One end to the Other

ed of 300
Wally Shoup
Greg Campbell
Greg Kelley
Bill Nace

$20 ppd in US
$30 ppd to Canada
$40 ppd ROW
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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

1. Morning
2 separating a door from a window
3 transom
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.

Lili Dwight/Byron Coley

Deerfield MA 2015


ed of 300
Ordering info below

Jake Meginsky, Vandals
Christoph Cox

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.

$20 ppd in US
$30 ppd to Canada
$40 ppd ROW
(please specify which record yr buying)

Pleasure Scenes

Catalogs available here

for Bill Nace Pleasure Scenes Show 
up now at RozzToxArt


Bedtime story kids...I was born and raised in Shelby, NC. I graduated from Shelby High School, located on E. Dixon Blvd. It's named in honor of Thomas Dixon. He wrote a book called "The Clansmen", which was later adapted into a movie called "Birth Of A Nation." The barbaric portrayal of black people in that movie sparked a resurgence of the KKK in the south. And the high school I graduated from was located on a road named in his honor. So just know this...the little racist jokes and microaggressions and media bias that seem harmless? It fuels a racism that is violent and deadly. Particularly in little "sleepy" towns where racists love their guns and their white supremacy. Sleep on that.--kazi jones


Open Mouth #42
split release with 303inPrint

Music for Inversions: A Live Ballet by Nick Mauss
Music by Kim Gordon

Cover art by Nick Mauss
Edition of 250, signed and numbered
Silkscreened cover and insert (by Alan Sherry)
303inprint & Open Mouth Records

To pre-order email

i i n p

And if I got a brown nose for some gold then I'd rather be a bum than a motherfuckin' baller---kendrick lamar

Of course we gotta pay rent, so money connects, but uhh
I'd rather be broke and have a whole lot of respect---OC