Secretly Distributon

Title
Artist
Label
Release Date
2019-06-14
Shellac: The End of Radio

1994 PEEL SESSIONS

TRACK LISTING: Spoke / Canada / Crow / Disgrace TRANSMISSION: JOHN PEEL SHOW, 22 JULY 1994, PROGRAMME NUMBER: 00YJ7271 RECORDING: RADIO ONE SESSION, 14 JULY 1994, BBC MAIDA VALE STUDIO 3

2004 PEEL SESSIONS

TRACK LISTING: Ghosts / The End of Radio / Canada / Paco / Steady As She Goes / Billiard Player Song / Dog And Pony Show / Il Porno Star TRANSMISSION: JOHN PEEL SHOW, 2 DECEMBER 2004, REFERENCE: XLN448/00JY3660 RECORDING: LIVE FROM MAIDA VALE SESSION, 1 DECEMBER 2004, BBC MAIDA VALE STUDIO

Title
Artist
Label
Release Date
2019-06-07
Eluvium: Pianoworks

Pianoworks is Eluvium's first solo piano album since his sophomore album, An Accidental Memory In The Case Of Death (2004). Inspired by the quiet thoughts and solitary observations of children - and the evolution/dissolution of that ephemeral, uncorrupted wander of simple joy - Pianoworks begins with a song about children's piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record's dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience. As any minimalist painter, poet, or architect can attest, it is oftentimes the profoundly simple art that proves to be the most time-consuming and torturous to produce. Pianoworks exemplifies this dichotomy, having been recorded, re-recorded, and re-re-recorded in the span of nearly a decade. Cooper exhausted every attempt to achieve a very specific, peculiar sound that is out of time - a sound not entirely lost in an attic, but also one not easily found in a playlist. The process to achieve this elusive sound was painstaking, but it has yielded a rare kind of music that is as uncomplicated as it is uncompromised.

Holy Hive: “Oh I Miss Her So” b/w “If I Could See Her Now”

Holy Hive, the group that coined the genre Folk/Soul, comes out swinging with this monster of a two-sider. The A side "Oh I Miss Her So" is pulled from their recently released Harping EP: a drop dead gorgeous tune of love and longing featuring the harping of Mary Lattimore. The tune serves as a testament to The Hive's gift for songwriting and arrangement, taking the listener on a ride from the first notes of Paul’s falsetto to the outro featuring Dave Guy's (The Roots) gorgeous trumpet solo.

The B Side is The Hive's crushing cover of Sunny & The Sunliners' classic "If I Could See You Now". Homer's world renown drumming provides an instant dance floor backbone to the tune while Paul's signature vocals add a welcome twist giving the original version a proper run for its money. This cover is pulled from the forthcoming Big Crown Records label compilation "Dear Sunny…" a collection of Sunny covers done by the roster of Big Crown artists.

Title
Artist
Label
Release Date
2019-06-07
Jake Xerxes Fussell: Out of Sight

On his third and most finely wrought album yet, guitarist, singer, and master interpreter Jake Xerxes Fussell is joined for the first time by a full band featuring Nathan Bowles (drums), Casey Toll (bass), Nathan Golub (pedal steel), Libby Rodenbough (violin, vocals), and James Anthony Wallace (piano, organ). An utterly transporting selection of traditional narrative folksongs addressing the troubles and delights of love, work, and wine (i.e., the things that matter), collected from a myriad of obscure sources and deftly metamorphosed, Out of Sight contains, among other moving curiosities, a fishmonger's cry that sounds like an astral lament ("The River St. Johns"); a cotton mill tune that humorously explores the unknown terrain of death and memory ("Winnsboro Cotton Mill Blues"); and a fishermen's shanty/gospel song equally concerned with terrestrial boozing and heavenly transcendence ("Drinking of the Wine").

Title
Artist
Label
Release Date
2019-06-07
Jamila Woods: LEGACY! LEGACY!

Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people. Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.

Title
Artist
Label
Release Date
2019-06-07
Lust for Youth: Lust for Youth

Pirouetting on decadence, meeting eyes with a dizzy sensation, falling and flying at the same time - Lust For Youth have continually held poise through the most vitalising of times. Their new album, a self-titled collection of eight songs, is sure-footed where they had earlier feared to tread, and light-headed for a new set of reasons. The album is driven by a dance-pop agenda, hustling its way through upbeat peaks that level out into reflective ballads. While still taking clear cues from a crop of austere synth-pop, Lust For Youth sound brighter than they ever have before, taking tips from some of the flirtiest Eurobeat to aid their new direction.

Sunny & The Sunliners: “Smile Now, Cry Later” b/w “I Only Have Eyes For You”

When it comes to Chicano / Lowrider Soul there are a few people who are credited as the founders of the genre, Sunny & The Sunliners are one of them, if not number one on that list. Similarly, when it comes to the tunes that define the genre, Smile Now, Cry Later is undoubtedly the anthem.

The A side "Smile Now, Cry Later", is a tune written by Sunny about his girlfriend at the time's amazement of the difference between the man on stage and off. However, it went on to become a one-liner and a symbol of the Lowrider Soul culture. An absolute classic tune amongst Sweet Soul lovers, and also something of a slogan of the Lowrider Soul community which is tattooed on thousands and thousands of people along with the theater mask artwork from the LP cover.

The B side, Sunny's cover of The Flamingos "I Only Have Eyes For You" is a must have for the Slowie fans. Having never been pressed on 45, it rounds out this record amazingly. The plugside a big tune for Sunny that has seen pressings on at least four different label variations and the B side something that even the deepest collectors of the genre will have to pick up so they can spin.

Bacao Rhythm & Steel Band: Great To Be Here b/w All For Tha Cash

"By popular demand, Bacao Rhythm & Steel Band is back with another must have of a two sider. Two tracks finding their way to vinyl for the first time that were cut during The Serpents Mouth sessions but only made it to the cd and digital release. A lot of people wrote us asking for it, and here it is, a 7 inch release that lives at the intersection of Funk, Soul, and Hip Hop.

The A side is Bacao's crushing cover of the Jackson 5's B-Boy classic "Great To Be Here". A tune that a lot of people probably thought had steel pans on the original version, a misconception that lead to BRSB choosing it for their inimitable treatment. They open the tune with a chunky open drum break that gives way to the steel pan work banging out the infectious and instantly recognizable guitar lines from the J5's version.

The B side finds Bacao diggin deeper into the hip hop crates again and coming up with a monster of a Gang Starr track to cover. Taking on their underground street anthem they cut for their Full Clip compilation, "All 4 Tha Ca$h". BRSB tease the tune in with the two top notes of the riff for the first 8 bars catching listeners ears and giving the DJs a record to work with. When the whole riff drops and they give away what the tune is they are covering awww shits & ooooooohs are sure to be heard out in the crowd."

Title
Artist
Label
Release Date
2019-05-31
Brainiac: Hissing Prigs in Static Couture

Hissing Prigs In Static Couture is a record you'll want to keep forever. It's got all kinds of hip stuff that lame bands are afraid of; something that sounds like scratching on "Pussyfootin'", freaky effect on everything but the drums ('cause even in Revolution, you just don't f**k with drums), and a kiss-off to goose-stepping fascists.

1996 saw the release of Brainiac's Touch and Go full-length debut, Hissing Prigs in Static Couture. Like their two previous full-lengths, this was also produced by Eli Janney, and saw the band use less Moog and more random electronic gadgets and noisemakers. Jim O’Rourke produced 1997's Electroshock for President EP, in which Brainiac continued their transition into a more electronic rock band. They began to receive serious interest from major labels. On May 23, 1997, however, only weeks after the EP's release and the band’s return from a European tour supporting Beck, Tim lost his life in a car accident in his hometown of Dayton, Ohio. He was 28.

A feature length documentary exploring Brainiac's music, legacy, and loss, entitled Transmissions After Zero and directed by Eric Mahoney, premiered at the SxSW Film Festival in March 2019.

Title
Artist
Label
Release Date
2019-05-31
Crying High: ♬ (Music)

Crying High is the new project from Toronto born multimedia artist and psychedelic crooner, D Kleiser. The album is called ♬. You can call it "Music" if that's easier. It was produced in Montreal by D Kleiser, and is a wonderful introduction to the proud world of Kleisonia, and all the artifacts of its inward adventures.

Although Crying High is a new project, Kleiser has been producing weirdo bedroom pop albums for 11 years. By 2014, while greyhounding between Toronto and Montreal for shows Kleiser and friends began The Rotating Cassette Carrousel project, an ongoing mixtape compilation of demos and home recordings from across Canada. From this, Kleiser began crafting a new and more theatrical solo act that would ultimately become the 'Karaoke'eko' cassette, then 'The Story of Pop Music', and finally, after learning from and improving upon each of its proto-forms…. CRYING HIGH.

Crying High is vapornoir from Montreal: disco and ebm slowed down beyond dance utility and used as the framework to support late night phone confessional vocals that sing heartbreak, joy, catharsis, pleas and attitudes of gratitudes. Crying High broadcasts little alternative pop pata-communications into the void in an attempt to forgive it. Sifting thru the mp3 junk yard of 20th century pop culture to cobble together something pretty. A personal exercise in Memehommage-as-Shadow Work, ♬ comes complete with a solid and timeless moral, simply put: learn to love yourself or you'll die.

Title
Artist
Label
Release Date
2019-05-31
Eluvium: Pianoworks

Pianoworks is Eluvium's first solo piano album since his sophomore album, An Accidental Memory In The Case Of Death (2004). Inspired by the quiet thoughts and solitary observations of children - and the evolution/dissolution of that ephemeral, uncorrupted wander of simple joy - Pianoworks begins with a song about children's piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record's dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience. As any minimalist painter, poet, or architect can attest, it is oftentimes the profoundly simple art that proves to be the most time-consuming and torturous to produce. Pianoworks exemplifies this dichotomy, having been recorded, re-recorded, and re-re-recorded in the span of nearly a decade. Cooper exhausted every attempt to achieve a very specific, peculiar sound that is out of time - a sound not entirely lost in an attic, but also one not easily found in a playlist. The process to achieve this elusive sound was painstaking, but it has yielded a rare kind of music that is as uncomplicated as it is uncompromised.

Title
Artist
Label
Release Date
2019-05-31
JR JR: Invocations / Conversations

The time between albums for any band or artist usually comes with a few minor twists and turns at a minimum, or in the case of JR JR (f.k.a. Dale Earnhardt Jr. Jr.), quite dramatic ones. Since the release of their last full-length in 2015, the band fronted by Josh Epstein and Daniel Zott fought their way out of a major label deal, assessed certain lifestyle choices affecting one's mental health, and in Zott’s case, fostered to adopt two children only to be surprised with a biological one as well within the span of three months. It has been a wild ride, and it only makes JR JR all the more proud to announce the formation of Love Is EZ Records in partnership with Secretly Distribution. The newly minted label’s first release will be the band’s forthcoming double album Invocations / Conversations, due out May 31st. The aforementioned challenges and life events, as well as the calamitous political and social upheaval that has taken place over the past few years, are just a few aspects of the beautiful, complicated, and messy story behind two discs worth of excellent, introspective, and emotional songwriting.

Title
Artist
Label
Release Date
2019-05-31
Juan Wauters: La Onda de Juan Pablo

In the last couple of years, Juan Wauters has covered a lot of ground, both artistically and geographically. The year 2016 saw him performing his music in his native Uruguay for the first time as well as directing a film, Romane en Juin, in the South West of France; and, since then, he has been traveling throughout Latin America extensively, taking time to press pause and rethink his life, his art and his career after releasing two critically acclaimed albums on Captured Tracks, 2014’s N.A.P.: North American Poetry and 2015’s Who Me?.

As both time and place often have a unique influence on his music, Wauters originally planned to record his next album while traveling, seeking a break from his life in New York City, the city he has called home since moving from Montevideo in 2002. In 2017, no sooner had he settled in Mexico City to focus on writing when he was suddenly offered a role in an independent film being shot in Argentina. Ever the happy wanderer, Wauters repacked his 100-pound mobile recording studio into two suitcases and took off for Buenos Aires. When filming was complete, Wauters wound up writing and recording all over Latin America — from Argentina, Uruguay, Peru, and Chile to Mexico and Puerto Rico — seeking collaboration at every stop with local musicians who embody the traditions and energies specific to each region.

Puerto Rico was one of his first destinations. At a restaurant on the way to Charco Azul in Guavate - a natural swimming hole - Wauters heard a duo playing boleros, music he has been familiar with since his early childhood, but had never experienced in its original context. Those boleros would inspire the repeating melody that makes up the infectious love song, “Guapa”. Later, Mexico City was to become the birthplace of “A Volar”, a beautiful, buoyant track about dreaming wildly that features multiple musicians that Wauters met in Garibaldi, a popular square in Mexico City where musicians for hire gather. Later, he would trek to Buenos Aires, Santiago and Montevideo, creating music and incorporating the local traditions into his yarns.

Until this point in his career, most of his songs had been sung in English, but revisiting his Latin roots inspired him to record songs in his native tongue. Thus, Wauters gives us the wonderful La Onda de Juan Pablo, the world of Juan Pablo Wauters.

Title
Artist
Label
Release Date
2019-05-31
Juan Wauters: Introducing Juan Pablo

La Onda de Juan Pablo was a travelogue of sorts, with its anthropological efforts, its parade of Latin American musicians and its choice to only feature Wauters native tongue. Introducing Juan Pablo, on the other hand, goes back and forth between Spanish and English. It is, in short, more faithful to the interculturalism that Wauters experiences daily. "In my house, among my family, we speak in Spanish. But outside in the neighborhood, we speak in English with my friends. Several of them speak in Spanish with their parents, but not all. It doesn't cause me any trouble to go from one language to another. I can express myself in the same way: everything is music." In a nod to both his home country and his adopted home, he includes an English version of "El Hombre de la Calle" ("The Man on the Street") by Jaime Roos, one of the most popular Uruguayan songwriters. The references to the land where he was born are her on the surface. Between the first track ("Super Talking") and the last ("Greetings"), songs run in both languages, culminating with "Lora", which opens like a pop kaleidoscope and ends in a kind of cosmic brotherhood between Eduardo Mateo and Syd Barrett. His immigrant's side. His sense of belonging. His social life and his use of language. His need to work. And the even stronger need that his work doesn't become monotonous. His dream of another possible world: a world where all worlds fit. Juan Wauters went through all this to introduce us to Juan Pablo. They are the same person: one among the whole crowd.

Title
Artist
Label
Release Date
2019-05-31
Kishi Bashi: Omoiyari

Imagine being forced from your home. Imagine being sent to a prison camp with no trial, and no promise of release. Imagine all this happened simply because of the language you speak, the shade of your skin, or the roots of your family tree. For over 120,000 Japanese Americans this was a reality during World War II. It’s a reality that Kishi Bashi seeks to reckon with on his latest release Omoiyari.

Omoiyari is Kishi Bashi’s fourth album following the acclaimed 151a (2012), Lighght (2014), and Sonderlust (2016), which have garnered serious acclaim from outlets including NPR Music, The Wall Street Journal, and The Guardian and his most important yet. Many of the songs were initially inspired by history and oppression, and he deftly weaves tales of love, loss, and wanting to connect listeners to the past. Channeling the hard-learned lessons of history, Omoiyari is an uncompromising musical statement on the turbulent sociopolitical atmosphere of present-day America.

Title
Artist
Label
Release Date
2019-05-31
Lungbutter: Honey

Montreal trio Lungbutter serves up an exhilarating and relentless barrage of astringent noise-punk, at times refracted variously through sludge rock and slowcore. Kaity Zozula's tri-amped guitar squall occupies a huge tonal space from low-end bass to paint-peeling treble, redolent of blown-out Melvins/Flipper fuzz and indebted to the frenetic dissonance of Keiji Haino or Merzbow. Song structures coalesce around guitar riffs of shifting tempos and the backbone of Joni Sadler's muscular, deliberate drums, while Ky Brooks’ wry phenomenological sing-speak vocals - at once mantric and declarative - deconstruct one brilliant lyrical theme after another, dancing along the knife-edge of dispassionate acerbic examination and wide-eyed cathartic revelation.

Brooks, Sadler and Zozula have all been mainstays of the vibrant experimental noise/rock milieu in the city for several years, having put in time as members of innumerable bands and community projects. Lungbutter has been their main jam for a while, playing frequently in Montreal and with sporadic excursions to DIY spaces around eastern North America. Honey is their first full-length album, following the self-released Extractor cassette EP from 2014, which Big Takeover described as “"hick neanderthal sludge, stream of consciousness yelps over lawnmower riffs, a dweeb-metal triumph" and Weird Canada praised as "confident, artful, intense".

Title
Artist
Label
Release Date
2019-05-31
Neal Francis: These Are The Days

"I just wanted to be honest about everything, from my musical influences to my story," muses Neal Francis. After years of dishonest living -- consumed by drugs, alcohol, and addiction -- such sincerity is jarring from the 30-year-old Chicago-based musician. Liberated from a self-destructive past and born anew in sobriety, Francis has captured an inspired collection of songs steeped in New Orleans rhythms and Chicago blues. His music evokes a bygone era of R&B's heyday while simultaneously forging a new path on the musical landscape. Ohio-based Karma Chief Records (a subsidiary of rising soul label Colemine Records) will release two songs, "These Are The Days" and "Changes, Pt. 1," in early 2019 with the full LP to follow in summer 2019.

Title
Artist
Label
Release Date
2019-05-31
Resina: Traces - Remixes

Warsaw-based cellist Resina follows up last year's brilliant Traces album with a new EP featuring one of its standout tracks, 'Trigger', plus a set of remixes from four of her favourite artists: Ben Frost, Lotic, Abul Mogard and 130701 labelmate, Ian William Craig. Resina is the alias of classically-trained cellist Karolina Rec, a participant in Poland's vibrant independent music scene since the late '00s and co-founder / collaborator of some of its most influential alternative bands. She has steadily been making a name for herself through both her striking, emotionally-resonant recordings and her powerful live performances. Across its 30-minute duration, it opens out a broad and immersive spectrum - from visceral, live instrumental looping to deep, drone-based immersion and sharp, rhythmic deconstruction.

Across its 30-minute duration, it opens out a broad and immersive spectrum - from visceral, live instrumental looping to deep, drone-based immersion and sharp, rhythmic deconstruction. Traces - Remixes is a hugely impressive, diverse and high-quality set. Offering some insights to the cellist’s own sensibility and pointing back to last year’s Traces album, the EP also serves as a wonderful standalone release.

Title
Artist
Label
Release Date
2019-05-31
Samana: Ascension

Samana inhabit a musical space somewhere between Weyes Blood, Nico, Beach House and PJ Harvey, yet they possess a unique spirit born out of their nomadic existence. Each song is written with its own distinct weight and significance, born from the interpretation of dreams, the philosophies of ancient rituals and personal experience of love, loss and death.

Between themselves, Rebecca Rose Harris and Franklin Mockett are multi-disciplinary artists. Franklin crafts the instrumentation, recording, and production of the music to tape, while Rebecca Rose is the visionary behind the conceptual imagery, artwork, lyrics and film. The process by which all works are recorded is of great importance to Samana, who compose their art in their analogue recording studio and darkroom in the remote mountains of Wales. The album offers ruminations of solitude on the isolation of nature. Each song is a meditation laid to tape, forming an album of a natural order of thought and feeling to take us to great heights.

Title
Artist
Label
Release Date
2019-05-31
True Loves: Famous Last Words

Bringing together undeniable grooves and classic soul sounds, The True Loves are comprised of accomplished musicians who have touched the hearts and souls of music listeners and concert goers all over the Pacific Northwest. The focus of the ensemble is clear: create modern soul music that never loses sight of the originators yet remains steadfast in pursuit of that 'next fiery groove'. We are proud to present our first 45 with these talented folks! Featuring all three members of the Delvon Lamarr Organ Trio!

Title
Artist
Label
Release Date
2019-05-31
Urochromes: Trope House

On their first long player, Urochromes complement their catchy-as-fuck punk bangers with colorful experimen- tal rock that choogles forth like the waters of the Mississippi River Delta where it was recorded. There are classic Urochromes chargers like first single "Hair So Big" and the catchy kiss-off "Millieux" that pair Dick Riddick's concise and explosive guitar playing with some of frontman Jackie "Jackieboy" McDermott's best sketches of uptight, paranoid characters on the edge. "Rumshpringa" plays it straight with a beautiful slow-burning riff and soul-searching lyrics ("When do I get my Rum- shringa?... / I want to lean back in time like that Tower of Pisa"); it’s a new Urochromes classic where Riddick's licks spark and lilt through the bridge toward the closing verse's poignant refrain. These more restrained, contemplative moments balance out the uninhibited tenacity of the rest of the album - not something every punk) band is capable of achieving when they jump to the LP format.

Combining the authentic sound of Gary Wrong's Jeth-Row Studios with the engineering talents of longstanding Uro- chromes engineer Will Killingsworth (Dead Air Studios), Trope House delivers the most hi-fidelity Urochromes record- ing to date without sacrificing any spontaneity or raw power.

Title
Artist
Label
Release Date
2019-05-24
Black Mountain: Destroyer

Destroyer is structured around that first time behind the wheel of a hot rod. The fat, charging “Living After Midnight” riffs of opener “Future Shade” is, according to McBean, “Straight outta the gates. FM radio cranked.” He ain’t kidding. The song, and all of Destroyer for that matter, seems to exist at that crucial nexus of the early-to-mid 80s Los Angeles when a war between punk and hair metal was waged. Black Flag’s My War tried and failed to keep the peace. But in the trenches, some hybrid ghoul was beginning to form in bands like Jane’s Addiction and White Zombie. The heavy extended player “Horns Arising,” with its Night Rider vocals and golden, climbing Blade Runner synths, is a fill-up at a desert gas station just in time to see a UFO hovering near a mesa. Other songs, like the serpentine “Boogie Lover,” are a cruise down the Sunset Strip. You pull into The Rainbow Bar & Grill to take the edge off - doesn’t matter what year it is, Lemmy’s there in flesh or spirit. To continue the teenage theme, there’s also a sense of youthful discovery to these cuts — “High Rise” is a foray into Japanese psych, rounding the bend to a careening, while “Closer to the Edge” feels like falling in love with Yes (Remember how good they were for a minute there in your youth?). “Licensed to Drive” would easily be the most exhilarating and dangerous ripper on a titular film’s soundtrack, a dose of heavy right before the muscle car’s wheels fly off going 100 mph on the freeway.

Shacked up in his rehearsal space, McBean found an old chair in an alley, spray painted Producer on the back and pressed record. Friends from the endless rock’n’roll highway were invited over and 22 songs were brought to life. While some were laid back into shallow graves to dig up once again at a later date, the remaining skeletons were left above ground — given organs, skin, eyes, and the opportunity to grow their hair real long and greasy. Some of these zombie hesher jams were sent on a journey to Canada where longtime band member Jeremy Schmidt, slipping on the Official Collaborator satin jacket, had at them with his legendary synth arsenal. As he added long flowing robes, sunglasses, driving gloves and medallions, the undead songs began to transform into the new breathing creatures that make up Destroyer. Schmidt’s work with these songs turned out to be the transformative glue for this new era of Black Mountain.

Title
Artist
Label
Release Date
2019-05-24
Cold Showers: Motionless

A few years have passed since their last album for DAIS, but Los Angeles-based Cold Showers steadily returns to the label’s roster with their third album, Motionless, wielding a more developed pop sound that is familiar to followers, yet more sophisticated and evolved than their previous works. Having traversed the realm of synth-laced post punk expertly for close to a decade, their return with the new album Motionless is a process-based album that reaches into the band's collective quiver, melding their familiar anthem infused post-punk and lush, grand pop influences.