Secretly Distributon

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Artist
Label
Release Date
2018-08-17
WHY?: Alopecia (10 Year Anniversary Edition)

"I'll go unknown by torpedo or Crohn's / Only those evil live to see their own likeness in stone." It's the kind of couplet you'd carve into a wall whilst savoring the irony at hand, but when Yoni Wolf spit the line ten years ago he was blissfully, broodily unaware that he and his band WHY? were creating a career defining album -- one so fan adored that it would go out of print, and so influential that the artpop heroine Lorde herself would lovingly steal the very lyric quoted above. When it dropped in 2008, Alopecia not only marked WHY?'s evolution from a sonically collaged mostly solo project to a live recorded powerhouse band of badass multi-instrumentalists. It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heartrending songrap that jangles like folk, bursts like psychrock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. The album's 2018 reissue cheekily etches that aural likeness into our musical history.

Title
Artist
Label
Release Date
2018-08-17
WHY?: Alopecia (10 Year Anniversary Edition)

"I'll go unknown by torpedo or Crohn's / Only those evil live to see their own likeness in stone." It's the kind of couplet you'd carve into a wall whilst savoring the irony at hand, but when Yoni Wolf spit the line ten years ago he was blissfully, broodily unaware that he and his band WHY? were creating a career defining album -- one so fan adored that it would go out of print, and so influential that the artpop heroine Lorde herself would lovingly steal the very lyric quoted above. When it dropped in 2008, Alopecia not only marked WHY?'s evolution from a sonically collaged mostly solo project to a live recorded powerhouse band of badass multi-instrumentalists. It also minted a genre of one: wryly written, poignantly posed, simultaneously swaggering and heartrending songrap that jangles like folk, bursts like psychrock, and sways like chamber pop. To this day, there is no other group in the known universe that sounds or feels like WHY? does on Alopecia. The album's 2018 reissue cheekily etches that aural likeness into our musical history.

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Artist
Label
Release Date
2017-03-03
WHY?: Moh Lhean

The final words sung on the sixth album by WHY? are an apt place to begin: "Hold on, what's going on?" Because while there's much familiar about the oddly named Moh Lhean - mastermind Yoni Wolf's sour-sweet croon, his deadpan poet's drawl and ear for stunningly fluid psych-pop-folk-whatever arrangement - a great deal has changed in the four years that've passed since 2012's Mumps, Etc., an LP that honed the band's orchestral precision and self-deprecating swagger to a fine point. It's significant that this is the first fully home-recorded WHY? album since the project's 2003 debut. Made mostly in Wolf's studio and co-produced by his brother Josiah, the result is obsessive, of course, but also intimate, and flush with warmth and looseness. But the biggest transformation is a bit subtler. After years of eying his world, in part, with a cynical squint, Wolf here learns a new mode. While Moh Lhean never stoops to outright optimism, it chronicles our hero finding peace in the unknowing, trading the wry smirk for a holy shrug, and looking past corporeal pain for something more cosmic and, rest assured, equally weird.

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Release Date
2013-09-17
WHY?: Golden Tickets

Announcing...Golden Tickets - the latest EP from WHY? The Wolf brothers' pop-inflected psychedelic folk-hop was nominally referred to as hip-hop at the beginning of their career. At this point— certainly on Golden Tickets— the project has outgrown any easy genre-categorization. With the musical eclecticism, pop-twist, and experimental bent of artists like the Flaming Lips or Beck. WHY? shimmers on this album in vibraphone stippled, sweetly riffed songs with characteristically gut-wrenching subtext.

Why Should The Devil Have All The Good Music?: Why Should The Devil Have All The Good Music?

Guided by fans, musicians, observers and critics from within the Christian music scene as well as the “secular” world, Why Should the Devil Have All the Good Music? tackles the artistic, religious and cultural implications of the burgeoning independent Christian rock movement. Maintaining an impartial eye, first-time directors Vickie Hunter and Heather Whinna have created a “thoughtful picture of a community that’s often been cynically mocked in the mainstream media.” (Bob Mehr, Chicago Reader)