We need your help – please
Heavy experimentation out of Northampton, Massachusetts. Operated by guitarist and graphic artist Bill Nace.
Recorded during a 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 Kelley, Greg Campbell, Bill Nace 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 Silmarillion. Now I'm not so sure." -- Lili Dwight/Byron Coley, Deerfield MA 2015
Wally Shoup / Greg Campbell / Greg Kelley / Bill Nace – One End To The Other
Another once super limited LP (60 copies this time) now available to cherish as MP3 or FLAC! Second of two duo LPs from baritone / tenor saxophonist Steve Baczkowski and guitarist and label head Billl Nace. Both know their instruments inside out and have an extraordinary ability to abstract their two already unique sounds into one super intense and sprawling and intense new one.
Bill Nace / guitar,
Steve Baczkowski / baritone and tenor saxophone
1. Untitled I - 16:51
2. Untitled II - 11---
Recorded live at Vox Populi Philadelphia PA August 9, 2015 by Kevin Reilley. Mastered by Mark Allan Miller. LAyout by Bill Nace & Neil Burke.
Steve Baczkowski & Bill Nace – I Can't Repay You
Prior to Body/Head’s Matador release ‘Coming Apart’, Bill Nace quietly put out a limited 12” of the duo’s material on his own label, Open Mouth. Largely instrumental, with lattices of interwoven sustained guitar, “Where Did You Go?” is as much of a ‘song’ as the record holds, with Gordon ditching lyrics in favour of channelling improvising vocalists like Alice Coltrane. Long sold out in print, it’s a pleasure to share this one as a digital release.
Bill Nace / electric guitar
Kim Gordon / electric guitar, vocals
1. Turn Me On - 4.44 2. Be There Soon - 5.24 3. Take It Down - 0.524. Where Did You Go? - 8.22
Recorded at Brief Crossing Studio. Mastered by Mark Miller.
Body/Head – Body/Head
"Below a shuffling cabasa-like rhythm, a pair of taut drum patterns is punctuated by swirling electronic crackle and a deep bass drop. Slowly and almost imperceptibly, layers of spongy beats accumulate until they’re wiped out dub-style by an echoing sonar moan that suspends the track in a dark and undulating aquatic reverie, a lull broken by jittery bass tones and reverberant knocks that surge into an intricate percussive maelstrom.
Jake Meginsky’s music is distinctly low end and percussive. While nodding to minimal house, dub, and noise, Meginsky’s electronica bears ample evidence of his apprenticeship with fiery avant-jazz percussionist Milford Graves and his training in West African djun djun and djembe. There’s nothing rigid or mechanical here. On the contrary, Meginsky’s rhythmic sensibility is supple and flexible – rumbling, fluttering, and bouncing in elastic configurations of enchanting complexity.
All rhythm and squall, the pieces on Vandals can’t be called “songs”; but they’re too non-linear to be called “tracks” and too structurally unpredictable to be “compositions.” Rather, Meginsky builds little electronic ecosystems that seem to breed sounds in all their timbral and textural diversity, and to observe what results as they ally and skirmish with one another." - Christoph Cox
Jake Meginsky / electronics
Recorded April 2015 . Additional mixing at sonelab by Justin Pizzoferrato. Mastered by Carl Saff.
Jake Meginsky – Vandals
"Debut LP from Meginsky. Subterranean, nearly-inaudible restraint and a rushing, stuttering throb rule the night on this record. Its electric moods are so resolutely alien they suggest worlds unknown rather than create them. Irregular heartbeat thumps are set against high end atmospheres explored in microscopic detail. Haunting overlays of tones fluctuate and tremble, and not one moment feels forced. The music is meticulously constructed and consistently surprising. The electronics spin away, shooting off into bizarre and unexpected territory, and all the while Meginsky guides them with a benevolent, confident, endlessly fascinating hand. To hear him tell it, the record is 'a document of me looking for the experience I have not yet had, and maybe will never have. This is where the title comes from. The pull of the void.' Natural phenomena, like fog or mist, tend to render the environment and one's ability to see it nearly impossible, and if you tilt your head back like you have a nosebleed there is always the fear that the sun might set sooner. When you stop in a secret place there is no need to talk. These are streets full of sullen languid violence and grey phantoms." -- Matt Krefting Holyoke, MA May 2014
"By its closing track the album is in a state of malfunction, with rhythms splintering and disintegrating, peppered with fizzing tonal clusters and static blasts which sound more like Voice Crack than anything you’d expect to hear on a dancefloor." The Wire
"All electronics, almost all smooth and clean sounds chosen, it references beat-driven styles with seemingly regular rhythms, but they're overlaid in non-obvious patterns and use very different textures, resulting in a fine sense of space where the relative absence of grit and inexactitude don't bother me nearly as much as is often the case in work I've heard that's tangentially related" Brian Olewnick
Jake Meginsky / electronics
Artwork by Bill Nace. Mastered by Mark Allen Miller.
Jake Meginsky – L'Appel du Vide
Gates And Variations rounds out a loose trilogy of records by Jake Meginsky for Open Mouth. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each other's space and light like a garden of plants that would never actually coexist anywhere in reality. Jake is always tirelessly reaching for something new yet I'd avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod. Something has been completed and now all the pieces are interchangeable. The first can go last. The middle can be first. The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits. These are dense environments where sections can move from microscopic to macroscopic, day to night and back again, so effortlessly that it's hard to tell if it's intended or if something imperceptible within you shifted the locus of your perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown. There's a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances. Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning." --Bill Nace, Philadelphia, PA, September 2017.
Jake Meginsky – Gates & Variations