Paul Flaherty / Bill Nace // Touchless 7"
Paul Flaherty / Bill Nace // Touchless 7"
¥2,250
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80年代から活動するアメリカの大御所アルトサックス奏者Paul Flahertyと、同国実験レーベルOpen Mouth主宰Bill Naceが、2011年にリリースした共作7"です。
アルトとギターによるインプロ2曲を収録。DLコード付属。
レーベルその他作品はこちら /// Click here to see more Open Mouth releases available at Tobira.
----------------------------
Edition of 150.
Paul Flaherty--alto sax
Bill Nace--electric guitar
Artist : Paul Flaherty/Bill Nace
Label : Open Mouth
80年代から活動するアメリカの大御所アルトサックス奏者Paul Flahertyと、同国実験レーベルOpen Mouth主宰Bill Naceが、2011年にリリースした共作7"です。
アルトとギターによるインプロ2曲を収録。DLコード付属。
レーベルその他作品はこちら /// Click here to see more Open Mouth releases available at Tobira.
----------------------------
Edition of 150.
Paul Flaherty--alto sax
Bill Nace--electric guitar
Artist : Paul Flaherty/Bill Nace
Label : Open Mouth
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{"id":8857792774394,"title":"Noise Nomads \/\/ Obsidian shards pooled in Silver LP","handle":"noise-nomads-obsidian-shards-pooled-in-silver-lp","description":"\u003cp\u003eアメリカのノイズ作家Noise Nomadsが、2025年6月にBill Nace主宰レーベルOpen Mouthから100部限定でリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eサイケデリックなハーシュノイズ2曲を収録。版元即完のため最初で最後の入荷となります。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3823225353\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003eEdition of 100. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. This light intoxication: the madness of candor 17:38\u003cbr\u003e2. Full Steam 17:32\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eFrom the artist:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eTwo years ago I gained access to a practice spot for the first time. Until now my whole career in sound was built on putting my ideas to the test in front of people in live situations. That whole period of almost 30 years was a steady stream of changing ideas and modes of operation. The intent was to keep it interesting for myself and for the audience. Trying something new every time I performed.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhen the pandemic hit and people were trying to maintain their levels of social\/creative output with live streaming themselves. I had the personal realization that I could take a break from the endless road of live performance. So I stopped playing for two years. Coming out of the pandemic I was less interested in such a deep focus on live performance. The practice spot gave me the opportunity to truly play for myself. A welcome change. I began focusing on a singular idea. Study that idea the way a jazz musician is dedicated to his instrument.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis is the set up I’ve been working with for the past two years: I had found an industrial metal table at work and promptly put a contact mic on it. Started using a singing bowl on the table with various effects. Along with an oscillator, brushes and a spring stretched on a 4’ piece of spruce. I also use a modified Korg Monotron. I like the way the singing bowl resonates thru the table. The percussive element of the brushes and spring maintain the visceral aspects while I feel that the bowl and oscillator represent an attempt to find a deeper focus and thoughtfulness in what I do with sound.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI recorded the record at my studio in Erving, ma. My relationship with recording has always been challenging. I find paying for time at a recording studio to be stressful and I tend to not like what comes out of those laboratory situations.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI have a very simple approach these days. I might fill a few blown out tracks on the ol’ Tascam. Then I will give it a quick live edit and mix down to a master tape. I don’t have a lot of patience for learning techniques or technology. I don’t have a computerized recording setup.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe recording for Bill was born out of frustration with the recording process. It took me a long time to get off my ass and document what I’ve been doing. Once I did it came together quickly. One day to record and the next day to re listen and mix. This recording was also heavily inspired by the work of a friend and I think it shows thru in the directness of the material.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI first got into music through my father’s country records and skateboarding videos. Then at some point a desire for more challenging and dynamic sounds took hold of me. I’ve been chasing difficult music ever since. The Do it yourself attitude from punk rock scene of the nineties is what drove me to start making my own music. I didn’t have like minded friends in high school to start a band with. So I played alone and made noise.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHistorically playing music has always been a visceral experience for me. I don’t spend too much time thinking about or debating what I should or shouldn’t do. I just tend to go for it and hope I will succeed with an idea.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI loved LA for the change of scenery. During my time out there I drove around everywhere and enjoyed being in a natural environment that was different from New England. I played a handful of shows and enjoyed checking out the local music and art scene as well. In a moment of weakness I decided to come home. So I hopped on an Amtrak back to WMass. I have 4 nieces and wanted to get to know them instead of being that uncle they might meet once. My time there was brief and I miss it.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Noise Nomads\u003c\/p\u003e\n\u003cp\u003eLabel : Open Mouth\u003c\/p\u003e\n\u003cp\u003ecat no : OM76\u003c\/p\u003e","published_at":"2025-07-13T14:36:29+09:00","created_at":"2025-07-11T11:03:29+09:00","vendor":"Tobira Records","type":"","tags":["lp","new","noise","open mouth","recommended"],"price":497700,"price_min":497700,"price_max":497700,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47502291763450,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":null,"requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Noise Nomads \/\/ Obsidian shards pooled in Silver LP","public_title":null,"options":["Default Title"],"price":497700,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/pool1_1ea171f9-bc2e-445b-aeee-eeacc08008c8.jpg?v=1752199310","\/\/tobirarecords.com\/cdn\/shop\/files\/pool2.jpg?v=1752199310"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/pool1_1ea171f9-bc2e-445b-aeee-eeacc08008c8.jpg?v=1752199310","options":["Title"],"media":[{"alt":null,"id":36352371687674,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pool1_1ea171f9-bc2e-445b-aeee-eeacc08008c8.jpg?v=1752199310"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pool1_1ea171f9-bc2e-445b-aeee-eeacc08008c8.jpg?v=1752199310","width":700},{"alt":null,"id":36352371720442,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pool2.jpg?v=1752199310"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/pool2.jpg?v=1752199310","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカのノイズ作家Noise Nomadsが、2025年6月にBill Nace主宰レーベルOpen Mouthから100部限定でリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eサイケデリックなハーシュノイズ2曲を収録。版元即完のため最初で最後の入荷となります。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3823225353\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl.\u003cbr\u003eEdition of 100. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. This light intoxication: the madness of candor 17:38\u003cbr\u003e2. Full Steam 17:32\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp\u003eFrom the artist:\u003c\/p\u003e\n\u003cp\u003e\"\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eTwo years ago I gained access to a practice spot for the first time. Until now my whole career in sound was built on putting my ideas to the test in front of people in live situations. That whole period of almost 30 years was a steady stream of changing ideas and modes of operation. The intent was to keep it interesting for myself and for the audience. Trying something new every time I performed.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eWhen the pandemic hit and people were trying to maintain their levels of social\/creative output with live streaming themselves. I had the personal realization that I could take a break from the endless road of live performance. So I stopped playing for two years. Coming out of the pandemic I was less interested in such a deep focus on live performance. The practice spot gave me the opportunity to truly play for myself. A welcome change. I began focusing on a singular idea. Study that idea the way a jazz musician is dedicated to his instrument.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThis is the set up I’ve been working with for the past two years: I had found an industrial metal table at work and promptly put a contact mic on it. Started using a singing bowl on the table with various effects. Along with an oscillator, brushes and a spring stretched on a 4’ piece of spruce. I also use a modified Korg Monotron. I like the way the singing bowl resonates thru the table. The percussive element of the brushes and spring maintain the visceral aspects while I feel that the bowl and oscillator represent an attempt to find a deeper focus and thoughtfulness in what I do with sound.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI recorded the record at my studio in Erving, ma. My relationship with recording has always been challenging. I find paying for time at a recording studio to be stressful and I tend to not like what comes out of those laboratory situations.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI have a very simple approach these days. I might fill a few blown out tracks on the ol’ Tascam. Then I will give it a quick live edit and mix down to a master tape. I don’t have a lot of patience for learning techniques or technology. I don’t have a computerized recording setup.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eThe recording for Bill was born out of frustration with the recording process. It took me a long time to get off my ass and document what I’ve been doing. Once I did it came together quickly. One day to record and the next day to re listen and mix. This recording was also heavily inspired by the work of a friend and I think it shows thru in the directness of the material.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI first got into music through my father’s country records and skateboarding videos. Then at some point a desire for more challenging and dynamic sounds took hold of me. I’ve been chasing difficult music ever since. The Do it yourself attitude from punk rock scene of the nineties is what drove me to start making my own music. I didn’t have like minded friends in high school to start a band with. So I played alone and made noise.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHistorically playing music has always been a visceral experience for me. I don’t spend too much time thinking about or debating what I should or shouldn’t do. I just tend to go for it and hope I will succeed with an idea.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eI loved LA for the change of scenery. During my time out there I drove around everywhere and enjoyed being in a natural environment that was different from New England. I played a handful of shows and enjoyed checking out the local music and art scene as well. In a moment of weakness I decided to come home. So I hopped on an Amtrak back to WMass. I have 4 nieces and wanted to get to know them instead of being that uncle they might meet once. My time there was brief and I miss it.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Noise Nomads\u003c\/p\u003e\n\u003cp\u003eLabel : Open Mouth\u003c\/p\u003e\n\u003cp\u003ecat no : OM76\u003c\/p\u003e"}
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アメリカのノイズ作家Noise Nomadsが、2025年6月にBill Nace主宰レーベルOpen Mouthから100部限定でリリースしたレコードです。 サイケデリックなハーシュノイズ2曲を収録。版元即完のため最初で最後の入荷となります。 ※デジタル音源を無料でお送りいたしますのでお気軽にご連絡くださいませ レーベルその他作品はこちら /// Click here to see more Open Mouth releases available...
¥4,977
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{"id":8789395669242,"title":"Evan Parker\/Bill Nace \/\/ Branches (Live at Cafe OTO) LP","handle":"evan-parker-bill-nace-branches-live-at-cafe-oto-lp","description":"\u003cp\u003eイギリスのサックス奏者Evan Parkerとアメリカのギタリスト／大正琴奏者Bill Naceが、2025年5月にBill Nace主宰レーベルOpen Mouthからリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eサックスと大正琴によるサイケデリックなフリージャズ2曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1003178254\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e---------------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. SIDE A (20:02)\u003cbr\u003e2. SIDE B\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp class=\"MsoNormal\"\u003eText written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eThurston Moore, London, 2025, via the label :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"They had never played together before.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThey had never even met each other before this springtime 2024 concert at London’s Café Oto.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEvan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s\/2000s underground scene.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eFor those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e residency at the most critical “new music” room in England, would request to play in duo with Parker.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eUtilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer\/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBy the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThis sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Evan Parker\/Bill Nace\u003c\/p\u003e\n\u003cp\u003eLabel : Open Mouth Records x Otoroku\u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOM86 \/ \u003cmeta charset=\"utf-8\"\u003eOTO43\u003c\/span\u003e\u003c\/p\u003e","published_at":"2025-05-21T16:20:32+09:00","created_at":"2025-05-20T11:17:22+09:00","vendor":"Tobira Records","type":"","tags":["jazz","lp","new","noise","open mouth","recommended"],"price":497700,"price_min":497700,"price_max":497700,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":47328863846650,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Evan Parker\/Bill Nace \/\/ Branches (Live at Cafe OTO) LP","public_title":null,"options":["Default Title"],"price":497700,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/evan1.jpg?v=1747707311","\/\/tobirarecords.com\/cdn\/shop\/files\/evan2.jpg?v=1747707310"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/evan1.jpg?v=1747707311","options":["Title"],"media":[{"alt":null,"id":36058351436026,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/evan1.jpg?v=1747707311"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/evan1.jpg?v=1747707311","width":700},{"alt":null,"id":36058351468794,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/evan2.jpg?v=1747707310"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/evan2.jpg?v=1747707310","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eイギリスのサックス奏者Evan Parkerとアメリカのギタリスト／大正琴奏者Bill Naceが、2025年5月にBill Nace主宰レーベルOpen Mouthからリリースした共作レコードです。\u003c\/p\u003e\n\u003cp\u003eサックスと大正琴によるサイケデリックなフリージャズ2曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1003178254\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e---------------------------------------------\u003c\/p\u003e\n\u003cp\u003e12\" black vinyl. \u003c\/p\u003e\n\u003cblockquote\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e1. SIDE A (20:02)\u003cbr\u003e2. SIDE B\u003c\/p\u003e\n\u003c\/blockquote\u003e\n\u003cp class=\"MsoNormal\"\u003eText written by \u003cmeta charset=\"utf-8\"\u003e\u003cspan class=\"bcTruncateMore\"\u003eThurston Moore, London, 2025, via the label :\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"They had never played together before.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThey had never even met each other before this springtime 2024 concert at London’s Café Oto.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eEvan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s\/2000s underground scene.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eFor those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThe aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e residency at the most critical “new music” room in England, would request to play in duo with Parker.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eUtilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer\/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eBy the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eThis sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Evan Parker\/Bill Nace\u003c\/p\u003e\n\u003cp\u003eLabel : Open Mouth Records x Otoroku\u003c\/p\u003e\n\u003cp\u003ecat no : \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eOM86 \/ \u003cmeta charset=\"utf-8\"\u003eOTO43\u003c\/span\u003e\u003c\/p\u003e"}
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イギリスのサックス奏者Evan Parkerとアメリカのギタリスト／大正琴奏者Bill Naceが、2025年5月にBill Nace主宰レーベルOpen Mouthからリリースした共作レコードです。 サックスと大正琴によるサイケデリックなフリージャズ2曲を収録。廃盤です。 レーベルその他作品はこちら /// Click here to see more Open Mouth releases available...
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{"id":8145424580858,"title":"Matt Krefting \/\/ Finer Points LP","handle":"matt-krefting-finer-points-lp","description":"\u003cp\u003eアメリカ・ニューハンプシャーの実験音楽家Matt Kreftingが、2023年12月に同国実験レーベルOpen Mouthから200部限定でリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eLo-Fiコンクレート〜ドローン6曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e以下、実験音楽家\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eScott Foust\u003c\/span\u003e \u003c\/span\u003eによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"マットとは、彼がまだハンプシャー大学の学生だった00年代初期からの付き合いだ。私たちはすぐに大親友になり、それ以来ずっとそうだ。マットはIFCOのメンバー（現在はフルタイム）であり、その他にも多くのプロジェクトで一緒に仕事をしてきた。つまり、私は少し偏っているのかもしれない。(マットはもう10年以上もソロでテープミュージックをやっている。私の記憶では、最初はミキシング・デスクと安物のカセット・マシンの束を使ったライブだった。フィールドレコーディングやテープなどを使って音楽をやっている人はたくさんいるが、たいていの場合、その音楽は雑なあくび祭りのようなものだ。それはクレフト流ではない。Finer Pointsに収録されている6つの作品は、それぞれ限られた数の要素がゆっくりと回転している。各トラックのサウンドはバラバラだが、同じような手法で作られている。全体的な効果は、ジョセフ・コーネルの箱の中のボトルのようだ。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eマットのリリースは砂漠の花のように華やかに咲き誇り、やがて消えていく。ビル・ネイスにも乾杯。小さなレーベルを運営したことのある人なら誰でも言うだろう、『それは愚の骨頂だ』と。しかし、ビルのような愚か者がいなければ、世界は多くの素晴らしい音楽を失っていただろう。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2686595393\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files.\u003cspan\u003e 12\" black vinyl. Edition of 200.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAway from the Clearing 04:23\u003c\/li\u003e\n\u003cli\u003eA Double Request 08:09\u003c\/li\u003e\n\u003cli\u003eLet's Look Again 05:02\u003c\/li\u003e\n\u003cli\u003eAn Eye on the Future 03:01\u003c\/li\u003e\n\u003cli\u003eBoth This Life and the Next 05:57\u003c\/li\u003e\n\u003cli\u003eJust to Have Him Around 09:28\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003e \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eScott Foust\u003c\/span\u003e via the label: \u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\"I have known Matt since the very early 00’s when he was still a student at Hampshire College. We became great friends right away and have remained so since. Matt has been an on-and-off member of IFCO (full time now), and we have worked together on a number of other projects. This is to say, I might be a little biased. (But everyone is biased, no matter how much they write in the third person.) Matt has been doing solo tape music for well over ten years now. My memory says it started out as a live thing with a mixing desk and a bunch of cheap cassette machines. (My memory says a lot of things.) I’m not sure exactly what he does now, but it is something similar and still involves cassette tapes. There are loads of people doing music with field recordings and tapes, etc., and, for the most part, the music is a messy yawn-fest. That is not The Krefting Way. Each of the six pieces on Finer Points has a limited number of elements that slowly revolve. Each track is discrete in its sound pallet but made in a similar fashion. The overall effect is like the bottles in a Joseph Cornell box. My favorite bottle is the one for a guitar (Spanish?) It manages to hit a sweet spot between hypnotic and unsettling. The whole LP is great and expertly sequenced. (The lost art of recording!) Matt’s releases\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e are like desert flowers that bloom and are gorgeous, then they are gone. A tip of the glass to Bill Nace as well. He has kept Open Mouth running for quite a while, and as anyone who has ever run a small label will tell you, ‘It’s a fool’s errand.’ It is, too – but if it weren’t for fools like Bill, the world would be missing a lot of great music.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Matt Krefting\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Open Mouth\u003c\/span\u003e\u003c\/p\u003e","published_at":"2024-01-18T17:59:54+09:00","created_at":"2024-01-18T17:23:12+09:00","vendor":"Tobira Records","type":"","tags":["drone","lp","monooto","new","noise","open mouth"],"price":428800,"price_min":428800,"price_max":428800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45041140564218,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Matt Krefting \/\/ Finer Points LP","public_title":null,"options":["Default Title"],"price":428800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/fin1.jpg?v=1705566194","\/\/tobirarecords.com\/cdn\/shop\/files\/fin2.jpg?v=1705566194"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin1.jpg?v=1705566194","options":["Title"],"media":[{"alt":null,"id":33002381377786,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin1.jpg?v=1705566194"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin1.jpg?v=1705566194","width":700},{"alt":null,"id":33002381410554,"position":2,"preview_image":{"aspect_ratio":1.33,"height":902,"width":1200,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin2.jpg?v=1705566194"},"aspect_ratio":1.33,"height":902,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/fin2.jpg?v=1705566194","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカ・ニューハンプシャーの実験音楽家Matt Kreftingが、2023年12月に同国実験レーベルOpen Mouthから200部限定でリリースしたレコードです。\u003c\/p\u003e\n\u003cp\u003eLo-Fiコンクレート〜ドローン6曲を収録。廃盤です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e以下、実験音楽家\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eScott Foust\u003c\/span\u003e \u003c\/span\u003eによる解説です。\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"マットとは、彼がまだハンプシャー大学の学生だった00年代初期からの付き合いだ。私たちはすぐに大親友になり、それ以来ずっとそうだ。マットはIFCOのメンバー（現在はフルタイム）であり、その他にも多くのプロジェクトで一緒に仕事をしてきた。つまり、私は少し偏っているのかもしれない。(マットはもう10年以上もソロでテープミュージックをやっている。私の記憶では、最初はミキシング・デスクと安物のカセット・マシンの束を使ったライブだった。フィールドレコーディングやテープなどを使って音楽をやっている人はたくさんいるが、たいていの場合、その音楽は雑なあくび祭りのようなものだ。それはクレフト流ではない。Finer Pointsに収録されている6つの作品は、それぞれ限られた数の要素がゆっくりと回転している。各トラックのサウンドはバラバラだが、同じような手法で作られている。全体的な効果は、ジョセフ・コーネルの箱の中のボトルのようだ。\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem\u003eマットのリリースは砂漠の花のように華やかに咲き誇り、やがて消えていく。ビル・ネイスにも乾杯。小さなレーベルを運営したことのある人なら誰でも言うだろう、『それは愚の骨頂だ』と。しかし、ビルのような愚か者がいなければ、世界は多くの素晴らしい音楽を失っていただろう。\"\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2686595393\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\" data-mce-href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files.\u003cspan\u003e 12\" black vinyl. Edition of 200.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eAway from the Clearing 04:23\u003c\/li\u003e\n\u003cli\u003eA Double Request 08:09\u003c\/li\u003e\n\u003cli\u003eLet's Look Again 05:02\u003c\/li\u003e\n\u003cli\u003eAn Eye on the Future 03:01\u003c\/li\u003e\n\u003cli\u003eBoth This Life and the Next 05:57\u003c\/li\u003e\n\u003cli\u003eJust to Have Him Around 09:28\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eText by \u003cmeta charset=\"utf-8\"\u003e \u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003eScott Foust\u003c\/span\u003e via the label: \u003cbr\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cem\u003e\"I have known Matt since the very early 00’s when he was still a student at Hampshire College. We became great friends right away and have remained so since. Matt has been an on-and-off member of IFCO (full time now), and we have worked together on a number of other projects. This is to say, I might be a little biased. (But everyone is biased, no matter how much they write in the third person.) Matt has been doing solo tape music for well over ten years now. My memory says it started out as a live thing with a mixing desk and a bunch of cheap cassette machines. (My memory says a lot of things.) I’m not sure exactly what he does now, but it is something similar and still involves cassette tapes. There are loads of people doing music with field recordings and tapes, etc., and, for the most part, the music is a messy yawn-fest. That is not The Krefting Way. Each of the six pieces on Finer Points has a limited number of elements that slowly revolve. Each track is discrete in its sound pallet but made in a similar fashion. The overall effect is like the bottles in a Joseph Cornell box. My favorite bottle is the one for a guitar (Spanish?) It manages to hit a sweet spot between hypnotic and unsettling. The whole LP is great and expertly sequenced. (The lost art of recording!) Matt’s releases\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cem\u003e are like desert flowers that bloom and are gorgeous, then they are gone. A tip of the glass to Bill Nace as well. He has kept Open Mouth running for quite a while, and as anyone who has ever run a small label will tell you, ‘It’s a fool’s errand.’ It is, too – but if it weren’t for fools like Bill, the world would be missing a lot of great music.\"\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eArtist : Matt Krefting\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLabel : Open Mouth\u003c\/span\u003e\u003c\/p\u003e"}
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アメリカ・ニューハンプシャーの実験音楽家Matt Kreftingが、2023年12月に同国実験レーベルOpen Mouthから200部限定でリリースしたレコードです。 Lo-Fiコンクレート〜ドローン6曲を収録。廃盤です。 ※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします 以下、実験音楽家Scott Foust による解説です。 "マットとは、彼がまだハンプシャー大学の学生だった00年代初期からの付き合いだ。私たちはすぐに大親友になり、それ以来ずっとそうだ。マットはIFCOのメンバー（現在はフルタイム）であり、その他にも多くのプロジェクトで一緒に仕事をしてきた。つまり、私は少し偏っているのかもしれない。(マットはもう10年以上もソロでテープミュージックをやっている。私の記憶では、最初はミキシング・デスクと安物のカセット・マシンの束を使ったライブだった。フィールドレコーディングやテープなどを使って音楽をやっている人はたくさんいるが、たいていの場合、その音楽は雑なあくび祭りのようなものだ。それはクレフト流ではない。Finer Pointsに収録されている6つの作品は、それぞれ限られた数の要素がゆっくりと回転している。各トラックのサウンドはバラバラだが、同じような手法で作られている。全体的な効果は、ジョセフ・コーネルの箱の中のボトルのようだ。マットのリリースは砂漠の花のように華やかに咲き誇り、やがて消えていく。ビル・ネイスにも乾杯。小さなレーベルを運営したことのある人なら誰でも言うだろう、『それは愚の骨頂だ』と。しかし、ビルのような愚か者がいなければ、世界は多くの素晴らしい音楽を失っていただろう。" レーベルその他作品はこちら /// Click here to see more...
¥4,288
クイックビュー
{"id":8145424220410,"title":"Bill Nace\/Emily Robb \/\/ Split LP","handle":"bill-nace-emily-robb-split-12","description":"\u003cp\u003eアメリカの実験ギタリストBill NaceとEmily Robbが、2023年12月にBill主宰レーベルOpen Mouthから300部限定でリリースしたスプリットレコードです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e元々は2022年に彼らが行ったUSツアー限定で販売していたカセット作品の再発です。廃盤です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1777478291\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 12\" black vinyl. Originally released as a split tour-only cassette for the Emily Robb\/Bill Nace tour. LP edition of 300. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBILL NACE 17:31\u003c\/li\u003e\n\u003cli\u003eEMILY ROBB 17:32\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eOpen Mouth:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Before hitting the road together in 2022 Bill Nace and Emily Robb recorded a tour split — a cassette, limited run of 50 — only to be found at their merch table. Now on vinyl, the split captures a moment bursting with verdient, crisp anticipation. Both artists were then on the heels of significant artistic leaps. Robb was wrapping up the promotional cycle of her first full-length solo record, 2021’s How To Moonwalk, and Nace had recently shifted his focus from prepared guitar to the taishogoto, a Japanese instrument rarely heard in the \u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003ewest.\u003cbr\u003e\u003cbr\u003eWhen Nace plays his taisho live, listeners generally\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003e\u003cem\u003e respond in a couple of different ways. Some become slightly hypnotized by the constant motion required to maintain the instrument’s frantic, electric flicker. Others, on the edge of their seats, whoop loudly, almost involuntarily, to release the mounting tension.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs a performer, Nace says the experience is a bit like being watched while jogging in place.Where the guitar easily allows space, this particular model of taishogoto has no sustain. “I have to keep playing it to keep making sound,” Nace says. “I have to get whipped up into this state.” This presents new limitations,and Nace expands to the edges. Here it shudders and sparks, spiking and scribbling like a EKG. It emanates white light, white heat.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRobb luminates in a balmier way, like sunshine through leaves. Her guitar arcs and billows. Fripp-y tones and textures establish a structure inside which it feels good to get lost. Robb describes her improvisational playing here as somewhat meditative. “There’s a constant running through it,” she says. It’s like “hearing a story of a person’s mind and emotions as they let music flow through.”\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Bill Nace\/Emily Robb\u003c\/p\u003e\n\u003cp\u003eLabel : Open Mouth\u003c\/p\u003e","published_at":"2024-01-18T18:10:26+09:00","created_at":"2024-01-18T17:20:42+09:00","vendor":"Tobira Records","type":"","tags":["drone","lp","noise","open mouth"],"price":439800,"price_min":439800,"price_max":439800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":45041137746170,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Bill Nace\/Emily Robb \/\/ Split LP","public_title":null,"options":["Default Title"],"price":439800,"weight":430,"compare_at_price":null,"inventory_management":"shopify","barcode":"","requires_selling_plan":false,"selling_plan_allocations":[]}],"images":["\/\/tobirarecords.com\/cdn\/shop\/files\/na1_80f82dee-bc3c-45df-90ec-e8abc079d0c7.jpg?v=1705566044","\/\/tobirarecords.com\/cdn\/shop\/files\/na2_4967ae4e-020f-49b0-938e-f4846bb9e81d.jpg?v=1705566044","\/\/tobirarecords.com\/cdn\/shop\/files\/na3_658f9312-44fa-4c94-af74-9535cd0c840e.jpg?v=1705566045"],"featured_image":"\/\/tobirarecords.com\/cdn\/shop\/files\/na1_80f82dee-bc3c-45df-90ec-e8abc079d0c7.jpg?v=1705566044","options":["Title"],"media":[{"alt":null,"id":33002373710074,"position":1,"preview_image":{"aspect_ratio":1.0,"height":700,"width":700,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/na1_80f82dee-bc3c-45df-90ec-e8abc079d0c7.jpg?v=1705566044"},"aspect_ratio":1.0,"height":700,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/na1_80f82dee-bc3c-45df-90ec-e8abc079d0c7.jpg?v=1705566044","width":700},{"alt":null,"id":33002373742842,"position":2,"preview_image":{"aspect_ratio":0.5,"height":1200,"width":600,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/na2_4967ae4e-020f-49b0-938e-f4846bb9e81d.jpg?v=1705566044"},"aspect_ratio":0.5,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/na2_4967ae4e-020f-49b0-938e-f4846bb9e81d.jpg?v=1705566044","width":600},{"alt":null,"id":33002373775610,"position":3,"preview_image":{"aspect_ratio":0.773,"height":1200,"width":927,"src":"\/\/tobirarecords.com\/cdn\/shop\/files\/na3_658f9312-44fa-4c94-af74-9535cd0c840e.jpg?v=1705566045"},"aspect_ratio":0.773,"height":1200,"media_type":"image","src":"\/\/tobirarecords.com\/cdn\/shop\/files\/na3_658f9312-44fa-4c94-af74-9535cd0c840e.jpg?v=1705566045","width":927}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003cp\u003eアメリカの実験ギタリストBill NaceとEmily Robbが、2023年12月にBill主宰レーベルOpen Mouthから300部限定でリリースしたスプリットレコードです。\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e元々は2022年に彼らが行ったUSツアー限定で販売していたカセット作品の再発です。廃盤です。\u003c\/p\u003e\n\u003cp\u003e※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします\u003c\/p\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1777478291\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=none\/transparent=true\/\" style=\"border: 0; width: 100%; height: 120px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eレーベルその他作品は\u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003eこちら\u003c\/a\u003e \/\/\/ Click \u003ca href=\"https:\/\/tobirarecords.com\/collections\/opmo\"\u003ehere\u003c\/a\u003e to see more Open Mouth releases available at Tobira. \u003c\/p\u003e\n\u003cp\u003e----------------------------\u003c\/p\u003e\n\u003cp\u003eAsk us for digital files. 12\" black vinyl. Originally released as a split tour-only cassette for the Emily Robb\/Bill Nace tour. LP edition of 300. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eBILL NACE 17:31\u003c\/li\u003e\n\u003cli\u003eEMILY ROBB 17:32\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003eOpen Mouth:\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"Before hitting the road together in 2022 Bill Nace and Emily Robb recorded a tour split — a cassette, limited run of 50 — only to be found at their merch table. Now on vinyl, the split captures a moment bursting with verdient, crisp anticipation. Both artists were then on the heels of significant artistic leaps. Robb was wrapping up the promotional cycle of her first full-length solo record, 2021’s How To Moonwalk, and Nace had recently shifted his focus from prepared guitar to the taishogoto, a Japanese instrument rarely heard in the \u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003ewest.\u003cbr\u003e\u003cbr\u003eWhen Nace plays his taisho live, listeners generally\u003c\/span\u003e\u003c\/em\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan id=\"package_description_0\" class=\"peekaboo-text\"\u003e\u003cem\u003e respond in a couple of different ways. Some become slightly hypnotized by the constant motion required to maintain the instrument’s frantic, electric flicker. Others, on the edge of their seats, whoop loudly, almost involuntarily, to release the mounting tension.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAs a performer, Nace says the experience is a bit like being watched while jogging in place.Where the guitar easily allows space, this particular model of taishogoto has no sustain. “I have to keep playing it to keep making sound,” Nace says. “I have to get whipped up into this state.” This presents new limitations,and Nace expands to the edges. Here it shudders and sparks, spiking and scribbling like a EKG. It emanates white light, white heat.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\u003cem\u003eRobb luminates in a balmier way, like sunshine through leaves. Her guitar arcs and billows. Fripp-y tones and textures establish a structure inside which it feels good to get lost. Robb describes her improvisational playing here as somewhat meditative. “There’s a constant running through it,” she says. It’s like “hearing a story of a person’s mind and emotions as they let music flow through.”\u003c\/em\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eArtist : Bill Nace\/Emily Robb\u003c\/p\u003e\n\u003cp\u003eLabel : Open Mouth\u003c\/p\u003e"}
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アメリカの実験ギタリストBill NaceとEmily Robbが、2023年12月にBill主宰レーベルOpen Mouthから300部限定でリリースしたスプリットレコードです。 元々は2022年に彼らが行ったUSツアー限定で販売していたカセット作品の再発です。廃盤です。 ※デジタル音源をご希望の方はお気軽にご連絡をお願いいたします レーベルその他作品はこちら /// Click here to see more Open Mouth releases available...
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