Secretly Distributon

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2018-07-20
Drahla: Twelve Divisions of the Day

Following their 2 sold out singles and the outstanding Third Article EP, Drahla is set to release their first new music since signing to Captured Tracks. The commanding new 7" single "Twelve Divisions of the Day" features a B-side remix that strikes with just as much fervor as the original while leaving a different bite mark.

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2018-07-20
Nathan Salsburg: Third

Third is the stunning third album by Nathan Salsburg, one of his generation's most gifted and idiosyncratic acoustic guitarists. It's been five years since his last solo record (Hard For To Win And Can't Be Won, 2013) - but not because he hasn't been playing guitar. In the intervening years he's backed up Joan Shelley on three releases and several hundred live dates; put out a collection of guitar duets with multi-instrumentalist James Elkington and teamed up with neighbor and fellow Louisvillian Bonnie "Prince" Billy on an EP. The original pieces on Third, his first strictly solo guitar record - no singing, no guests - all display a notable increase in confidence and ease, as Salsburg has quietly, persistently established a style marked by a depth and a complexity that are utterly his own.

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2018-07-20
Negative Scanner: Nose Picker

Chicago punk band Negative Scanner return to the fray with their second long-player, the cheekily titled Nose Picker. Once again recorded by the band themselves in their Chicago practice pace, Nose Picker opens with a question; "Is there anybody there?", which acts as both a legitimate query as well as a rallying cry. Despite the darkness on the surface, Nose Picker has an unmistakable air of whimsy, and a sense of humor, punctuated by the very literal album cover, and by the sound of a toilet flushing at the album's closing. The past two years have seen the band step out of the Midwest DIY spaces and basement shows and tour the USA and Europe, support UK band Sleaford Mods on select dates in the UK and the USA and standing toe-to-toe with the underground's finest acts, including Sheer Mag, Protomartyr and more.

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2018-07-20
Optiganally Yours: O.Y. In Hi-Fi

The Optigan was a chord organ made by Mattel in the early 1970s that played back lo-fi sound loops on flexible LP sized discs, each disc containing optically encoded rhythm section grooves in a particular style of music (i.e. country, bossanova), along with drum loops and keyboard tones. Think of it as the 1970's version of GarageBand, where amateur artists could put together their own songs using loops of recordings by professional musicians. Optiganally Yours started in the mid 1990's when Pea Hix became obsessed with the magnificent Optigan. When Pea had the idea to start a band around these haunting sounds, his roommate Rob Crow chimed in and said "I'll be the singer, and the band will be called Optiganally Yours." After releasing two albums 1997's Spotlight On Optiganally Yours followed by Exclusively Talentmaker in 2000 Pea rescued the Optigan's original studio master tapes from a SoCal garage, and set out to assemble basic tracks from the thousands of loops and samples the tapes contained. Thus work began on a third album, O.Y. in HiFi. "Several of these sessions never became discs, so Pea chopped them up, as you would with a real Optigan," says Crow. "And we wrote all these new songs using these materials, in addition to my guitar and voice of course. I think it's the best record I've ever done."

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2018-07-20
The Essex Green: The Long Goodbye (reissue)

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2018-07-20
The Essex Green: Cannibal Sea (reissue)

"We're not breaking any records yet" is the opening line from "This Isn't Farmlife," the first track from The Essex Green's fourth outing, Cannibal Sea. Perhaps they were feeling like they had nothing to lose with this album, so why not raise the flag with a shrug? Ironically, they came out firing on all cylinders with renewed focus and musical precision. While previous releases tended towards the Brian Wilson approach of utilizing the full studio and all the attendant aural tricks, on Cannibal Sea, the band sounds like a cohesive live unit. And the "hits" are numerous: "This Isn’t Farmlife" wears a mod stomp skinny tie; raise-the-voice and make-joyful-noise abound on the harmonic "Don’t Know Why (You Stay)"; pop supreme "Penny & Jack" summons the Rickenbacker guitar army era of classic IRS records; hints of Stereolab circulate on the starry-eyed “Cardinal Points”; and the spirit of Lee Hazlewood is alive and well on "Rabbit." Through it all, The Essex Green stay rooted in honor of all those cool Nuggets compilations, with nods to early Soft Machine, Arthur Lee, The Left Banke, The New Pornographers, and all the dusty $1 record finds in some desolate resale shop just off a two-lane blacktop on Route 66.

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2018-07-13
Alexander Heir: WARRR2K∞//WORK 2014-17

The work of Brooklyn artist and musician Alexander Heir has become one of the defining aesthetics in the contemporary underground music scene, having been prominently involved in designing, printing and producing for countless NYC and international punk and metal artists for over 10 years. Similarly, his clothing brand Death/Traitors has become a counter culture staple, reaching beyond the hardcore punk community, while still embracing its values. In addition to fronting industrial punk band L.O.T.I.O.N. Heir has exhibited around the world, including a solo show at Boo Hooray in New York City in support of his first book, Death Is Not the End. WARRR2K∞//WORK 2015-17 showcases all of Alexander Heir's visual work created since the release of his last book, Death Is Not the End, in addition to a new full-color series exclusive to this volume. Expanding upon war, police brutality, political corruption, and death as his canon of punk subject matter, his latest work brings sci-fi and psychedelia influences into the fold, blending them with his impeccable design aesthetic and signature sense of twisted playfulness. The result shows Heir making his most sophisticated, detailed and demented work to date.

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2018-07-13
Beak>: Beak>

To celebrate the addition of Bristol's preeminent out-rock trio, Beak>, to the Temporary Residence family, we are reissuing their eponymous debut album on audiophile-quality double vinyl. Remastered for vinyl by Josh Bonati, and packaged in a heavyweight old-style tip-on gatefold jacket, Beak> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Formed in 2009 after jamming together at an INVADA Records New Year's Eve party, the members of Beak> (Geoff Barrow, William Fuller, and Matt Williams) agreed to meet again in the studio to see what happened. The three met at the studio and prepared a very simple recording set up (8 mics). Very little was said between them before the engineer pushed RECORD, and the band began playing. That very first recording became "Blackwell", the first song on their eponymous debut album. Beak>'s debut album was originally released in November of 2009. The music was recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session in Bristol, England.

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2018-07-13
Beak>: >>

To celebrate the addition of Bristol's preeminent out-rock trio, Beak>, to the Temporary Residence family, we are reissuing their acclaimed second album, >>, on audiophile-quality double vinyl. Remastered for vinyl by Josh Bonati, and packaged in a heavyweight foil-stamped jacket, >> includes the original album in its entirety, as well as vinyl-only bonus tracks not available on the CD or Digital formats. Who would have thought after that historic day in 2009 when Beak> played their first notes together in the studio that it would lead them to touring the globe, appearing as one of the first live bands to ever perform on Boiler Room, performing countless times at ATP, and actually selling actual records to actual people…(yes, that actually happened). Naturally, when it came time to record a new album, spirits were extremely high, chests were pumped, and expectations were great. The recordings went incredibly well, CD's were burned, and everyone left the studio full of optimism... A few days later, the band reconvened to listen to the tracks, and it was almost immediately obvious to everyone involved that these tracks were utter shite. Yes…gone were the subtleties and distant echoes of old, only to be replaced by what can best be described as "Progressive Wank Rock" for men in leather trench coats. It was truly awful…and they knew it. Touring had made them utterly crap. After many tears and a good amount of soul searching, the band returned to the studio. Initially scared to play another note, together they slowly but surely began to play…and the engineer pushed RECORD…and that became >>.

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2018-07-13
Carl Stone: Electronic Music from the Eighties and Nineties

Following the widely acclaimed 3LP collection, Electronic Music from the Seventies and Eighties, Unseen Worlds has compiled a second, 2LP collection of favorite and unreleased Carl Stone works. Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone's slow-evolving, time-bending composition. While we can't always identify the source, we can hear that his sounds come from somewhere, and that there is a "correct" or "complete" version of them in theory; and so we can hear when they are being changed. What drives Stone's music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of "Mae Yao"'s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of "Sonali," or the slow, ambient evolution of "Banteay Srey". "Woo Lae Oak," issued in a single side edit for the first time, is an exception. Its samples - a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone locates the inherent emotional properties of the sounds and takes them into unexpected expressive territory.

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2018-07-13
Chastity: Death Lust

Chastity is a world of its own from the mind of Brandon Williams. Reflecting the working class background of Whitby, Ontario, Chastity's songs are charged with the ethos of archetypal youth on the fringe. A project more aptly characterized by its intentions than specific sound or medium, Chastity stands to confront the struggles of those existing in the unseen, often silenced periphery. It is an artifact of youth culture constantly working to form community, bridging isolation with collectivity.

Visuals play a meaningful role in this world with Williams using his penchant for crafting consistently sharp, challenging imagery to personalize the narratives running throughout all of Chastity's work - most discernibly, a call for the disruption of harmful status quo.

Releasing Friday the 13th of July, 2018, Death Lust follows the plot of suffering to survival. The album begins on a tortured note with 'Come' and builds toward the plummeting finale of 'Chains', evolving from start to finish in a crescendo of severity. Chastity explains, "Death Lust is about growing up death obsessed. It's about the pain that it takes but the capacity that we have to overcome."

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2018-07-13
Lotic: POWER

Power is the debut album from Lotic, an expansive exploration of the many ways in which power can be expressed and experienced. Those familiar with Lotic's two 2015 EPs - Heterocetera (Tri Angle) and Agitations (Janus) - will trace a warm-blooded evolution: Power retains the Berlin musician's inquisitive intensity, while mining the depths of nuance like never before. Across its 11 songs, Lotic stretches their wings into unexpected new spaces, both compositionally, and, for the first time, vocally.

"Hunted," quoted above, returns the colonial gaze with an arched eyebrow and a hushed chant in one of the more pop-leaning moments on the album. "Distribution of Care" pulls Lotic's rigorous club aesthetic into a symphonic context, pairing strings and drums in a wordless questioning of society’s priorities. The playful "Nerve" serves up an icey hip-hop beat over which they invoke their H-Town roots while issuing a warning. And, of course, there couldn't be a sonic exposition of power without its most generous manifestation: "Heart" is a love ballad that finds Lotic and NON Records's Moro, the album's sole guest, trading vulnerable verses.

"It originally started as an empowerment album," says Lotic. "I felt that I needed to offer something outside of myself, as sort of a healing moment. And then I lost my apartment. Mentally, I could only work on music once every three months or something. The question of what would be empowering - the answer to that changed so often over a two-year period. I had to figure out who I was all over again. With this record, I went back and incorporated all of my musical selves."

Lotic was born in Houston, and studied electronic music composition and saxophone at university. They moved to Berlin in 2012, where they helped form the Janus club collective. In 2015, they were commissioned to create two remixes for Björk's Vulnicura, and subsequently were invited to be the opening act at her live show in Berlin.

Power is grounded by Lotic's love of Texan marching bands - "Beats and drumming are so integral to black culture," they explain - and was in part inspired by Ta-Nehisi Coates's Between The World And Me. Per a recent announcement, Lotic's pronouns are they/them.

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2018-07-13
The Ophelias: Almost

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2018-07-13
Ursula K. Le Guin & Todd Barton: Music and Poetry of The Kesh

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples (the Kesh) from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin's Always Coming Home.

The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet, and with early editions, a cassette of "field recordings" and indigenous song. Le Guin wanted to hear the people she'd imagined; she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition. For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this vinyl edition, where only traces of the book linger (the jacket offers some of Le Guin's illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport-offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.

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2018-06-29
Angelo De Augustine: Carcassonne

"Carcassonne," the A side of a new limited edition 7 inch, is a song by Angelo De Augustine about falling in love for the first time. On side B is "Effervescent Islands." The Carcassonne 7” was written and self-produced at home at the tail end of summer, soon after De Augustine released his second LP, Swim Inside the Moon, and played to his biggest audience to date supporting Sufjan Stevens at LA's Hollywood Forever Cemetery (his tour with Moses Sumney was then about to start). "Carcassonne" is one of De Augustine's most romantic tracks that starts by asking a simple question: "Would you be the only one / In my life with my love?" and ends with the tender epiphany: "There ain't much time in life before the lights go down / So I want to know you now," reminding us to love while we can. Side B's piano ballad "Effervescent Islands" is more mysterious, with references to infinity, hypnosis, "something supernatural," and "ephemeral light," but it’s still about love: “Anything to touch the silence one more time / Anything to feel the love we all shall find.” The sky-blue seven-inch, limited to 500, is available through his record label, Asthmatic Kitty Records, or at local record stores.

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2018-06-29
Crooked Fingers: Red Devil Dawn (Reissue)

Red Devil Dawn was the third Crooked Fingers album inside of four years, and in hindsight-at 15 years old, it's a god damn teenager now-it feels like both the pinnacle and the end of Crooked Fingers Phase One. Bachmann had perfected the art of darkness, of finding his characters and stories in solitude and then adding or subtracting sounds and players to make them come alive. But the album-being issued on vinyl for the first time ever, and with some killer bonus demos digitally-also nudges open the door to where Bachmann would take Crooked Fingers next. "Sweet Marie" adds jaunty horns to a withering-but-somehow-sweet story about infidelity, and also manages to include the line "I swear I’m gonna set that pussy bastard straight." And elsewhere, there's more hope in the darkness than ever, though it can be hard to recognize at first. But at the end of "Disappear," he sums up both Crooked Fingers' past and its future: "There’s beauty in an ugly thing, redemption in demise." That’s Red Devil Dawn writ small and simple: It finds the specks of light in the darkest rooms, and spins the whole picture into a gorgeous whole.

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2018-06-29
En Attendant Ana: Lost and Found

Parisian quintet En Attendant Ana has been nonchalantly crafting perfect pop songs since 2014. Their debut 12-inch "Songs From The Cave" was released in late 2017, garnering rave reviews for their refreshing blend of nouveau French pop, C86 indie, and foggy Flying Nun influenced jangle.

"Lost and Found" begins with the ominous clanging of guitars, before launching into a churning whirl of sound; guitars slash, keyboards drone, trumpets wail, and drums crash. What follows are nine more songs of urgent and thrilling pop dazzle.; from the adrenaline-soaked anthem "This Could Be", to the driving "Ré" with it's rapturous "oohs" and Camille Fréchou's uplifting trumpet fanfare, echoing Entwistle's French horn lines from "Sell Out"-era Who. Vocalist/multi-instrumentalist Margaux Bouchaudon's a yearning, tuneful register can't help but recall the indie cool of Laetitia Sadier or Nico, but still boasts a style of her own. The clarity and timelessness of the band's songwriting proves them to be a band filled with craft and promise.

"Lost and Found" is released on CD, black vinyl LP (a limited "sunset orange" version is available for direct accounts while supplies last), and via all Digital retailers.

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2018-06-29
Happy Rhodes: Ectotrophia

The first authoritative compilation of American dream pop artist Happy Rhodes, whose singular songwriting and four-octave vocal range emanated from the pastoral confines of upstate New York in the 1980s. Her melding of classical music influences with synthesizer and acoustic guitar, and her enchanting and idiosyncratic singing, are favorably compared to heralded English chanteuse Kate Bush. Fans of such artistic pop music would be remiss to overlook Rhodes's similarly remarkable and otherworldly sonic transmissions, traversing tales of dreamers, outsiders, lovers and other lovely and terrifying creatures born of a wellspring of wild creativity and bold imagination. Affectionately remastered from the original tapes, Ectotrophia gathers essential songs from Rhodes's mid-'80s salad days, many written when she was just a teenager-wildly ahead of her time and unafraid to bare her soul to regional audiences, the ectophiles who’d eventually coin an entire subgenre of pop music in her honor. Dive deep into ecto, with the woman who started it all.

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2018-06-29
Kody Nielson: Birthday Suite

Forever twisting genre, technique and persona, Kody Nielson is one of New Zealand’s most vital musicians. From explosive art punk pioneers The Mint Chicks, neopsych project Opossom, Silicon and his collaboration on brother Ruban’s Unknown Mortal Orchestra all highlight his output is as prolific as it is eclectic Birthday Suite is an energetic, elaborate set of arrangements that sees a heady mix of baroque flourishes, afrobeat, 70’s disco, jazz and offbeat psychedelic rock combined with immaculate craftsmanship to compose the ultimate celebration of being born and getting older.

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2018-06-29
Step By Step: Time After Time b/w She's Gone

Soaring falsetto lead from 13-year-old Johnnie Gee, who, alongside brothers Jerome and Dewitt and a handful of kids from their Milwaukee stomping grounds, formed Step By Step in 1969. Gee and company's 1972 sweet soul double sider for Jim Kirchstein's regional powerhouse Cuca Records is among the rarest singles produced by the Sauk City outfit over its 13 year run, barely making it outside of Wisconsin before appearing on 2007's Home Schooled: The ABCs of Kid Soul album. Step By Step's "Time After Time" has since become a highly sought after single on the low rider circuit, and was prominently featured in season two of Aziz Ansari's breakout Netflix series Master of None. Both sides have been remastered from the original analog Cuca masters, with two additional songs tacked onto the digital version.

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2018-06-29
The Blank Tapes: Candy

THE BLANK TAPES is the moniker of Los Angeles based multi-instrumentalist, Matt Adams, who has produced over a dozen albums of 1960's inspired folk-rock-surf-psych-soul-pop on Volcom, Burger Records, Antenna Farm, and many others. Their new album "Candy" was produced by Eric D Johnson (of The Fruit Bats) at his home studio in Portland, OR featuring bandmates Will Halsey of "Sugar Candy Mountain" & Veronica Bianqui as well as EDJ himself. The Blank Tapes have toured throughout America, Canada, Brazil, UK, Europe, & Japan. Matt is also the visual artist behind his band’s (and a slew of others) posters & album covers.

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2018-06-22
Kate NV: для FOR

Over the ten, symmetrical pieces of ’ля FOR, Kate NV scores her native Moscow environment with just enough whimsy to gurgle through the cracks and grow psychotropic foliage. Each sound assumes its own personality, moving through the album metropolis like miniature, malleable mutants viewed from NV's apartment window. Kate NV is a versatile artist that maneuvers instinctively in whatever musical environs she finds herself. NV's second solo album is an even more abstract endeavor than the hybrid pop of 2016's Binasu (Orange Milk Records). Inspired by casual moments of ephemeral sound from within and beyond her apartment walls, the record has a clarity arrived altogether and from right under her nose, as if the music was not written by herself, but her chair. ’ля FOR inhabits a stage that Piero Milesi & Daniel Bacalov, Ann Southam, or Hiroshi Yoshimura may have written music for and dresses it with Viktor Pivovarov's psychedelic depictions of Moscow - contorting bodies and flying pencils dance with subtle arpeggiations and anthropomorphic MIDI. Each piece is an alien arrangement of common elements that extend the everyday ritual into an eternal landscape of unconscious activity. Somewhere along that landscape, Kate awaits with apples for hands and fish for feet.

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2018-06-22
Stella Donnelly: Thrush Metal EP

Stella Donnelly is a young songwriter with a knack for wrapping unapologetic, brutally honest lyrics with a soaring lullaby to mesmeric effect. With just one EP release to boot, last year's lauded Thrush Metal, she has already garnered worldwide critical acclaim and has an undeniably bright future ahead.

Full of sharp lyrical punchlines, Stella's standout songwriting on Thrush Metal is an empowering and relatable guidebook to life as a young woman in our age of Trump, Tinder and Third-Wave feminism. First single, "Boys Will Be Boys" has been described by New York Times as "A delicate waltz [that] carries a bitter reproach to blaming the victims of sexual assault. 'Why was she all alone/Wearing her shirt that low? she sings, and then her voice rises and roughens." Written in late 2016, the track tackles society's tendency to blame the victims of sexual assault and rape and making excuses for the perpetrators.

Yet this insightful account isn’t limited to "Boys Will Be Boys". Take new bonus track, "Talking", which explores the ever-so-common feeling that you're in a one-sided relationship from a distinctly millennial perspective and new single, "Mechanical Bull", a pithy but potent track that addresses the male tendency to persist unwanted sexual advances.

Secretly Canadian is proud to release Thrush Metal on vinyl for the first time on June 22, 2018. The first pressing will be limited white color vinyl and includes new bonus track "Talking".

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2018-06-22
Video Age: Pop Therapy

On Video Age's new album Pop Therapy, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group's buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy.

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2018-06-15
Alanis Obomsawin: Bush Lady

Bush Lady is the only recording ever made by Alanis Obomsawin, a member of the Abenaki First Nations and best known as one of Canada's most accomplished and decorated documentary filmmakers. Less well known is that Obomsawin began her artistic career as a singer-songwriter in the 1960s, part of a broad movement of Indigenous artists from across North America rallying in new assertions of cultural consciousness, political rights, and reckonings with oppressive colonial history. She was invited by Folkways to perform at Town Hall in New York City in the early 1960s and spent that decade primarily identifying as a singer, channeling traditional songs hand-in-hand with modern composition. Twenty years later, amidst her burgeoning film career, Bush Lady was born of sessions sponsored by CBC Radio in 1984. Unsatisfied with these recordings, Obomsawin reclaimed the master tapes, remade the album, and issued it on her own private press in 1988. This unique, profound, magical record has been out of print and gaining cult status ever since. Constellation is honoured to be working with this legendary Canadian cultural icon to issue a newly remastered version of Bush Lady on audiophile 180gram vinyl - and for the first time on CD.