Nance, David

Nance, David

Pulverized & Slightly Peaced

Petty Bunco

A collection of raw, ragged, home-recorded originals from the down-home prolific mind of Omaha’s top talent David Nance. Originally slated for a 2017 release on Richie Records, the tunes were shelved in favor of some comparatively slicker recordings with Nance’s fleshed out band for what would become the Peaced & Slightly Pulverized on the Trouble in Mind label. Only a fool would find fault with that album. Nevertheless, this one (with a confusingly similar title to that other release) is a ripping, screaming, blown-out affair that comes out the gates salty and hungry for blood on “Ham Sandwich” and it never seems to lose its appetite. Conceived and recorded within a single work week, with our blue-collar Nance setting up all the microphones, playing all the instruments, and riding all the faders, Pulverized & Slightly Peaced contains all the elements that we at Petty Bunco admire in music: the tried and true Rn’R instruments lovingly misused to create a vital ragged sound dripping with personality and verve. And along with it all: Nance’s unmistakable soulful howl. To wit: the sidelong “Amethyst”, should go down as this era’s Broken Arrow, a tune with twists and turns and a cathartic climax that’ll inspire air-guitar heroics and repeated needle drops over and over and over again.

Nance, David

Negative Boogie

Ba Da Bing!

David Nance, Omaha veteran of warble and hiss, returns with Negative Boogie, his new concoction of chug, throb and greasy swagger. On this album, Nance trades in his beaten up Tascam 488 for the bullet-proof, glass walls of A.R.C. Studios. What exactly is the negative boogie? Well, it’s a bit like Canned Heat but with Pere Ubu’s queasy rhythms and someone playing five finger fillet with Swell Maps. Ensconced in his ivory tower and soundproof rooms, Nance reached for unlikely weapons to tear down his own lofty experiment. He had his pick of rare guitars, cowbells, steel drums, vintage amps, Crazy Horse microphones, mellotron, and the restless but indefatigable rhythm section of Kevin Donahue and Tom May. They started at sunrise and recorded fifteen songs by midnight. Maybe it’s his Midwestern work ethic, maybe he’s a sonic cheapskate. Maybe it’s just the sound of negative boogie. These songs stab and flow into one other like a perfectly orchestrated classic. They are drenched with Nance’s most biting and comic lyrics to date, peaking on “D.L.A.T.U.M.F. Blues (Don’t Look At This Ugly Mother Fucker Blues)”. And ripping through the entire thing is the cracked power he yanks out of the guitar, a veritable The Good, The Bad And The Ugly of riffage. This is a departure for Nance. It’s bigger and grander but it’s far from easy music. It’s his Plastic Ono Band, his For Your Pleasure, his fever dream of Rocket from the Tombs. But this of course is only a...

Nance, David

More Than Enough

Ba Da Bing!

David Nance lives in a world where rock has been influenced as much by This Kind of Punishment and The Pin Group as by The Velvet Underground and The Rolling Stones. Omaha’s best-kept secret, up to now known primarily to DIY tape collectors and record club subscribers, Nance welcomes all with More Than Enough, his first full-band full-length, which follows the stellar but criminally under-heard 2013 Actor’s Diary LP on Grapefruit Records, as well as a string of limited-edition, over-modulatingly intense and emotionally destructive cassette releases. Recorded in Los Angeles, scrapped, then re-recorded after a move back to his Omaha hometown with his wife, More Than Enough sounds like the very last record to have undergone any process longer than a few hours of recording. It’s that immediate and on fire. The recipe: (a) get a shit-hot group of musicians; (b) cut songs down to their most “on” moments, or alternately let them ride a groove into the sun; (c) capture it all on actual tape. That’s the Nance approach, and it’s as much an ode to home-recorded brilliance as it is to whoop-ass inspiring rock. Nance will be touring this summer with Itasca, and later on with Simon Joyner and The Renderers. Blare on.