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.

Gorgeous double vinyl reissue of what still stands as one of Christina Carter’s finest moments, originally issued in an edition of 300 copies on her own Many Breaths Press. This edition comes in a run of only 500 copies pressed on red vinyl and with an etching by Christina on the fourth side. Lace Heart consolidates the spooked overdubbed form first plotted on Human As Guitar. Her guitar playing veers away from her earlier single-notes-dropped-into-deep-black-space approach and instead focuses on drugged, metronomic chords and weird inverted blues runs over which overdubbed/reverbed vocals cycle like sad constellations. Beautifully atmospheric songs and another classic of Jandek/Haino-style late-night soul stasis. A comparatively hi-fi recording from Christina too. Highly recommended.

Rarity: original first edition with hand-written inners and hand-numbered 30/100 copies, this is a stunning live recording from Christina Carter of Charalambides/Scorces etc, recorded at Sound Exchange Houston in 2003. Very rare. In sprayed cases with individually handmade sleeves.

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.

"Crazy 3-way collaboration from some of America's best underground musicians... Charalambides Tom Carter is joined by Shawn McMillen, sometimes member of Warmer Milks and Ash Castles On The Ghost Coast, with the added power of Starving Weirdos. This two tracked collaboration has been around since 2007 and it landed in my mailbox a few months back, and man, it’s a real beauty... A totally bizarre jam, which just opens more potential ventures up for these artists, hopefully we'll see more from this collaborative team soon. Limited to 320 in pro-printed wraparound sleeves." – BRR.

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!