ARTICLES
Listening Post: E. Honig
Label Profile: Ad Noiseam

ALBUMS
Leo Abrahams
Ammoncontact
Anka
Lloyd Barrett
Beach House
Bibio
Christina Carter
Davis & Jerman
Ecstatic Sunshine
Ensemble
Fluorescent Grey
Freiband
[guÿôm]
Chris Herbert
Home Video
Larvae
Lullabye Arkestra
Mathieu / Schaefer
MONO & w. end girlfriend
My Robot Friend
Nicolay
Pieter Nooten
Nuccini
Obfusc
Objekt4
Over the Atlantic
Para One
Proem
Red Sparowes
The Remote
Root 70
Florencia Ruiz
Ryuichi Sakamoto
Alan Sparhawk
Andy Stott
Thumbtack Smoothie
Tortoise
Triosk
Vlor

COMPILATIONS/MIXES
Ad Noiseam 2001-2006
Another Generic Sampler
Bip-Hop Generation 8
Diary of a Sweet Day
Idea Hoard Uncut
Innature
Morrow Choral Orchestra
Noise Factory Vol. 3
Squadron 2
Warp Works

3"/7"/10"/12"/EPs
Alias & Tarsier
Audion
Caroline
Home Video
Iz & Diz
Sami Koivikko
Mai
Mathhead
Monomachine
Narcotic Syntax
Quinoline Yellow
Sigur Rós
Samartzis & English
Samartzis & Inada
Andy Vaz
Andy Vaz Remixes
Waterprotection

Christina Carter: Electrice
kranky

Recorded, mixed and edited entirely by her, Christina Carter's Electrice finds the Charalambides member transcending self-imposed limitations by the strength of her powerful vision. With all of its material recorded in the same key and its sounds restricted to voice and electric guitar, the album plays like an haunted invocation, its four drones (‘two personal songs, two universal songs,' in her own words) ritualistic and trance-like in feel and mood. Carter professes to have created the songs in the moment with no forehand knowledge of what she would sing but her confessional dirges certainly sound more structured and planned-out than such a claim might suggest. That impression of unadulterated spontaneity is mitigated, too, by what sounds like occasional vocal and guitar layering that one presumes occurred after the initial live takes. Sunlight peeks through the cracks in “Yellow Pine,” brightening the dour mood, while “Words Are Not My Words” takes the album's meditative sensibility to an extreme by stretching three lines of lyrics and wordless moans across twelve minutes of sparse guitar strums. Throughout the forty-minute disc, Carter's unhurried, stream-of-consciousness channeling of possessed spirits inhabits its own thoroughly distinctive and timeless zone.

October 2006