Long sold out vinyl!
"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." Matt Krefting.
Bill Nace / electric guitar
Aaron Dilloway / tape
Originally released on cassette as Silver Lining #2. Mastered by Carl Saff.
"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." (Matt Krefting, Holyoke, MA, 2016)
Available as 320k MP3 or 24bit FLAC
Hailing from Michigan, Aaron Dilloway was a founding member of formidable trip metal gods Wolf Eyes. Since he left that band a decade ago, he’s delicately extended his exploration of tape manipulations and found sound appropriation, simultaneously bringing warmth and acidity, high-end assault and dreamy dislocation in a way that could be said to unwittingly form a bridge between Robert Ashley and hauntology.
A serial collaborator, he’s also made great records in cahoots with Jason Lescalleet, C. Spencer Yeh and many more and been compared to Maryanne Amacher and Nurse With Wound. Currently based in Oberlin, Ohio, from where he runs the Hanson Records label and mailorder.
Bill Nace is an artist and musician based in Western Massachusetts. He has collaborated with an extraordinary range of musicians, including Michael Morley, Mats Gustafsson, Joe McPhee, Chris Corsano, Jooklo Duo, Chris Cooper, John Truscinski, Thurston Moore, Jake Meginsky, Jessica Rylan, Paul Flaherty, Wally Shoup, and Kim Gordon, with whom he regularly plays as one half of the duo Body/Head. Their critically acclaimed LP “Coming Apart” was released on Matador last September. He has been a featured musician in festivals such as ATP (curated by Jim Jarmusch and held in Monticello, NY), Colour Out of Space(Brighton, UK), Supersonic Festival (Birmingham, UK), International Festival Musique Actuelle (Victoriaville, QC), and Homegrown (Boston, MA). He has performed in a wide variety of venues, running the gamut from the Musee d'Art Contemporain (Strasbourg, France) to The Stone (NYC) to Bennington College (Vermont). Nace’s range has been described as “veering from sculptural, almost Remko-Scha-esque chime to Loren Connors-style elegance in only a few short moves.” (Mimaroglu Music,
2010). Recordings can be found on Ecstatic Peace (Northampton, MA), Ultra Eczema (Belgium), Holidays (Italy), 8mm (Italy), Throne Heap (VA), HP Cycle (Toronto, ON), as well as on Nace’s own label Open Mouth.