BILL NACE is an artist and musician based in Western Massachusetts. He has collaborated with an extraordinary range of musicians, including Michael Morley, Mats Gustafsson, Joe McPhee, Chris Corsano, Jooklo Duo, Chris Cooper, Samara Lubelski, Thurston Moore, Jake Meginsky, Jessica Rylan, Paul Flaherty, Wally Shoup, and Kim Gordon, with whom he regularly plays as one half of the duo Body/Head. Their critically acclaimed LP “The Switch” was released on Matador last year. He has been a featured musician in festivals such as ATP (curated by Jim Jarmusch and held in Monticello, NY), Colour Out of Space (Brighton, UK), Supersonic Festival (Birmingham, UK), International Festival Musique Actuelle (Victoriaville, QC), and Homegrown (Boston, MA). Nace’s range of guitar playing has been described as “veering from sculptural, almost Remko-Scha-esque chime to Loren Connors-style elegance in only a few short moves.” Recordings found on Ecstatic Peace (Northampton, MA), Ultra Eczema (Belgium), Holidays (Italy), 8mm (Italy), Throne Heap (VA), HP Cycle (Toronto, ON), as well as on Nace’s own label Open Mouth.
JAMES TWIG HARPER really pulls out real time-and-space bending tracks. Harper, perhaps best known for his collaborations with Nate Young in Nautical Almanac and alongside Daniel Higgs for Thrill Jockey, holds some genuine weirdness within. He has a distinctly unique fidelity and gyroscopic dynamic that makes for a deliciously disorienting experience all of his own conception. There’s an animalistic or perhaps even plant-like bio-logic to its devolved, dubbed-out arcana, a grunting, scraping, grubbing ecological complexity of sounds that grows, twists and bifurcates at seemingly haphazard junctions to catalyse chain reactions of constant change and multiple layers of surreality. Sometimes Harper’s music can enters passages which sound almost like a primitive take on Florian Hecker’s plonging, rubbery computer music or Rashad Becker’s perplexing notional folk music. Check out his releases on Open Mouth, Planam, Thrill Jockey and Heresee for the full tangle.
GLANDS OF EXTERNAL SECRETION began when Seymour Glass, inspired by J.D. Salinger’s short story “A Perfect Day for Bananafish”, starts publishing the legendary Bananafish Zine in 1987, which for eighteen issues and up until 2004, constitutes a huge and ambitious attempt of presenting underground culture in its every form. Completely unknown experimental branchings, with a preference for the lo-fi, collage aesthetics, Glass’s paranoid and absurd manner of writing and the whole structuring of the noise scene, with San Francisco as a starting point and every “tweaked” corner of the globe as a destination, found their home in Bananafish and their main representative in Seymour Glass. Glands of External Secretion began as Glass wanted to testify further via weird monuments of experimental and far-out studio improv, using a surreal collage of songs, sounds, Barbara Manning’s vocals, voice samples, loops, out-of-context rhythms, field recordings, electronics, cut-up manipulated noises and anything else which is not considered music. The result is a twisted riot of sound bordering on audacity which the term “extremely psychedelic” fails to completely encapsulate.