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OM56


NEW!
OM56/SG1/LP
MARK MORGAN
DEPARTMENT OF HERALDRY

FIRST IN OPEN MOUTHS SOLO ELECTRIC GUITAR SERIES

EDITION OF 300
IN SEMIGLOSS TIP ON SLEEVES

ONE OF MY FAVORITE GUITARISTS!!!!

paypal to billnace@gmail.com

$25 ppd in usa
$35 ppd canada
$45 ppd r.o.w.

(please make sure mailing address is included in paypal payment)
(pay as gift..don't give paypal yr money ;)

(IF YOU WANT TO COMBINE WITH NEW BAZCKOWSKI/CORSANO/NACE LP ADD $20 FOR LP AND ANOTHER $2 FOR SHIPPING)


I was first introduced to the concept of Mark Charles Morgan by Thurston Moore in a series of conversations that all went something like this: 
TM: Dude, Sightings is coming to town. You should check them out. I think you’d really dig the
       them. And you’d love Mark; he’s hilarious.
Me: un-huh
TM: No, really. 
Me: When and Where? I’ll try to make it.
TM: They’re playing Friday at….
At which point, I’d nod politely, internally shutting down, or just walk away, while he was mid-sentence. This went on for approximately seven years. Until in 2012, I finally caught Sightings at the local American Legion hall. 

As I walked through the doors for the first time, the following checklist went through my head:
Incredibly depressing venue: check
A bar you can still smoke at because it’s technically a private club: check.
Rummy regulars at said bar with absolutely no interest in the music in the other room: check.
Large open room with sparse crowd: check (I’m being generous if I estimate 20 people in attendance).
“Oh great,” I thought, “Not technically a basement noise show but might as well be. At least there’s a bar.”
Then Sightings started. And much to my surprise, they were not some horrible and boring noise improv shit. Sightings had songs. Mark’s guitar growled, and he snarled. Or maybe it was the other way around. No matter, I did DIG them. They were great! Which would all make them sleeping on the floor in my tv room significantly less awkward, thank god. The next morning, I could genuinely gush about how much I liked them, in between bouts of mercilessly making fun of how many pedals Mark used.

Which all brings me to Mark “Man Crush” Morgan’s 2018 solo effort Department of Heraldry that you now hold in your hot little hands. To say I was a little leery of what was obviously some of that aforementioned “noise improv shit” is an understatement. My heart sank when I spotted a ten minute “composition”. Oh fuck, there are two of them. This was going to be a hard sell. Not to you necessarily, but to me. I’m not some slight of build guy with stooped shoulders, wearing a dirty beige Lightning Bolt t-shirt with a John Fahey record tucked under his arm.  

The thing is though is that Mark has always had this really great guitar sound, only partly courtesy of all those shitty pedals he insists on using. He’s not coming at this from a Pharoah Sanders-worshipping, free jazz-loving, sensibility. Rather, I hear his home town, Detroit. The record is scuzzy, and raw-sounding, punctuated with moments of utter desolation. Moments build, only to collapse again. There are even funky grooves but, of course, they fall apart. It’s fucking great. Dude, you should check it out!
—Julie Cafritz, August 2018

First in Open Mouths Solo Guitar Series
Mark Morgan DEPARTMENT OF HERALDRY LP
OM56/SG1
Edition of 300 on Semi Gloss Tip on Sleeves

OM57 is SOLD OUT


SOLDOUTSOLDOUTSOLDOUTSOLDOUT
OM57 is Sold Out. Thanks to everyone that ordered!! Copies available through Forced Exposure, Flipped Out Records, Fusetron, Soundohm
NEW!
OM57/LP
STEVE BACZKOWSKI/CHRIS CORSANO/BILL NACE
"Mystic Beings" LP

Cover art Jagger Lloyd
Screened Covers by Alan Sherry

this is an edition of 400
Just back from tour
down to last 100

paypal to billnace@gmail.com

$25 ppd in usa
$35 ppd canada
$45 ppd r.o.w.

(please make sure mailing address is included in paypal payment)
(pay as gift..don't give paypal yr money ;)

My first listen to these four extraordinary pieces by Chris Corsano, Bill Nace,and Steve Baczkowski was over a very rough ferry crossing from Cairnryan to Belfast. It's hard not to think of the ghosts of impossible crossings, victories, loses, harbors in such rough waters. Why would anyone venture out here? Finding something new or an overdue visit? Ending all of the wars?

For me, for my first listen to "Mystic Beings" instantly cured all motion sickness. It was probably just the very welcome adrenalin shots from their performance, but all the crashing and pitching over the waves became a joy. I was braver from listening in.

Sometimes they hovered like a three-headed beacon--a soaring vision to follow out on the horizon. Sometimes they seemed pulled into action and attack. Detonations and radio calls. Sometimes the spines of their own instruments cried out on the power of their own cores, their bodies having been left elsewhere. They drifted apart like a search party, skies clouded over, a spreading landscape streaked with transparent layers over layers. Or they joined together in quiet and unsparing ceremony, the kind usually reserved passing back through the place by which you've entered. All the while there was no scratching or banging at hard enclosed corners. These three players created a world of open space and flexible membrane, where any violence would only come from an outside imposition.

Each of the songs read like movements in a larger work. As an evesdropper, I added my own abstract, personal story over the whole album. I could repopulate new stories over and over again over this framework. The arc is that strong, and and the conversation is that good. And even if just overheard, "Mystic Beings" generously called me out to where I needed to be. The shallows and the shores are where the worst dangers can finds us, and our best chance of survival is sometimes out in the rolling depths. Deafen out the sirens and stay onward in the deep waters. Thank you, Bill and Chris and Steve, for sharing this kind of wild captain's safety with us.

Meg Baird
Cairnryan and San Francisco, Nov 2018

OM55 LIVE AT DREAMLAND IS SOLD OUT


SOLD OUT SOLD OUT SOLD OUT SOLD OUT SOLD OUT
Thanks to everyone who ordered!
Copies still available thru Forced Exposure, Flipped Out Records, Philadelphia Record Exchange

NEW!
OM55/LIVE AT #5 LP
TWIG HARPER/BILL NACE
LIVE AT DREAMLAND

Cover art Bill Nace
Paste on covers screened by Alan Sherry
Mastered by Mark Alan Miller
Recorded live by Tim Barnes
Twig Harper--electronics, voice
Bill Nace--electric guitar, voice
edition of 150

paypal to billnace@gmail.com

$25 ppd in usa
$35 ppd canada
$45 ppd r.o.w.

(please make sure mailing address is included in paypal payment)
(pay as gift..don't give paypal yr money ;)

SAMARA LUBELSKI/BILL NACE OM53 SOLD OUT SOLD OUT SOLD OUT


SOLD OUT SOLD OUT SOLD OUT SOLD OUT
COPIES STILL AVAILABLE AT FORCED EXPOSURE< SOUNDOHM< FLIPPED OUT RECORDS    THANKS TO EVERYONE WHO ORDERED! UP NEXT IS LIVE AT NUMBER 5.....TWIG HARPER/BILL NACE LIVE AT DREAMLAND ED of 150

NEW!
ALL ORDERS SHIP JAN 28
OM53/LP
SAMARA LUBELSKI/BILL NACE

Cover art Spencer Herbst
Screened on Stoughton Tip On Covers by Alan Sherry

this is an edition of 250
200 of which are available here for sale

paypal to billnace@gmail.com

$25 ppd in usa
$35 ppd canada
$45 ppd r.o.w.

(please make sure mailing address is included in paypal payment)
(pay as gift..don't give paypal yr money ;)


SAMARA LUBELSKI/BILL NACE
Open Mouth LP/OM#53
Gorgeously psychedelic debut LP by this new guitar/violin duo, created by two of the form's great maestros.
Samara Lubelski and Bill Nace are both veterans of the American sub-underground. Between them they have many projects under many names on many labels. Most recently, however, the two have been focused on string-based duo aktion, Samara in cahoots with Marcia Bassett, and Bill with Kim Gordon in Body/Head. These two ensembles explore different expanses of the genre. The Lubelski/Bassett Duo focus on the powerful beauty of drone rainbow landscapes, while Body/Head venture into dialogues dealing with subconscious dream language. On this album Bill and Samara create a hybrid between these approaches, offering textual interactions that blaze like fire.
On the five tracks of their eponymous LP, Samara's violin creates a base of long form string distention, against which Bill's amp-shudder creates event surges that fill your brain with frozen images of walls caught in mid-collapse, and continents sinking into a sea. Their motion has tectonic implications. About all I can compare it to is momentary flashes of A Handful of Dust (the Bruce Russell/Alastair Galbraith unit), but the intent here seems quite different, and as mentioned before, the results feel bracingly psychedelic.
Have not had a chance to spin this after an acid drop yet. Will wait for the actual LP to do that, but I'm thinking it will make for a most excellent pairing. I suggest you consider the same. Tout de suite.
-Byron Coley


Jake Meginsky Gates and Variations OM52 OUT NOW!!!

OUT NOW!!!!
OM52/LP
GATES AND VARIATIONS
JAKE MEGINSKY


paypal to billnace@gmail.com

$25 ppd in usa
$35 ppd canada
$45 ppd r.o.w.

(please make sure mailing address is included in paypal payment)


Jake Meginsky
Gates and Variations
Open Mouth LP
OM52
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 others 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 its hard to tell if its intended or if something imperceptible within  you shifted the locus of yr perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown. Theres 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

OM49 Apocalypse Rose OUT NOW///// SOLD OUT




REGULAR AND ART EDITIONS SOLD OUT 

Charles Plymell/Bill Nace

APOCALYPSE ROSE
OM#49

Charley recites Apocalypse Rose on side a
side b is Bill NACE doing a piece of music inspired by the poem


LP housed in a heavy-weight letterpressed sleeve.

Edition of 150 numbered copies, the first ten of which have an original drawing by Rick Myers on the back cover.

Designed by Rick Myers
Printed by Art Larson

$35 ppd in usa
$45 ppd canada
$55 ppd r.o.w.

for regular edition

art edition (which has an original drawing by Rick Myers on the back cover)
is an edition of ten 4 of which are for sale here
$105 ppd

all orders paypal to billnace@gmail.com

OM50 SOLDOUT SOLDOUT

SOLDOUT
THANKS TO EVERYONE THAT ORDERED!
Copies still available through Forced Exposure, Flipped Out Records, Metamkine, Soundohm

OUT NOW!!!!
OM50/LP
THESE
CHRIS CORSANO PAUL FLAHERTY BILL NACE


paypal to billnace@gmail.com

$25 ppd in usa
$35 ppd canada
$45 ppd r.o.w.



Bill Nace 
Paul Flaherty 
Chris Corsano
These LP (OM 50)
Wherein we come upon three visceralists who have been collaborating for years - innumerable instances in a roulette wheel of settings – finally shacking up in a studio and fashioning a proper trio record. Glory be. Let’s listen in…
“These.” It’s a phrase that never gets started, and an apt title for this record, which right off bolts from the barn and burns so brightly it nearly gets away from you by the time you’re done twisting your head around looking for whoever it was that left the door open.  He asked me when I planned to come back. Always, I said.
Nace’s guitar mines savage depths, egging on the propulsive swing of Flaherty and Corsano. The results are as beastly as the heart itself. Swing. Bounce. Joust. Jab. Uppercut. Flutter. Wink. Sneer. They all play with anguish and ecstatic rupture – the frustrating joy of pushing an instrument to its limits, fashioning a necessary and brutal needlepoint. They move with all the otherworldly elegance and mania of moths at a lamp show.
The music asks no specific questions, but wrenches open a space for all manner of questions – this is one of art’s most vital functions!
It deals in shades, no matter how sharp the apparent angle.
Check out "Blue Water": the solemn bells of Bill’s guitar signal not so much a funeral, but a new dawn after a tragedy. Flaherty’s saxophone sounds innocent, almost tentative at first, but as Chris’ drums chime in, Paul starts to wrench the fabric loose. The track builds into a fierce and alien vista, charting a territory all its own – a simmering judgement. It becomes hard to talk about.
Didn’t you ever try to eat your own tail in the midday sun?
No?
These three, whose veins are coursing straight through with a nuanced emotional lexicon and the smarts to harness it, have given us a record that expands potential with each listen.

- Matt Krefting, Holyoke, MA 2017