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"Imagine: It’s sometime in the back half of the 19th century, America. You’re sitting in the parlor of your mansion, or in the only room of your shack; things are dusty and smell like sweat and hair, no matter how wealthy you may be. You don’t own a phonograph, and you don’t know who Tony Hawk is, but you have an inkling of how good the word 'shred' is going to feel when it enters the local slang. Suddenly, a tall, elegant figure with beautifully maintained fingernails emerges from some corner of the room, carrying a guitar. He says in a soft voice, 'I have a transmission for you, from the coming few centuries. Would you like to hear it? I figured you wouldn’t have a dongle, so I brought my guitar.' You may be apprehensive, but you shouldn’t be. Shane happens to be an internationally renowned virtuoso of the guitar. Specifically, he’s the kind of virtuoso who is as deep on style as he is on technique. His technical prowess is almost maddeningly complete; aiming paradoxically for the yards-long target called “breadth” he’s somehow hit all of it, 500 arrows piercing every pore of the landscape. He has that much technique not for the sake of guitar worship but to best bring the music forth clearly and in his own hand, like a pearl formed in a specific sea. I know this because I’ve sat next to him in multiple countries and American states and seen him deliver transmissions...

LP $24.00

05/17/2024 843563174036 

PAL 081 


MP3 $9.90

05/17/2024 843563174036 

PAL 081 


FLAC $11.99

05/17/2024 843563174036 

PAL 081 


"As Bill Orcutt’s most mature and exhilarating LP to date, Music for Four Guitars was a slab of undeniable Apollonian beauty. Its approachability and obvious novelty landed it not only on the year- end lists of every key-pushing codger in the underground in 2022, but also on NPR in the form of the Bill Orcutt Guitar Quartet, an ensemble assembled to perform this music and featuring Wendy Eisenberg, Ava Mendoza, and Shane Parish in addition to Orcutt. But while their Tiny Desk Concert gave a whiff of the quartet’s easy intimacy, the sterile confines of the virtual recital medium still left a puzzle unsolved: how might these brutally mannered bricks of minimalist counterpoint sound on a stage in front of actual breathing bodies?" "This was the question foremost in my mind when I first saw the quartet in San Francisco a few months before this double live LP was recorded. I was already familiar with the prowess of Eisenberg and Mendoza, two of the most technically intimidating shredders to blast out of the noise/improv underground, and knew Parish as the mastermind behind the epic translation of Orcutt's quartet recordings into a fully notated score. I was ready to be 'blown away'—and I most assuredly was. The quartet navigated Orcutt's jaggedly spiraling right angles into the shining core of the compositions with joyous ease, faithful to the originals in nearly every way (though their tempos were slightly ramped up, Blakey style, to communicate their breathless rush). The renditions were flawless, stellar...

2XLP $31.00

03/22/2024 843563172933 

PAL 080 


MP3 $9.90

03/22/2024 843563172933 

PAL 080 


FLAC $11.99

03/22/2024 843563172933 

PAL 080 


Recorded in Miami 1989-1991 by Watt

Watt

Recorded in Miami 1989-1991
Palilalia

***"I was hanging out with Bill Orcutt at the 930 Club nearly 30 years ago, watching a famous post-rock band (who shall remain nameless, but whose moniker contained two-and-a-half times more articles and conjunctions than nouns) when he said: 'This band is like my band in college—all major 7th and 9th chords.' I relate this to emphasize that in the case of Bill Orcutt and Harry Pussy, the seemingly untutored ooze of 'Please Don't Come Back From the Moon' and 'Girl With Frog' had its genesis in something far more Apollonian than is usually understood. It's debatable whether or not Watt, the duo of Orcutt and drummer Tim Koffley featured on Recorded in Miami, is the above referenced grad-school band. Watt is not resplendent with jazz chords, but it's certainly more tutored, offering a mannered link between the contemporaneous Thunders-esque punk of Orcutt's Trash Monkeys and Harry Pussy's mayhem. The continuity with Harry Pussy is more than temporal. Recorded in Miami is Orcutt's first use of the four-string guitar, and Harry Pussy claimed the same amp and drum kit. The resemblance more or less ends there. To further put Recorded in Miami—made on Orcutt's Walkman, Rat Bastard's North Miami studio, and South Miami's Natural Sound (total bill $289)—into context, consider the fecundity of the underground music world as the '80s rolled into the '90s. It's hard to relate to those who missed it, but it was a time when post-hardcore hadn't quite given way to the bloat of grunge, when...

LP $26.50

12/08/2023 843563161654 

PAL 072 LP 


***Since exploding on the improvised music scene a couple of years ago Tennessee native Zoh Amba has found herself engaging with an ever-widening group of collaborators as she tours across the US and Europe. She's forged some enduring partnerships, working regularly with drummer Chris Corsano, bassist Thomas Morgan, and pianist Micah Thomas, among others, but one of the deep pleasures of improvised music is when a first-time meeting produces sparks. Indeed, that's certainly the case with The Flower School, which bottles some serious lightning. In March of 2023, Amba and Corsano had finished up a duo tour of the west coast with an explosive performance in San Francisco. The next day the duo entered the studio with guitarist Bill Orcutt—a trusted collaborator of the drummer stretching back a decade. It was the first time Orcutt and Amba had ever played together, but it sure doesn't seem that way. Although Amba has often recorded a bunch of tune-oriented albums for Tzadik, she's a free improviser at heart, and this trio arguably provides the most effective, elastic context for her playing yet. Yet what's most astonishing about The Flower School is how it elevates and transforms the playing of all three participants. It appears that there was more than enough trust in the room to allow each player to push-and-pull. Anyone who pays attention already knows that Orcutt and Corsano are mercurial figures, perpetually adapting, adjusting, and challenging one another. Inviting a third person to the party could threaten a slowly cultivated...

LP $26.50

07/28/2023 843563164198 

PAL 076 LP 


***"Few sounds in music are as instantly recognizable as the searching sting of guitarist Bill Orcutt and the cyclical propulsion of drummer Chris Corsano. At the same time, every single performance or recording I've heard by the duo has been markedly different, discovering new paths with a given set of tools. For more than a decade now they've been meeting up to instigate visceral sonic journeys without a map, engaging in elliptical dialogues with one another, but more often conjuring twinned excursions that occur with a kind of telepathic independence. They don't need to plan or discuss what will happen when they get together. They simply jump in and see where things go, pushing and pulling when necessary, yet more often letting each other roam freely with the knowledge that they've a rapport that can weather all storms. The performance captured on Play at Duke was taped at the von der Heyden Studio Theater in the Rubenstein Arts Center on the campus of Duke University. The set closed out a three-day festival celebrating the 21st anniversary of Three Lobed Records, and the music they made feels utterly galvanic, a fitting conclusion by turns triumphant and bloodied. The set clocks in at just under 26 minutes but there's nothing lacking, nothing slight. The best performances fuck with time, as this sublime encounter does. The duo was in an obvious flow straight out the gate, with Orcutt unleashing fat, fragmented arpeggios that morph from anthemic chords to flickering long tones—tense moments of...

LP $26.50

07/14/2023 843563162378 

PAL 075 LP 


***"It's been ten years since Bill Orcutt released A History of Every One, a compendium of hacksaw renditions of American standards on acoustic guitar—and since ten years is a blink of an eye, you are forgiven for not immediately realizing that we've gone an entire decade waiting for Jump On It, the next Orcutt solo acoustic record. As those of us of 'a certain age' will tell you (ad nauseam), a decade is a blink of an eye containing an infinity of experiential moments, and if this record is any gauge, the weight of those experiences have squashed Orcutt's rough edges, feathered his stop-motion timing into a languid lyrical flow, and snapped the shackles tethering his instant compositional skills to the imperative to deconstruct guitar history. In short, Jump On It is a collection of canonical, mature acoustic guitar soli to contrast against the fractured downtown conceits of previous acoustic releases. For those paying attention to the arc of Orcutt's electric records, which chart a course from Quine's choppiness to Thompson-ian/ Verlaine-ian flow, it should be no surprise that the ten-year gap between acoustic records should expose a similar underlying journey. But what's maybe more surprising is that Jump On It , with its living-room aesthetics and big reverb, packs a disarming intimacy absent from the formal starkness of Orcutt's earlier acoustic outings. Although you might sense the looming human in the audible breath whispering intermittently between chords (a physical flourish reminiscent of the late Jack Rose), such documentarian signposts...

LP $26.50

04/28/2023 843563161524 

PAL 073 LP 


You'll Never Play This Town Again by Harry Pussy

Harry Pussy

You'll Never Play This Town Again
Palilalia

***Limited double-LP version of the 2008 CD originally issued on Load, compiling the best live and studio recordings by the final iteration of this group.  "60 second bursts of chaotic rock 'n' roll that barbarize whole histories of freakout style, from free jazz through classic hardcore, boogie, blues, Black Flag, Germs, most explicitly through Beefheart, but all hyper-condensed into ultra-kranky riffs that Orcutt plays at hallucinatory speed, compressing Zoot Horn Rollo style avant confusion into lighting runs and metallic two note knock-outs. Hoyos's style is so primitive that it's wildly avantgarde, with an instinctive feel for time that confounds the most advanced improvisatory strategies with the most hysterical. And her vocals are post-Yoko in the truest sense, not directly informed by her but sharing the same spontaneous energy and a-musical appeal, sometimes breaking from songs completely to expand on barely articulated vocal rants and fever pitched bouts of screaming. The whole group existed in a zone that was constantly beyond technique. The arc of their career was perfect, the mission truly accomplished, and all that's left is this amazing series of recordings, a body of work that has had a disproportionate effect on the minds, if rarely the actual sound of the underground."—David Keenan , The Wire, December 2008

2XLP $38.45

04/21/2023 843563153567 

PAL 069 LP 


Music For Four Guitars by Orcutt, Bill

Orcutt, Bill

Music For Four Guitars
Palilalia

***"In a trajectory full of about-faces, Music for Four Guitars splices the formal innovations of Bill Orcutt's software-based music into the lobe-frying, blown-out Fender hyperdrive of his most frenetic workouts with Corsano or Hoyos. And while the guitar tone here is resolutely treble-kicked—or, as Orcutt puts it, 'a bridge pickup rather than a neck pickup record'—it still wades the same melodic streams as his previous LPs (yet, as Heraclitus taught us, that stream is utterly different the second time around). Although it's a true left-field listen, Music for Four Guitars is bizarrely meditative, a Bill Orcutt Buddha Machine, a glimpse of the world of icy beauty haunting the latitudes high above the Delta (down where the climate suits your clothes)..."—Tom Carter

LP $26.75

09/02/2022 843563153611 

PAL 068 LP 


***Brace Up! is the first ever studio release from the duo of CHRIS CORSANO (drums) and BILL ORCUTT (guitar). Recorded in Brussels at Les Ateliers Claus by CHRISTOPHE ALBERTIJN on March 19th and 20th, 2018. "Over the past six years or so, drummer Chris Corsano has proven to be one of Bill Orcutt's most reliably flexible collusionists. Regardless of whether Bill is cluster-busting electric guitar strings, weaseling around with cracked electronics, or playing relatively spacious free-rock, Corsano is able to provide the proper base for his aural sculpting. A lot of Orcutt's instrumental work has traditionally felt hermetic even though he's exploring caverns of explosive ecstasy. One often got the impression Bill was operating in the way John Travolta did in the classic 1976 ABC television drama, The Boy in the Plastic Bubble. Orcutt's actual interaction with collaborators emerged not from communication so much as pure observation. While he was fully cognizant of his musical surroundings, his reactions to it were walled off. This approach did not encourage sonic dialogue so much as parallel streams of discourse. These streams could interact with each other, but not in particularly standard ways. On Brace Up! , their first ever studio release, this precept has changed considerably. Whether it's a function of emotional familiarity or an intellectual choice I dunno, but there's a whole new kind of duo exchange going down on this record. Bill and Chris are clearly playing off each other's moves throughout the album. And it really raises the level...

LP $21.95

11/09/2018 843563106884 

PAL 053 LP