A Stone For Angus MacLise documents a 2007 trio session recorded during the same period that produced Dauphin Elegies (VHF 112). The instrumentation—harmonium, singing bowl, gong, and esraj - reflects Pelt's longstanding interest in sustained tones and the textural possibilities of acoustic drone music.

The album takes its name from Angus MacLise, the poet and percussionist who performed with the early Velvet Underground before the band's commercial recordings. Like MacLise, Pelt have maintained a practice rooted in exploring meditative sound states across diverse instrumental sources. Their approach draws no hierarchical distinction between the modal drone work of La Monte Young and the high lonesome sound of Roscoe Holcomb's banjo - both function as entry points into altered listening states.

The two side-long pieces develop through accumulation and interference patterns. The harmonium provides a foundational drone while the singing bowl and gong contribute layered overtones. The esraj adds melodic fragments that emerge and recede within the overall sonic field. The recording captures the acoustic properties of the home environment where it was made, preserving the resonances and natural decay of the instruments.

This approach places the work within a broader continuum of American experimental music, from the minimalist investigations of the 1960s through the more informal home-recording practices that characterized much underground music of the 1990s and 2000s. The album's structure—two uninterrupted sides—follows the durational logic of the LP format itself.