry

Digitalis 2005

Bk
£8.99


Nice anthology of pomes from some modern days heads/musicians, the highlight of which is Christina Carter’s wonderful “Center Of Exits”. Also features work by Michael Anderson, Michelle Angelini, James Barrett, James Blackshaw, Julie Cook, Michael Donnelly (Brothers Of The Occult Sisterhood et al), Sid Fallon, Spencer Grady, Denton Harris, Denton Harris, Robert Horton, Paganini Jones, Eden Hemming Rose, Brad Rose, Mainon Alexandra Schwartz, Indigo Tempesta, Kade L. Twist and Keith Wood (Hush Arbors). Hand-numbered edition of 120 copies. Each book hand-bound with cloth tape and a hard cover with a design by Keith Wood.

Christina Carter
Texas Modern Exorcism

Many Breaths Press No Cat

Art Edition CD-R
£12.99


Beautiful new art edition private press CD-R from Christina Carter in a hand-painted/signed and hand-numbered edition of only 119 copies: the set opens with the electrifying blues hymnal “Painting”, with Christina playing slow, forlorn Ayler-ised laments on harmonica over spare, resonant electric guitar. It sounds like the goddamn sun coming up. “Dance” combines over-dubbed vocals that have all the classical junk grace of Judee Sill with the feel of duetting ghosts over very minimal minor key guitar and a feel of heavy remembrance. “Film” moves into more expressive guitar work, with a fuzzy Loren Connors/Hells Kitchen Park appeal that ‘speaks’ every bit as eloquently as Christina’s distant vocal sighs, while “Poetry” gets even deeper into lovelorn knots of Venusian balladry and psychedelic bird song over a vocal that sounds like the kind of dream reverie of the These Trails album. “Music” is a kind of Patty Waters/Murder Mystery-style accumulation of contradictory vocal currents over wayward guitar dissonance while the closing 12 minute track is almost harrowing in its desolation, with Christina haunting a track of protesting, eviscerated blues with a vocal performance of elemental power. This is a very dark work, an emotionally highwire performance and one that demands an almost uncomfortable level of intimate engagement from the listener. A true modern exorcism and quite possibly the heaviest side of hermetic blues ever bled from her hands. Very highly recommended!

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

Wist Rec. Wistbook-011

3” CD-R + Book
£12.99


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!

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
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!