Ghost-politico avant-folk balladry and spirit-of-truth improvisation from this Baltimorian. Unapologetically political folk-soul-blues ramblings are

interjected with unnerving free noise improv. Shelly Blake has been making cult-variety recordings since 1995, his earliest published work consisting of

songs recorded directly to answering machine tapes, raw bits of ravaged songs. Later, Blake turned to the analog four-track as his chosen means of capturing

sound. He quickly recorded dozens of songs and improvisations in this fashion before disappearing in 1996 into a quasi-hermitic lifestyle; these albums were

like scrapbooks -- diaries in sound and lyric. Since resurfacing in the year 2000, Blake's music has become ever more eclectic: primarily composing and

improvising for voice, piano, organ, guitar, loops, antique record players, and found objects, his music over the last decade has spanned the gamut from lo-

fi psych folk to beat-heavy guitar-laced trance and from Guthrie-esque political balladry to site-specific free improvised performance/sound art. More

recently, he has performed free improvisation with ensembles and small groups exploring issues related to paranormal lore and American politics. His most

current work merges folk balladry, analog noise, and the sampling of English opera with whole-body free improvisation exploring stressful physical states

involving water, aluminum, and sensory deprivation. This newest full length manifesto is comprised of damaged folk ramblings and chance-inspired sonar-poetic

experiments, a documentation of the summer of 2005 from the point of view of a hermit who lives in the forest just south of Baltimore Washington

International Airport's runway. Packaged in a silkscreened/labeled white digi-sleeve.