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

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$45 ppd r.o.w.

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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!!!


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Jake Meginsky
Gates and Variations
Open Mouth LP
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


Charles Plymell/Bill Nace


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.

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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

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Copies still available through Forced Exposure, Flipped Out Records, Metamkine, Soundohm


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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?
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 

Live at Disjecta is SOLD OUT


Fourth in Open Mouths "Live At......." Series

Greg Kelley-trumpet
Bill Nace--electric guitar

"Live at Disjecta"

recorded March 9 2016 by Daniel Menche

cover art by Bill Nace
covers screened by Alan Sherry
#'d edition of 300
OM#48/"Live at..."#4

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Aaron Dilloway/Bill Nace BAND EP/LP SOLD OUT

Aaron Dilloway/Bill Nace BAND LP/EP


Aaron Dilloway/Bill Nace – BAND EP
Open Mouth
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

GK/BN West Coast