We be Mark E. Kaylor and Heather Vergotis.

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Instruments we have employed live and recorded: drumkit, random percussion, prepared banjos, Hungarian flutes, wood fife, tenor sax, clarinet, trombone, sousaphone, electric guitar, bass guitar, processed horns, acoustic guitar, tenor guitar, analog synthesizer, reel to reel tape loops, upright bass, marimba, turntable, jaw harp, alto sax, soprano sax, cassette loops, tape echo, tenor/alto recorder, field recordings......

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Mark also plays/has played in CexFucx, Thee Oregon Artificial Limb Co., Cells, Au, Rubella, Bunny, solo, Kinetic Harpoon, Htoo Trio, Ghost to Falco, Portland Bike Ensemble, etc etc

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Heather plays/has played in FlyFlyFlyFlyFly, CexFucx, Evolutionary Jass Band, Egon Hegone, etc etc

Got this one a little bit ago as well, this time from Hammer of Hathor with the first LP release on their new label, Shimmering on a Dim Tide. A duo comprised of Mark E. Kaylor and Heather Vergetis, the LP looks, I dare say, spankingly wonderful. Nice uber-light image on the front and white vinyl gives it all a real ethereal look. Rather than complimenting the music though, the look serves the sound more in its opposition than in any mood setting role. Apparently the duo more or less shows up and plays whatever's lying around, making for a raw improv sound that is often focused on repetition and slight change more than endless momentum.

This is apparent from the get-go as "Run Run" features drums and guitar engaging in some pretty minimal dialogue. The guitars endless strumming of one chord rumbles on while the drums clatter along with it. Change does occur, but its more in the way the instruments are hit than in what's getting hit. Almost like some super minimal and loose Branca experiment or something, with a real focus on the repetitious aspects and the variations found within it. The next track is aptly named "Plum Blossom Killer," not necessarily because it sounds like one but because it's such a righteous name and the track is righteous as well. More or less all rhythm, the thing is a real experiment in garbage can gamelan, with some highly capable and taut drum work and odd inside of the piano (maybe?) strums. Nice little mini percussion orchestra thing, and again it goes nowhere, just drifting on nice and nimble-like, skeleton fever style. Seems to be a real focus here on digging themselves into a hole and setting up shop, which I'm all for. Refreshing to hear a rhythm thing too that doesn't veer into tribal pseudo-spirit conjuring. Just sounds straight fun to play in fact. Though I would say that by the end the plum blossoms are still in tact, if a bit loose on the vine.

The second side opens with an odd guitar and drum jangler called "Lady Hermit" that's odd as can be; angular and repetitive, the thing builds into some kind of crunchy take on minimal free jazz, almost like some Blue Humans thing or something. The drummer can really play here, and the odd meter and movement of the guitar lines are well on point. Nice and curious stuff that drifts on for a ways, cresting and crashing back to its origins over and over in some perverse take on verse chorus verse format. The closing "Black Butterfly" is a super stripped back drum, flute, trombone (?) thing that's equal parts Art Ensemble of Chicago and Chicago City Dump. Not unlike Alloy Orchestra's score for Man with a Movie Camera at parts actually. Clattery thumps and bumps accompany the spare order of the various tonalities before some wood block comes in to take it back inward. There's something very structured about all of this actually, almost meditative like some shakuhachi thing. Zen thing going on even, Monkish and ceremonial in the best kind of way. Get the feeling this could have gone on for eight hours, which is always a good feeling and a great way to end this one, which really has a fantastic overall shape and some spectacular moments in there. Nice. Posted by Henry Smith at 8:37 AM

Another record review!

Another record review!

Here you go, this one from Art For Spastics (a radio show/blog in Davis California):


From Portland comes the first vinyl full-length by a duo of experimental musicians calledHammer of Hathor. I have seen Heather Vergotis skronk supremely on a baritone sax that's over half as long as she is tall in bands like Evolutionary Jass Band andFly!Fly!Fly!Fly!Fly! (she's also done stints inJackie O. Motherfucker). Mark Kaylorhas performed in AU, Ghost to Falco,Portland Bike Ensemble, the Oregon Artificial Limb Co., and the rather creative sorta-HC band Cells. I first took a keener interest in Mark when I saw him perform in a duo called Haiku Ambulance which conjured ghosts in feedback so awesomely when they performed in the echoey Fools Foundation (r.i.p.) in Sacramento a few years ago. I first saw Mark and Heather perform together in Cex Fucx, rather the psych jamrock dance-party vibe-charmer band which also featured Gabriel Mindel of Yellow Swans. I feared that it would be way too cheesy, but there was a cumulative effect of awesomeness that broke like a wave over a crowd of sweaty kids at Funcastle last year. So, I've seen these two do it all in so many different bands, I never know what to expect next when they appear in new formations. To be sure, I did actually buy the first Hammer of Hathor tape at that Cex Fucx show, and due to the lossy type-I cassette format, it was probably the one thing that I've heard from either of them which failed to leave much of an impression on me. But the sound of Tooth Eeth or Teeth Ooth--produced by Mike Lastra at Smegma Studios--is very detailed, separated yet synergistic, timbrally rich (and thereby vibrant), and increasingly rewarding upon repeat listens. As an improvisational record, the album's neatly composed and interestingly paced, too...two songs per side; one more demanding and confrontational workout (A-side begins with hints of lurching doom; militaristic rigor on B) followed by a soothing meditative piece of audio-Calgon to sweep you into a dreamstate. Look for it wherever you buy Mississippi Records releases....this is distro'd through them.

• As a one-time proper member of Au and founder of the infamous noise-mongers Cex Fucx and Thee Oregon Artificial Limb Co., Mark Kaylor's nonchalant, tribal drumbeats have probably found their way to your ears at some point.
  
  Now a father of an 8-month-old child, the past year has kept him home a bit more, but that doesn't mean his focus on music has wavered in the slightest. Hammer of Hathor is the domestic avant-noise child of Kaylor and his wife, Heather Vergotis, also of Cex Fucx and The Evolutionary Jass Band.
  
  The pieces usually come together in the sparse combination of drums and guitar, to slight and hypnotic effect. What seems disjointed becomes unified and built into smart, slowly escalating, well-paid-off minimalist jams. They've somehow found the time to press a new album, and will be playing a release show at Work Sound next week.
  
  Daily Vanguard: Where did you record the new album?
  Mark Kaylor: We have a studio at the Portland Cement Building. We recorded ourselves on reel-to-reel and had Mike Lastra from Smegma do the mixing for us. A lot of people will record analog but mix digitally and then have the lacquer master made from a CD. We're kind of purists as far as the sound of analog [goes]. We recorded on reel-to-reel, took those reels to Mike Lastra and he mixed them, with a little tweaking and his good ears, directly into two reels of quarter-inch tape. It was never digital.
  
  DV: Does Hammer of Hathor always try and avoid digital?
  MK: All of our other recordings are like that. We have three cassettes we've put out, the first one was actually recorded on a handheld on a trip we took to Montana to visit my sister and we call them Field Recordings. The second tape we made for our Italian tour, we recorded it in our bedroom on reel-to-reel. Those first two tapes got written up in Blow Up, which is the Italian version of The Wire, which is pretty cool. If we send stuff to The Wire, they probably won't do anything with it, but in Italy we sent two cassettes to Blow Up and someone actually listened to them. A lot of it has to do with the Italian fascination with Portland. There are a lot Portland bands that are pretty big there—Jackie-O Motherfucker, Rollerball, who we actually played a couple of shows with while we were there, and Larry Yes.
  
  DV: Why this Italian fascination with Portland bands?
  MK: For some reason a lot of Portland bands have gone there and had good success, and now I'm even thinking of Old Time Relijun as another example. Italy is really into newer music; I think all the bands I mentioned are sort of not straightforward. I thought it was really funny, [Hammer of Hathor] can send stuff to the local papers [Willamette Week, The Portland Mercury], like our record release show, and we could put on our press release all the bands we've played with, like Au—I played on every track on the last Au record, and both papers adore that record—but still neither paper will even mention [Hammer of Hathor's] record release show. And honestly, it's not that big of a deal for us, we're not bitter about it, but me and Heather always joke about how we're going to be the Dead Moon of avant-composed newer music. The ideas we're using aren't new, but the combinations of instruments and the way we employ sounds is pretty unique.
  
  DV: How long have you been playing music together?
  MK: Hammer of Hathor is a couple of years old now. We met a long time ago, but Heather was living in New York and she moved back to Portland, and she ended up renting a room in a house where I lived on Michigan Avenue. We put out a cassette or two and we toured Italy as a sax-and-drums group, sort of rootsy jazz I guess you could say. She was pregnant, so as her belly got bigger she couldn't play tenor sax anymore and she started playing guitar, and we've since abandoned playing jazz at all, even though that’s the music that's really informed us. Now we're in a new phase where the last couple of recordings have been sort of minimalist things. I think it’s kind of trance-y, psychedelic music sometimes. It’s been really satisfying for us because we have a young son who really takes up a lot of our time so we're able to still play music with each other.
  
  DV: Do you think your son will be a musician?
  MK: He plays the toy piano … he'll play the drums and cymbals. If he wants to play music, you never know with kids. I know a lot of musicians who have kids who don't end up playing music.
  
  DV: I guess you can't really do what your parents do.
  MK: Yeah, I mean sometimes that’s not the case. We envision a family band, like he's gonna be in Hammer of Hathor. At very least he's gonna unload the van and set my drums up. We'll see. He was present with every rehearsal and everything we recorded, asleep in the corner with hearing protection on. A lot of times it was like, “We need to get this one track done, please take a nap.” There’s this enormous amount of blood, sweat and tears with this record, every time I hear it I think about that.
  
  

another review!

another review!

Here's what Norma Records in the UK had to say:

This record left our Business Lady feeling ecstatic.

'Tooth eeth or Tooth ooth' is the work of Mark E. Kaylor and Heather Vergotis under the guise of Hammer of Hathor. These two sonic experimentalist have been involved in a number of obscure and abstract acts such as; CexFucx, Thee Oregon Artificial Limb Co, Cells, Au, Rubella (my personal favourite), Bunny, solo, Kinetic Harpoon (not to be mistaken for my dad's band Kid Harpoon), Htoo Trio, Ghost to Falco, Portland Bike Ensemble, FlyFlyFlyFlyFly, Evolutionary Jass Band, Egon Hegone. I've not heard any of these groups/ensembles/whatever so i might not be the best person to evaluate the works of Hammer of Hathor. Saying that, i'm really enjoying this record. Things kick off with a heavily strained honk of a guitar tone that is eventually accompanied by some low down, dirty ass, sludgy rock drums. It's dirgy and hypnotic!! In contrast the second tune (no titles i'm afraid) is a lo-fi, pseudo african jam that includes a strange string instrument i don't recognize. It's loose and cheeky and we at Normo HQ are digging it. The second side introduces a crazy tune that sounds like Beefheart's band jamming on three beats of music in constant loop forever. Also reminds me of an Oxes riff but i can't put my finger on which. The last tune is suitably vague an intriguing with it's use of japanese style drum thumps and random pan pipe/flute playing. This eventually makes way for a flurry of timpani style cymbal splashes that further reinforce the idea that this is some kind of buddha jam. Thought you'd like to know that the vinyl is white, the label is white and the artwork is peachy white on a white. Well white and well good. Recommended (at least by me...)!

Oh, another review woo hoo!!

Oh, another review woo hoo!!

We sent a bunch of records to Alt Vinyl in the UK for distro and here's what they had to say on their website about the record:



"""""Absolutely stonking LP which comes on like Howlin' Wolf frozen in a block of ice, augmented by some filthy drumming and bizarre blissed-out tones that stretch and wobble messily about the air. Here's what the group have to say for themselves: "We be Mark E. Kaylor and Heather Vergotis. Instruments we have employed live and recorded: drumkit, random percussion, prepared banjos, Hungarian flutes, wood fife, tenor sax, clarinet, trombone, sousaphone, electric guitar, bass guitar, processed horns, acoustic guitar, tenor guitar, analog synthesizer, reel to reel tape loops........ Mark also plays/has played in CexFucx, Thee Oregon Artificial Limb Co., Cells, Au, Rubella, Bunny, solo, Kinetic Harpoon, Htoo Trio, Ghost to Falco, Portland Bike Ensemble, etc etc. Heather plays/has played in FlyFlyFlyFlyFly, CexFucx, Evolutionary Jass Band, Egon Hegone, etc etc.

Pretty cool."""""

Here's another offering sent to me by the Hammer of Hathor folks, Mark and Heather. Dug that last LP and it's no surprise that this one provides a similar strain, though the presentation here is a bit more constrained than on the other one. Apparently the duo used to be a sax and drum duet but when Heather got pregnant she couldn't manage the sax quite so well so she picked up a geetar, and what results here are some duets featuring Mark's fairly nimble rhythm work and Heather's wonderfully detuned guitar repetitions.

This is some tight stuff. Given how loose the general sound is the couple react on a dime to each other, settling into these little coves of repeated mantra stuff, Heather sounding like a stoned out Arto Lindsay and Mark giving it a real poly-rhythmic go-round, nice and grooving but without anything too firm to latch on to. Rather they both sort of get something going and then sit there, barely changing it at all but still maintaining freshness through tiny little differences within the very enacting of the looping. It's a surprisingly minimal and interesting approach, and the stuff has real life in its folds. While a lot of stuff like this tends toward the irritating end, either not sticking with the idea long enough or, conversely, sticking with it in too limited a scope, HoH finds a really funky in between spot that really has a lot of space for movement in its constrained universe. Each little piece is as chugging and confusing as the last, and Heather's damn good at proving that if you repeat it enough, it gets head-bobby. These lines are totally fried little things, but they keep going and eventually you'll be tapping your foot right along to its a-melodic anti-groove. And Mark fits right in as close as can be. A little release, but one that further demarcates the group's unique sound. Adding to the mystery, it's a c-30 on a c-90, so I guess there's plenty of room to try it out yourself if you want. Good luck though. Another cool one from these guys.

12" review by Foxy Digitalis!

12" review by Foxy Digitalis!

Yes here's a review of the "tooth eeth or teeth ooth" record posted at Foxy Digitalis:

Hammer of Hathor "Tooth Eeth or Teeth Ooth"

Shimmering On A Dim Tide

This is one of the more hyper-minimal recordings I've heard in a while. In fact, it's more reminiscent of minimal musical experiments from the Fluxus movement than anything currently happening in the trends of experimental music. Seeing that this music was intentionally recorded and produced without any digital assistance further alludes to the feeling that these are sounds from some uncertain point in the past.

Hammer of Hathor are a duo made up of Heather Vergotis and Mark Kaylor, two individuals who have played in a wide range of bands in the Pacific Northwest. This is the 4th full length by the group, and the first that I've had a chance to hear. The way the band approaches each of the four tracks on the album seems similar- one or two segments of sound are repeated with little variation, pulling the listener into the pieces to notice any subtle shift of dynamics or movement in the sounds. The first song is made up of a single distorted guitar note rhythmically being hit with a varying degree of intensity. After a few minutes, plodding drums are added to the mix to create a unique, almost doom metal-ish feel. The second track feels like a playful take on gamelan percussion- a little repeated sequence of melodic plinks and plonks. Again, a very intentional pace is set which barely shifts throughout the piece.

The B-side presents a little more movement to things, particularly in the percussion department. The opener here is another guitar and drums jam, this time with the guitar plucking a couple more notes and the drumming focusing more on a march-like snare drum. The closing track is made of flute, horn and clashing percussion- building into a nice hypnotic whirl that is a quite effective closer.

"Tooth Eeth or Teeth Ooth" is a strange album that is bound to test the patience of a lot of listeners. I like that the band has a unique focus that I just don't hear a lot anymore. The intentionality of the music really forces me to pay closer attention to what this group is actually doing. While the record definitely did affect me, I'm still a little unsure how much I truly enjoyed it- and I kind of like that. It almost feels like I need a new set of rules to base my opinion on. 8/10 -- Charles Franklin (20 August, 2009)

Hammer of Hathor — 'False Teef' C40 (Stunned no. 59) $7
"Mark E. Kaylor & Heather Vergotis are active members of the burgeoning Portland free music community, having busted their chops around town for years prior to forming the multi-instrumental beast Hammer of Hathor. Some duos in PDX can pull off jazz or punk, and some can pull off scuzz or folk, but HOH venture to ask “why not take it all on?” Their ‘False Teef’ begins at any number of disparate points to launch into super inspired jam mode, as we can testify after 40 such minutes of feedback meditation, string twang trance, surging tape loop, smoked out riffs, and a pair of rattling false teeth perched upon the amplifier. It’s also immediately apparent these partners are synched for optimal 4D pattern-weaving and burnt basement reach-out to the tangential points between the weird and weirder energies. Breathe in a whole new scenery, take on a whole new time — a soundtrack is here to assist the switch." Limited edition of 111 pro-dubbed & imprinted c40 tapes with double-sided color jcard and insert.

A review of "False Teef" on Auxillary Out!!

A review of "False Teef" on Auxillary Out!!

One of my favorite things about Stunned is their A&R work. They are always bringing great artists I've never heard of to my attention. This Portland duo is one of those names on a very long list. The duo employs (brace yourself) analog synthesizer, reel to reel tape loops and manipulation, tenor guitar, 5 string banjo, trapset, electric guitar and Hungarian flute captured live and analog to 1/4" reels. The sounds of the tape are suitably varied as well. Starting off with a sidelong piece, "Yucka Drucka" is a weirdly pulsating bed of synth and banjo and whatever else. It sort of reminds me of Sean McCann's tape on Stunned but if a section was chopped, stretched and looped or whatever. It's pretty infinitely fidgety. That section of the piece slides into another with someone going wild with slide guitar. At some point, some weird ass cricket noises crop up and I don't know if it's a tape loop or synth or guitar or what. That Hathor included an instrument list is a reviewer's dream cause I can say with some confidence, later in the track Hammer of Hathor whips out a Hungarian flute and goes to town. Everything drops out save for the flute and some pervasive cricket noises. Drums show up with authority and they're soon joined by a really zonked guitar riff. Totally gong-like cymbal hits definitely put this section over the top making it my favorite part of the piece for sure. It's a slammin' piece of work and they just ride to the end. As they damn well should.
After a creepy, spoken intro sample Hammer of Hathor unleash my favorite track of the tape, the unruly "Bee" brimming with wigged out percussion. At the heart of the track there is a lot of shit being banged on but it's all clouded and garbled with effects, tape loops and whatever the mighty Hammer are doing here. It's relentless, confusing and excellent. I'm a big fan of weird percussion acts but I've never heard anyone do fucked percussion quite like this. "Left Foot, Right Foot" is the final jam and there's another radical aesthetic shift. A pair of stringed instruments, banjo and tenor guitar I think, partake in one of the friendliest duels I've ever witnessed. It's a really simple track, the two instruments keep grooving on the same basic melody throwing in odd little improvisations where they see fit. It's sort of cleansing to find something pristine and gentle like this at the end of the tape after all of the hectic, bizarro manipulation of the previous jams.
The tapes are definitely out of print like just about everything with the Stunned brand. Check the distros? (shrug)

The Oregon-based duo known as Hammer of Hathor have been a small yet active force, not only in Portland's experimental music circle, but among the underground in general. Amidst association with Au, a release on the cassette label behemoth Stunned Records, and having their debut LP mixed by Mike Lastra of Smegma, they've garnered a well versed reputation. To extend that reputability we have Vroom-Psycho, the duo's sixth effort and the first to remain in print due to an additional digital availability along with the cassette provided by the Field Hymns imprint.

Aptly shown in the album artwork, Hammer of Hathor can hypnotize with their skeletal structures-- although there are elements beneath the simplicity that expand and change form. This is exemplified in the opener "Mt. Tabor": the single note repeated throughout, the altering tempo, and the stunning shift from the introduction to the conclusion-- it's krautrock down to a science, utilizing its influences in the best way possible. Hammer of Hathor have the ability to keep a listener wide-eyed, regardless of the duration or chasteness.

On the topic of possible comparisons, Neu!'s 1972 debut is a prevalent blueprint for Vroom-Psycho's pacing and structure, with the progressively jaw-dropping opener and the mind-bending rocker "Invincible Armour" being surrounded by minimal sonic experiments: the trombone duet "Alice & John," the disjointed guitar tangent "Air Pain," and the manipulated feedback excursion "For Guylene." Like Neu!, Vroom-Psychostartles the listener by counteracting the experiments with a brashly trudging jam session. All of these compositions are shrouded in a warm analog fidelity as well, handing Vroom-Psycho a vintage authenticity.

From its sparse ventures to its cascading explorations, Vroom-Psychopossesses a mesmerizing nature within its spacious arrangements. Usage of traditional instruments (guitar, drums, brass) deconstructed by various tape loops and effects equate to both a linear and confounding result. Hammer of Hathor justify that they're able to strike a chord, even six releases in and having done so much experimentation prior.

Vroom-Psycho(Field Hymns, 2010)

For: Glenn Branca, Why I Must Be Careful, Neu!

Byline: Five gorgeous freakouts from the Portland blues/free-jazz deconstructionist duo

Portland's blues/free-jazz deconstructionist duo's sixth album, Vroom-Psycho, consists of two solid-gold minimalist burners amidst three delightful forays into improvised studio madness. Everything on this album seethes with a sense of a philosophical conservatism that forces creativity out of the most unlikely places necessitated by a limited tool-set. Minimal instruments (guitar, drums, brass, tape manipulation). Minimal membership (a duo with a possible third member inside of Heather Vergotis). Minimal tempo changes (a whopping one in the massive opener "Mount Tabor"). Vroom-Psycho is spartan and skeletal, but with a limited palate Hammer of Hathor create something that is hypnotically minimal and physically intimidating, and altogether insanely great.

If Vroom-Psycho only consisted of opener "Mt. Tabor" and the equally stunning "Invincible Armour" it would still stand as one of the best recordings of 2010. "Mount Tabor" features a repetitive (almost static) single note guitar lines with a gradual tempo shift that nearly explodes by the end of the track. "Invincible Armour" is a swampy, dirty strut through deconstructed blues/doom three-chord mashing and art-squallor noise freakouts. Neu!'s '72 debut and 75's latter-half are good jumping off points in terms of composition, but the lo-fi grittiness and overall existential dread that recall the dirge-heavy tracks on Black Angels' Passover debut are perhaps more apt. Both provide great reference points for the overtly classic/kraut inspired tracks, but "Alice & John" is the equivalent of musical argument between the experimental tendencies of Alice Coltrane and the classical and improvisational mastery of her husband John. That is, if John and Alice were on a dangerous level of loratab and spoke only using the Charlie Brown trombone-squawk. "Air Pain" is another delightful diversion full of clanking, clattering, crashing prepared string instruments stumbling around the studio like a drunken John Cage.

The tape machine itself rounds out Hammer of Hathor to a comfortable trio. Feedback and distortion are played like any other instrument on the album. Spindly, cold fingers loop and distort guitar feeds back on "For Guylene" to create pulsing, tired, North Star-shifting bursts of sound that eventually wind themselves down to a slow death.

Members of Hammer of Hathor have been kicking around the Portland experimental scene for a few years now playing with and in AU, Thee Oregon Artificial Limb Co., and FlyFlyFlyFlyFly. Previous releases have been released via gorgeous limited run cassettes through Stunned and Portland Bad Date Line. Vroom-Psycho is released digitally and physically through cassette via Field Hymns. With that said the most appropriate and pay-off rich medium to hear this album is by purchasing the tape itself. The artwork is stunning, the physical medium forces non-casual listening, but more than anything what Hammer of Hathor do with the tape itself is astounding.

Ryan H.

Hammer of Hathor Myspace

Vroom-Psycho on Field Hymns

Klook!!

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Please send a message if you want to buy something!!

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This one is out of print, we called it "Field Recordings", a bunch of super lo-fi hand-held cassette recorded things we did on a road trip to Montana. Instruments include tenor sax, drumkit, euphonium, acoustic guitar, tenor guitar. Hand made fabric covers. This one got written up in Italy's "Blow Up", along with the next cassette, while were over there last May. Recorded a few years back.

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This one we made for our Italian tour, its called Klook, the middle name of our then unborn son. This is a classic rootsy jazz punk recording, all sounds were captured in our bedroom on Michigan St. in Portland Oregon straight to 2-track 1/4" reels....the first recording utilizing our famous RCA BK5 microphone.

We used tenor sax, drumkit, fife, and conga.

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SOLD OUT!!!!

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So this tape came about after my friend Pat saw us play a house show with electric guitar and drums. We only started this configuration because Heather's pregnant belly was getting too big for her to handle a sax. Thus begins a whole new chapter in the Hammer of Hathor sound. We haven't gone back to jazz, although once you "find" jazz it never leaves you!

We recorded this straight to a Tascam mastering cassette deck, not a 4 track. Two mics in, the RCA BK5 over the drums and a Shure dynamic in the grill of our tube amp.

This was released on Portland Bad Date Line tapes.

These tracks are super lofi and awesome sounding.

SOLD OUT!!!!!

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Well here it is, the first record on Shimmering on a dim tide Records entitled "tooth eeth or teeth ooth".

We recorded this ourselves to an old Teac 1/4" 2 track machine, probably the last time it gets used for recording (it crapped out)!

Then we took those reels to Mike Lastra's studio (Smegma) and he mixed them to 2 fresh 1/4" reels which we then sent to John Golden who made the lacquer masters. Then the plating happened and then Bill Smith pressed 350 records on white vinyl.

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All the tracks are recorded live using one or two mics, an RCA BK5 and a Shure dynamic. We used drumkit, electric guitar, flutes, cymbal orchestra, trombone, percussion.

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4 tracks, maybe 30 minutes or so in length. Hand screen printed covers.

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$15 plus $3 to ship!

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3 tracks at 40+ minutes released on Stunned Records in a limited edition of 111, we've only got a small number of these for sale so buy 'em up!

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For this recording we used analog synth, tape loops and manipulation, tenor and electric guitars, drums, 5 string banjo. All recorded in the basement of Harmelodic Haus in October 2009 direct to 2 track 1/4" tape.

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$7 plus a buck to ship in the US!

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The new cassette on Field Hymns! These are available as a download as well from the FH website. Hit us up if you want to buy a copy. Lots of good reviews on this baby!!