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Orcutt, Bill / Michael Morley: Electric Guitar Duets [VINYL] (Palilalia)

Reissuing on LP their 2016 limited cassette on the Land and Sea label of a performance by guitarists Michael Morley (Dead C) and Bill Orcutt (Harry Pussy, solo) at the L/S gallery in Oakland, Orcutt on a Fender Telecaster without effects and Morley on a modified 2006 Squire Telecaster made in Indonesia, in a conversation merging clear and crenulated playing.

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product information:

UPC: 843563127728

Label: Palilalia
Catalog ID: PAL 059LP
Squidco Product Code: 28723

Format: LP
Condition: New
Released: 2020
Country: USA
Packaging: LP
Recorded at LAND AND SEA, in Oakland, California, on july 5th, 2016, by Gabie Strong.


Bill Orcutt-guitar

Michael Morley-guitar

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Artist Biographies:

"Bill Orcutt (born February 2, 1962) is an American guitarist and composer whose work combines elements of blues, punk, and free improvisation. Inspired by seeing Muddy Waters in The Last Waltz, Orcutt began playing the guitar as a teenager in Miami. In 1992, he formed the band Harry Pussy with his wife, Cuban/American drummer and vocalist Adris Hoyos. The group recorded three LPs and toured the US frequently, often in support of indie bands like Sonic Youth and Sebadoh. Their music, which drew from American no wave, hardcore punk and free jazz was influential and "served as a progenitor for the Noise movement." In 1997 the band dissolved and the couple divorced. Orcutt moved to San Francisco and took a long hiatus from music, returning in 2009, with an LP of solo guitar entitled A New Way To Pay Old Debts which was well received, ranking 3rd of 2009 in the The Wire magazine's annual "Rewind" list. His follow-up release How The Thing Sings was similarly praised, reaching number 3 on NPR's The Best Outer Sound Albums Of 2011. Since 2009, Orcutt has toured often appearing at festivals in the US and Europe, including Hopscotch, Incubate, Le Nouveau Festival du Centre Pompidou, Hardly Strictly Bluegrass, Donau and Big Ears. Typically a solo performer, Orcutt has also recorded or performed with Loren Mazzacane Connors, Chris Corsano, Peter Brotzmann and Alan & Richard Bishop."

-Wikipedia (

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"Michael Morley is an experimental musician and visual artist from New Zealand.

Morley sings and plays guitar and laptop as a member of The Dead C, but also records on his own (and with collaborators) as Gate. Earlier, in the 1980s, Morley was a member of Wreck Small Speakers On Expensive Stereos.

Morley founded the Precious Metal label sometime in the late 1980s to document, first on cassette and later LP and CD, his own work as Gate. Most of the releases on Precious Metal were limited to very small quantities.

Morley currently teaches at Otago Polytechnic School of Art in Dunedin."

-Wiki2 (

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track listing:


1. Untitled


1. Untitled
descriptions, reviews, &c.

LP reissue of Land And Sea's limited 2016 tape documenting a performance by guitarists Michael Morley and Bill Orcutt at the L/S gallery in Oakland.

"As an episode typical of buddy comedies where a great idea sets in motion a catastrophically idiotic plan, Bill Orcutt and Michael Morley's attempted incognito infiltration of now-defunct women's public bath Osento, once located on Valencia Street in San Francisco, flips the sequence of events on its head. How unsuccessful our erstwhile Daphne and Josephine were in the above endeavor is directly related to the reliability of that beloved and versatile adhesive product known as duct tape. Roll your eyes and mutter "oh god" in whatever sequence seems most euphonious to you, just as Sgt. Anne Guthrie at the police station four blocks away did when they were hauled in, but be prepared to accept the explanation, as did she, that tequila and a game of Truth Or Dare gone awry were the real criminals. Once regrettable antics were permanently affixed to the rearview mirror, the pair chauffeured across the bay to Land And Sea, the cozy gallery on San Pablo Avenue in Oakland and sobered up on vegan cocktail wieners and gummie vitamins. You may doubt, you may scoff - have fun with it, champion, seriously - but on July 6, 2016, they rendered a landscape where miniature squalls grind in between seamlessly intersecting improv, and they did it sharp as the slap of a palmful of plum-colored hazelmyer elixir following a good, close shave.

The distinctive sound of the Fender Telecaster as played without effects by Orcutt ("one of music's premier abstractionists," according to Osmo Montesanto) remains unblunted throughout the album, an aggressively serrated presence within Mr. Morley's contrapuntal flanking. This freely improvised performance is imbued with discipline and deliberate restraint, the better to connect the players more to the sound than to the instruments. "The electric guitar forms a relationship with the amplifier," said Morley in an interview with Monster Fresh back in 2010, "As this defines many things unable to be conveyed with language."

The duo's number-one fan worldwide Cye Husain, pictured on the back cover, would surely attest that the singular structure-building of Orcutt and Morley defies and transcends most any "well, actually" bloviature that the usual bore-splainers will need to hurl into the troposhere. For instance, that a third guitar is clearly audible at certain parts in the mix - beautifully recorded by Gabie Strong, by the way - can be accounted for most sensibly by Aotearoan metaphysics. Mr. Morley's ax of choice was "Patu Tutae Opoko Nui, a 2006 Squire Telecaster made in Indonesia that I had modified over the years. It died and was ushered up to Valhöll in Gothenburg, Sweden in 2018." Readers opting to take a moment to refer to Morley's Instagram post dated 6 June 2018 and view the last rites of this extraordinary combination of wood and metal should do so now. He cried. You should expect to do the same. "The sound of a third guitar," explains Morley, "will no doubt be the ghosts of the Kaumatua Opoko Nui serenading us from the ether of the beyond." Certified and confirmed: the blockchain nodes of Afterlife 2.0 function as designed, allowing a dead guitar to accompany itself two years before its death. That's some long-white-cloud Ouija right there, superior to and more efficient than getting stopped at customs with a bunch of undeclared pedals in the pockets of your cargo shorts.

Electric Guitar Duets is that otherworldly modulation we all crave and rarely find, hovering halfway between a deeply satisfying lattice of blurred sky roars and the soundtrack from a Stefan Jarworzyn biopic scored by Sergio Leone left on the floor out of its sleeve. Morley and Orcutt hold everything sideways at least as well as the centrifugal force required for slow-motion footage of mannequins riding tiny motorcyles around the inside of a chrome replica of Lee Van Cleef's skull. For other examples of fluid-splattered shards glistening inside crimson murk pulsations, only murder rolling through cold, cold blood comes to mind as superior to this 44-minute live recording."-S. Glass

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