Zaïmph is the solo project of ambient noise artist Marcia Bassett. Although legendary for white-hot guitar and vocal brutality, Zaimph's recent recordings and performances infuse cracked-raga song structures with dense electronic and synthesiser drones to create soundscapes where a lurking apocalypse is eclipsed by shimmering, meditative beauty.

As a co-founder of Philadelphia's shambolic psychonauts un and tectonic drone pioneers Double Leopards, Bassett is deeply entwined with the American noise underground, and has mapped regions still only dimly understood by subsequent sonic travelers. From 2003-2008, Bassett joined Matthew Bower in Hototogisu, where her mastery of cacophonous eardrum shred achieved monolithic proportions. During the same period, she explored American underground psychedelic folk-improv music with Steve Gunn and Pete Nolan in GHQ, and with Tom Carter in Zaika.

Zaïmph CDs, LPs and tapes have appeared on independent labels such as Gift Tapes, Hospital Productions, W.M.O.r, Utech Records, Gypsy Sphinx, Volcanic Tongue and No Fun records. Bassett has released numerous Zaïmph recordings on her own Heavy Blossom imprint. In 2012, Bassett retired Heavy Blossom and started Yew, a label showcasing Zaïmph and other aesthetically allied projects.

Songwriter-singer-multi-instrumentalist-improviser-engineer Samara Lubelski is not what anyone could call ‘pigeonholed’ in the climate of contemporary music. She has split her time between Germany, where she works with the psychedelic group Metabolismus, and her Lower East Side home base, playing and recording with a who’s who of the art-punk and freely-improvised folk scenes (Tower Recordings, Hall Of Fame, Matt Valentine), for she has been brewing a rich cup of aesthetic ingredients. Her first solo outing, 1997’s In the Valley (Child of Microtones) was a major installment in the recorded legacy of experimental string music, a dense exploration of drones and resonance. Lubelski followed this last year with a full-band recording of lush psychedelic folk-rock for The Fleeting Skies (Social Registry/De Stijl), a seeming - but not unheralded - about face.

While our erstwhile maestro is likely to point out personal involvement in Miami’s Broken Talent or Trash Monkeys as the apex of his twisted musical endeavors, the fact remains that Mark Feehan is most likely best remembered as the “other” cold-blooded string-mangler that shredded synapses through the Siltbreeze era of Harry Pussy two decades ago. Now, having launched a solo career he will be supporting his just released first solo vinyl record on Siltbreeze Records.