"We live in a world of identity and identifiers, in spite of the lack of mystery that first seduced us. The shadow behind the curtain. The blown-out photo. The blown out sound. The need to submit for the deeper experience. The feeling of maximal bliss once a pain threshold is crossed. But it’s today that we have decided that a clarity of individual identity carries a new importance. Some default to their own names, not unlike how when every person in the world suddenly has a camera on them at all times takes photos of themselves. The thoughtlessness! When someone actually reaches into the void in search of their own identity, they enter into a vast world and have to begin the task of chiseling away at the dodecahedronic mass of possibilities that come with facing oneself. And who wants to be themselves if they don’t have to be? Songs for example have the enormous responsibility of carrying the meaning of both the writer and the listener! And it’s this, the triangulation of meaning and definition that is the genesis of the magic that spellbinds us in music. It is only successfully crafted with this abstract relationship in mind. A failure is when there is a lack of imagination. A lack of consciousness. An artist like Charles Moothart presents a gravity in this statement of “new” identity by expressing that because he has offered multiple examples of work dedicated to the more mysterious and oblique, its time now for him to assert his Self as the pillar of the experience.



For the sake of clarity, and its clarity that we seek, Charles has been a pillar of our musical experience since he began playing eons ago in the various projects and countless albums he has contributed to. Charles is a musician who has been constantly on the road for years playing in Ty Segall’s Freedom Band and Fuzz. When there has been a rare time away from those engagements especially in the post-pandemic scramble to catch up world of gigs and tours, he has been spending all of his time in his laboratory figuring out how to synthesize all of the info he has collected and musical ideas he has developed in the past few years since the last CFM record and subsequent shows for this new solo work. Just before the pandemic started, he was out playing solo shows in a project that revolved around an MPC sampler just to give an example as to the wideness of his explorations. The result is Black Holes Don’t Choke. Love songs for the apocalypse. A prayer toward optimism amid chaos. A plea toward nature. The themes on this album are the themes of today. Charles appeals for us to visualize evolution. And with a signature, the music sounds exactly as you want it to. It sounds like Charles Moothart’s music only more evolved and with greater focus and direction. With greater textural dynamic and more sonic variation and realization, but never sacrificing the insane riff that he is clearly the master of. He gets to the point on this record. He is presenting a voice you can understand and rely on as you make your own journey into it. Create your own meanings. The record now belongs to the world. Because we all start a thought as that which is beginning-less and endless and at some certain point it becomes its own thought, takes it owns shape and becomes itself, separate from the thinker, separate from the observer. alive in the ether!"



- Chorg Dorgon, San Pablo, 202
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