Here's an album by two veteran improvisational musicians - guitarist Stephen O'Malley and drummer/percussionist Steve Noble, performing together here as St. Francis Duo. Both have a lengthy list of credentials. O'Malley's other groups and projects have included ÄÄNIPÄÄ,
Æthenor, Burning Witch, Ensemble Pearl, Fungal Hex, Ginnungagap, Gravetemple, Khanate, KTL, Lotus Eaters, Love's Holiday Orchestra, Nazoranai, Pentemple, Sarin, Sunn O))), Teeth Of Lions Rule The Divine, Thorr's Hammer, and Vesuvio. He also founded the record labels Southern Lord in 1998 and Ideologic Organ in 2011. Noble studied with Nigeria master drummer Elkan Ogunde and in the early 1980s was a member of Rip Rig and Panic. Some of the projects he's been involved with include Alex Ward Quartet, Alex Ward Sextet, Alex Ward Trio, Badland, Decoy, Dikeman Noble Serries Trio, Franz Hautzinger Quartett, Free Base, Julie Kjær 3, Kahondo Style, London Improvisers Orchestra, N.E.W. (Noble - Ewards - Ward), School Of Velocity, The Brian Irvine Ensemble, The Mancini Project, The Offshoot and others. You would think that with all of those I would have heard these guys before, but un-uhn; I guess I live a sheltered life. Well, to be fair I think I caught Rip Rig and Panic on an episode of 'The Young Ones' in the 1980s but for the type of music we have here, I don't think that counts for much.

'Peacemaker Assembly' was recorded live at St. Francis de Sales in Philadelphia on May 19, 2014 by Eugene Lew and mixed by Chain D.L.K.'s own Marc Urselli. It consists of two, lengthy untitled pieces - Side A: 19:38 and Side B: 18:04. It was mastered by Matt Colton at Alchemy in London, UK. What this essentially is, is amplified drone guitar and
accompanied with freestyle drumming. When you think drone guitar, don't be thinking Robert Fripp and/or Trey Gunn; it's much closer to the Velvet Underground's "Loop". Noise drone and controlled feedback with lots of rolling drums and cymbal shimmer by Noble. The drone is constant as there are no breaks, only shifts in shades and intensity without much pitch variation. On the other hand, there is plenty of diversity in the drumming. Although you might just think he's off on his own trip, Noble must be perceiving something in O'Malley's drones we're not as attuned to as he is and he runs with it. Perhaps repeated listenings could yield the key to it all, but three times was enough for me, and two too many for the cat, who fled in distress. This was probably best experienced live where the sound was all-encompassing, but perhaps at louder volume it could be simulated. For those who appreciate noise drone combined with free jazz percussion.