At long last, this recording sees a proper release. There’s a story: Initially, I released this as a cassette on my own label, Silver Lining. To be fair, you can hardly call it a label. I have no right releasing my own music, let alone anyone else’s. I’m bad at manufacturing things, I’m bad at promoting them, and I’m especially dismal when it comes to packing things up and mailing them out. And so this cassette had a brief brush with public life and then vanished, due primarily to my negligence and laziness.
This is where Open Mouth, once again, comes to the rescue. The record comes in a gorgeous full-color sleeve, and the sound is so much finer than the cassette that even the more sweaty-palmed collectors out there will gladly welcome this object in favor of its previous incarnation, and join me in eagerly awaiting the day when these two release a proper full length.
I like that they call this EP BAND. It’s a subtle melding of the personal and the conceptual. The “B” from “Bill,” the “A” from “Aaron,” the “N” from “Nace,” and the “D” from “Dilloway.” It’s simple. But they’re not really a band. A band is a thing that exists over time and practices and builds its own identity. Or something. This is a duo. A meeting of the minds. A conversation. A lost weekend.
At their best, duos illuminate the core tenets of individuals while pushing them into territory they might not otherwise occupy. It sounds easy but it’s anything but. Just look at divorce rates.
Nace and Dilloway make the perfect duo. For years, they’ve each kept their music fresh, always avoiding preconceived notions of what they’re supposed to do. Dilloway’s tape loops and electronics are routinely musical, which Nace’s guitar always stretches to the edges of alien electricity. Both exude a refreshing and vehement disregard for cliché without leaving behind the necessity of tradition. One hears the earliest hints of electronic music, the conceptual and visceral assault of noise, the structural and spiritual liberation offered by free jazz, the delicate patience of extended techniques, and so much more. This collaboration though, like their back catalogs, works because it is beholden to none of these.
Their individual voices are recognizable, yet the record’s allure is found when those voices funnel into one another. In these moments, who’s who becomes irrelevant, and the music is elevated to its rightful place, far above the concerns of personality or individualism. The gurgles, scrapes, moans, and loops build their own intoxicating fog, a metallic expanse with its own logic.
After all these listens, I remain disoriented by it. It’s the kind of thing you want to play again because you can’t quite remember exactly what it sounds like. I’m reminded of J.G. Ballard: “The slower the clock, the nearer it approximated the infinitely gradual and majestic progression of cosmic time.” And maybe that’s the thing. Nace and Dilloway each embrace the immediacy of moments and the endless march of time equally, so for this record to finally see the real light of day is no minor event.
Jan 11 Baltimore – The Crown
https://www.facebook.com/events/921983707879406/ Jan 12 Chapel Hill - Nightlight Bar & Club
http://nightlightclub.com/2016/1/12/bill-nace-suicide-magnets-jake-meginsky-northgate-syndicate Jan 13 Asheville – Downtown Books and News
http://www.dbnbooks.com Jan 14 Atlanta - Eyedrum
https://www.facebook.com/events/945495678819203/ Jan 15 New Orleans – The Foundation Gallery
https://www.facebook.com/events/1677459395854382/ Jan 16 Dallas – The Wild Detectives
http://www.thewilddetectives.com Jan 17 Austin – Farewell Books
https://www.facebook.com/events/697747843660737 Jan 18 Marfa - Foodsharkland
http://www.foodsharkmarfa.com Jan 19 Albuquerque
https://roundtown.com/event/45503557/Bill-Nace-Jake-Meginsky-William-Fowler-Collins-Albuquerque-NM Jan 20 Phoenix-Trunk Space
http://www.thetrunkspace.com/calendar/2016/1/20/bill-nace-jake-meginsky-seth-kasselman-eva-aguila Jan 23 LACA
2245 E Washington Blvd
Los Angeles, CA 90021
SOLD OUT SOLD OUTOUT SOLD OUT OM44 ed of 300 Wally Shoup Greg Campbell Greg Kelley Bill Nace
$20 ppd in US
$30 ppd to Canada
$40 ppd ROW PAYPAL TO email@example.com
(please specify which record yr buying)
Greg Campbell, Greg Kelley, Bill Nace, Wally Shoup: "One End to the Other"
Greg Campbell -- drums, percussion, cornet, french horn
Greg Kelley--trumpet, microphone/mini-amp
Bill Nace--electric guitar
Wally Shoup--alto sax
2 separating a door from a window
4 nothing is deprived of its warmth
Recorded during a recent trek to the Pacific Northwest, this session is very damaged by the post-tongue explosive devices packed by each of the quartet’s members. Skittering along the most devious edge of improvisational madness, Greg, Greg, Bill and Mr. Shoup bring four chunks of deep underground moisture into the air for the first time. Let us make to examine them.
“Morning” greets the listener beneath a raucous grackle filled tree, mounting to a commuters’ rage. Then along comes a mage with mushrooms, and the growl and rasp spreads out into what one must imagine a stoned rabbit’s brain records from a dawn.
In “Separating a door from a window”, Mr. Shoup’s sax limns the wall of sound into permeable spaces. The horns and percussion throw up bramble hollers of humorous squawk, but in the end, Wally is triumphant.
Like smoke snaking over the door, “Transom” is a very present and seductive piece. If you are a programmer, this is an excellent sound experience to loop, as it is both loving and bossy.
Horn and reed lead you into ‘Nothing is deprived of its warmth,’ and then gleefully pierce your eardrums with needles. Once the path has been cleared to your brain, molten notes are poured in and, like a Dead Head prostrate with his pipe, you become one with the universe. A warm universe.
At first I thought it was weird they named this album after the lost book of Tolkien’s Simarillion. Now I’m not so sure.