Secretly Distributon

Title
Artist
Label
Release Date
2017-06-16
Alex Lahey: B-Grade University

Alex Lahey originally released B-Grade University on her own label in summer 2016, shortly before playing iconic Australian festival Splendour in the Grass. Immediately after its release, 'B-Grade University' went onto heavy rotation on Australia's TripleJ radio, along with the single "You Don't Think You Like People Like Me" earning a Best New Track tag on Pitchfork. Lahey closed 2016 being the most played artist on Triple J Unearthed, as well as being voted Best Female Artist at Australia's Age Music Awards. Her fuzzed-out, catchy-as-hell indie rock is stacked with emotion, weighing the sound of youthful anxiety against cutting, sophisticated wordplay.

Title
Artist
Label
Release Date
2017-06-16
Kevin Morby: City Music

City Music is an airplane descending over frozen lakes into Chicago. City Music is riding the Q Train out to Coney Island to smell the ocean and a morning in Philadelphia where greats cranes reconfigure the buildings like an endless puzzle. City Music is also the new album by Kevin Morby. Full of listless wanderlust, it's a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mould. It is a collection crafted using the other side of its creator's brain, the jumping off point perhaps best once again encapsulated by an image. "Here, Lou Reed and Patti Smith stare out at the listener," explains Morby. City Music sees Morby joined once again by cohorts Megan Duffy (guitar) and Justin Sullivan (drums). Here the vocals were recorded at night, in darkness, overlooking a Pacific Ocean illuminated only by the stars, the wash and whisper of the ebbing tidal a distant soundtrack. The record was completed with Richard Swift in Oregon (producer of Foxygen, sometime member of The Black Keys). Here the album gives voice to the all those cities speaking the same universal language of chaos and commerce and culture.

Title
Artist
Label
Release Date
2017-05-05
Slowdive: Slowdive

The world has finally caught up with Slowdive. A band whose reach goes far beyond just influencing music is back, with their first new album in 22 years. The album is called Slowdive-- self-titled in an echo of their debut EP from 1990-- and is remarkably direct. "We were always ambitious," says frontman Neil Halstead. "Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they're still interesting in a few years’ time." Now, in 2017, the record is ready and first single from which, "Star Roving," shot to the top of the Billboard Trending 140 Chart. "There’s a different energy about it," says drummer Simon Scott. "It took ages to get back together and write songs and for it to click in the studio, but this album doesn't feel like a bolt-on -- it's got an energy that's as vibrant as Souvlaki and Just for a Day. It feels very relevant to now."

Title
Artist
Label
Release Date
2017-03-17
Califone: Quicksand / Cradlesnakes (Deluxe Reissue)

In the summer of 2002, Tim Rutili and the rest of Califone had just come out of a busy year that included touring with Yankee Hotel Foxtrot-era Wilco and collaborating with Issac Brock's alter-ego project, Ugly Casanova. With new creative energy unlocked, the band began work on the follow-up to their breakout full-length debut, Roomsound. The result, the much celebrated Quicksand / Cradlesnakes, brims with earned confidence.

Here, Califone began to master the mix of blues, country and technical glitchery so oft-referenced today, all the while creating something timeless. Quicksand / Cradlesnakes is rugged and elegant, dark and optimistic, familiar and entirely new. In a word it is beautiful.

Title
Artist
Label
Release Date
2017-03-03
Bleached: Can You Deal? (White Vinyl)

Los Angeles-based sister duo Jennifer and Jessie Clavin knew things were going to be different for their band Bleached's sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join them and their bassist Micayla Grace in the studio, but the sisters had been crawling out of their own personal dramas. While emotionally spinning, they dove head first into music.

In the studio, Chiccarelli and co-producer Carlos de la Garza (Paramore, YACHT) helped the band perfect their fervent songs into fearlessly big pop melodies. They drew inspiration from the iconic hits of everyone from Fleetwood Mac to Heart to Roy Ayers. The result is an ambitious rock record with a new found pop refinement that somehow still feels like the Shangri-Las on speed, driven forward in a wind of pot and petals, a wall of guitars in the back seat.

After touring extensively worldwide and finding success with their hit single "Wednesday Night Melody" Bleached is back with four new blazing tracks on their Can You Deal? EP. Fueled by the experiences they've had as women in their calling for music, Can You Deal? takes on the complexities of issues female musicians encounter in an industry dominated by men. With this fire in their bellies, they connected with Alex Newport (Bloc Party, Mars Volta) to produce the EP. With their singularly triumphant mix of sunny melodies, thrashing guitars and lyrics highlighting the darker sides of life, Bleached continues to demand your attention.

Title
Artist
Label
Release Date
2017-02-17
Strand of Oaks: Hard Love

Tim Showalter's latest release as Strand of Oaks, Hard Love, emanates an unabashed, raw, and manic energy that embodies both the songs and the songwriter behind them. "For me, there are always two forces at work: the side that's constantly on the hunt for the perfect song, and the side that's naked in the desert screaming at the moon. It's about finding a place where neither side is compromised, only elevated."

Drawing from his love of Creation Records, Trojan dub compilations, and Jane's Addiction, and informe by a particularly wild time at Australia's Boogie Festival, he sought to create a record that would merge all of these influences while evoking something new and visceral. These influences coupled with an uninhibited and collaborative studio experience moved an initial concept for a singularly feel-good record to something more complex and real. As much as Showalter wants this record to seem like a party, it's more than that. It feels like living. "You went away...you went searching...came back tired of looking" is how Showalter begins the title track, a sentiment that epitomizes Showalter's own mentality in beginning Hard Love. As the record progresses, so do the themes of dissatisfaction and frustration with love, family, success, and aging, both in personal experience and songwriting

Title
Artist
Label
Release Date
2016-10-14
Califone: Roomsound (Deluxe Reissue)

Califone's debut album Roomsound - Originally self released in April of 2001. Roomsound covers the same rustic, slightly ramshackle back forty that Tim Rutili has been ploughing through since his previous band Red Red Meat. Only this time the tilled bedrock unveils the most vividly colored, luring crop of songs Rutili has ever harvested. The sleepy, country-blues picking and autumnal backwoods melodies are accented with striking splashes of electronic tone color, obsolete keyboards and off-kilter percussion. Lyrically, Roomsound penetrates the breath of pirates, poison apples at a tango contest and the waiting room between death and canonization where missionaries have quit and 19th-century prostitutes have been rescued for all the wrong reasons. Masterfully produced by Brian Deck, the album is vaulted far beyond the sum of its parts.

Roomsound is a hauntingly unique and distinctive record of crafted and sculpted beauty.

Title
Artist
Label
Release Date
2016-08-19
Ryley Walker: Golden Sings That Have Been Sung

The preceding years have been extraordinary for Ryley Walker. In March, his second album, Primrose Green, emerged to critical hosannas from the likes of NPR, Village Voice, Uncut, and Mojo - in the process, earning admiration of musicians who had chalked up no shortage of turntable miles in Walker's life. Robert Plant declared himself a fan - as did double-bass legend Danny Thompson, with whom Ryley would later embark on a British tour. A sprawling tour of the USA around Primrose Green presented a perfect chance to workshop ideas for what would eventually become his third studio album, Golden Sings That Have Been Sung.

On the album, "The Roundabout" represents a symbolic return to Chicago, while other songs are directly wedded to Ryley's actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track "The Halfwit In Me" most audibly bear the imprint of Ryley's improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while "Funny Thing She Said" is an unflinching study of separation set to a shimmeringly supple ensemble performance.

Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on "A Choir Apart". Intriguing, surreal images are meted out by "I Will Ask You Twice", like a malfunctioning slide projector; and, perhaps best of all, the stunning finale, "Age Old Tale", which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve.

Ryley Walker: Golden Sings That Have Been Sung (Deep Cuts Edition)

The preceding years have been extraordinary for Ryley Walker. In March, his second album, Primrose Green, emerged to critical hosannas from the likes of NPR, Village Voice, Uncut, and Mojo - in the process, earning admiration of musicians who had chalked up no shortage of turntable miles in Walker's life. Robert Plant declared himself a fan - as did double-bass legend Danny Thompson, with whom Ryley would later embark on a British tour. A sprawling tour of the USA around Primrose Green presented a perfect chance to workshop ideas for what would eventually become his third studio album, Golden Sings That Have Been Sung.

On the album, "The Roundabout" represents a symbolic return to Chicago, while other songs are directly wedded to Ryley's actual return there. Perhaps more than any other song on the record, the somnambulant sun-dappled intimacies of opening track "The Halfwit In Me" most audibly bear the imprint of Ryley's improvisational sessions with Wilco multi-instrumentalist, Chicagoan and producer Leroy Bach, while "Funny Thing She Said" is an unflinching study of separation set to a shimmeringly supple ensemble performance.

Soft, slo-mo explosions of melody intermittently burst through the distant thunder of the verses on "A Choir Apart". Intriguing, surreal images are meted out by "I Will Ask You Twice", like a malfunctioning slide projector; and, perhaps best of all, the stunning finale, "Age Old Tale", which spiders out from an Alice Coltrane-inspired reverie into a sustained rapture that very few artists have managed to achieve.

Title
Artist
Label
Release Date
2016-06-17
Mitski: Puberty 2

Ask Mitski Miyawaki about happiness and she'll warn you: "Happiness fucks you." It's a lesson that's been writ large into the New Yorker's gritty, outsider-indie for years, but never so powerfully as on her newest album, 'Puberty 2'. "Happiness is up, sadness is down, but one's almost more destructive than the other," she says. "When you realise you can't have one without the other, it's possible to spend periods of happiness just waiting for that other wave." On 'Puberty 2', that tension is palpable: a both beautiful and brutal romantic hinterland, in which one of America's new voices hits a brave new stride.

Title
Artist
Label
Release Date
2016-05-06
Destroyer: My Mystery

We recorded a song called "My Mystery" a year and a half ago. Kind of a light number, vaguely danceable. Wistful, looking back not unfondly on time spent and dull misadventures had within the dead-as-a-doornail music industry. And the feeling of where it leaves you, like a rat in the middle of the ocean, though not as harsh as that; as if rats could swim an ocean's length. Anyway, the song was not in keeping with the shadow spirit of Poison Season, and so it got shelved.

Then one day DJjohnedwardcollins@gmail.com called me up and said, "You got any shit for me?"...

Title
Artist
Label
Release Date
2016-05-06
Julianna Barwick: Will

Julianna Barwick's revelatory third full-length, Will, is a surprising left turn for the Brooklyn experimental artist. Conceived and self-produced over the past year in a variety of locations, the ominous, compelling Will is a departure from 2013's Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then the self-produced Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.

Will comes off of Barwick's busiest period in her career to date following Nepenthe - a spate of activity that included playing piano for Yoko Ono, performing at the 25th annual Tibet House Benefit Concert alongside such kindred spirits as the Flaming Lips and Philip Glass, the Rosabi EP and an extensive touring schedule that included her first-ever shows in Japan.

Her life over the past several years has largely been lived in transit, and as such the genesis of Will was not beholden to location; Barwick reflects on this cycle of constant motion. "You're constantly adjusting, assimilating, and finding yourself in life-changing situations."

That sense of forward propulsion is largely owed to what Barwick describes as Will's "synthy flava," an ingredient she was inspired to add to her vocal loop-heavy formula after demoing equipment for synth maker Moog. Another new wrinkle Will introduces in Barwick's sound: Mas Ysa's Thomas Arsenault, who lends his richly complex vocals to "Same" and "Someway." The beguiling, beautifully complicated Will is the latest proof yet of Barwick's irresistibly engaging talent.

Title
Artist
Label
Release Date
2016-04-15
Kevin Morby: Singing Saw

Singing Saw is a record written simply and realized orchestrally. In it, Kevin Morby faces the reality that true beauty - deep and earned - demands a whole-world balance that includes our darker sides. It is a record of duality, one that marks another stage of growth for this young, gifted songwriter with a kind face and a complicated mind.

Morby opens Singing Saw with "Cut Me Down", a song of tears, debts and a prescient vision of being reduced to nothing. "I Have Been to the Mountain", "Destroyer" and "Black Flowers" continue to explore beauty and freedom, seizing upon the rot that seeps into even the supposedly safest of realms; peace, family and romantic love. By the end of the record on "Water", Morby is literally begging to be put out once and for all, like a fire that might burn all the visions away.

Travels beyond his mountain walks, near his Mount Washington home in Los Angeles, inform songs like "Dorothy", which recounts a trip to Portugal, witnessing a fishing ritual and luxuriating in the aura of a bar light-tinged reunion with old friends. The touching innocence of "Ferris Wheel" stands alone in stark simplicity amidst the lush sonic textures of the album. Here, the album is balanced by Morby's signature sweetness and joie de vivre.

In the end, Morby fulfills the promise many heard on his first two albums, bringing his most realized effort of songwriting and lyricism to fruition. The songs of Singing Saw reflect the clarity that comes from welcoming change and embracing duality, and the distillation of those elements into an entirely new vision.

Title
Artist
Label
Release Date
2016-04-01
Bleached: Welcome The Worms

Los Angeles-based sister duo Jennifer and Jessie Clavin knew things were going to be different for their band Bleached sophomore LP Welcome The Worms. Not only had they managed to charm world renowned producer Joe Chiccarelli (Morrissey, The Strokes, Elton John) to join the sisters and their bassist Micayla Grace in the studio, but Jen and Jessie had been crawling out of their own personal dramas. While emotionally spinning, they dove head first into music.

The three girls spent time writing the 10 song LP at a remote house in Joshua Tree, away from the distractions of the city. Other times Jen and Jessie worked alone, just like when they were teenaged punk brats playing in their parents' garage, imitating their heroes The Slits, Black Flag and Minor Threat.

In the studio, Chiccarelli and co-producer Carlos de la Garza (Paramore, YACHT) helped the band perfect their fervent songs into fearlessly big pop melodies. They drew inspiration from the iconic hits of everyone from Fleetwood Mac to Heart to Roy Ayers. The result is an ambitious rock record with a new found pop refinement that somehow still feels like the Shangri-Las on speed, driven forward in a wind of pot and petals, a wall of guitars in the back seat.

Title
Artist
Label
Release Date
2016-02-19
Marlon Williams: Marlon Williams

"Each song is a character," says Marlon Williams of his self-titled solo debut: a remarkably assured and diverse nine-track tapestry, united by one of the most versatile and evocative voices you'll hear this or any other year. "I don't really ever sing out of character. Even if it's a very personal song, once it's written it doesn't belong to me." Recording the record at home, utilizing The Sitting Room in Lyttelton Harbour (New Zealand), Williams' deep-rooted bonds birth an eclectic, yet cohesive set that ranges from acrobatic opener "Hello Miss Lonesome" to the wry coffee house wisdom of "Everyone's Got Something To Say", via Rubber Soul-ful zinger "After All" and "Lonely Side Of Her"'s beauteous barroom empathy. Its author’s easygoing gender fluidity is expressed through his revelatory, androgynous reading of the traditional lament "When I Was A Young Girl", previously hymned by Nina Simone and Feist, among others. This ability to truly inhabit his material illuminates Williams' majestic rendering of such diverse touchstones as classic orch-pop ballad "Lost Without You" and conceptual, 1974-vintage nugget "Silent Passage" (originally by Bob Carpenter, a Canadian of First Nations heritage). These covers blend seamlessly with novelistic noir standouts "Strange Things" and "Dark Child" (co-credited to childhood choral pal Tim Moore, now a palliative care nurse), which deliver gallows humor with a widescreen groove.

Having been nominated for 5 New Zealand Music Awards, an Australian ARIA Award and completed sold out album release tours, this Southern Hemisphere star's eagerly awaited international release should see Marlon Williams soar.

Title
Artist
Label
Release Date
2015-11-13
Mark McGuire: Beyond Belief

Mark McGuire's albums are, amongst many other things, strong arguments for the album and for the stereo system. They're not just music; they're statements, and they demand to be experienced by the best sonic means available. They're throwbacks, not in style, but intent and effect. Put another way -- they don't make them like this anymore.

The wall of sounds contained therein constitute a degree of ambition uncommon since the 70s heyday of McGuire's forebears -- Gottsching, Eno, Fripp. This is not laptop music.

Beyond Belief, his second full-length for Dead Oceans, finds McGuire now well on the way of his own trip. Fantastical liner note tales written to accompany and set the stage for his mostly-wordless songs delight and confound. Throughout nine tracks we find an unrelenting drive to refine, build upon, focus and maximize the effect of an already remarkably prolific body of work. Though deservedly known for his virtuosic multitracked guitar playing, McGuire in fact plays every bass / synth / piano note, and every beat on the album himself, his vocals more prominent than ever before. 26 months in the making, the passion going into Beyond Belief is self-evident, and the effect is overwhelming.

Like many before him, McGuire isn't entirely comfortable with the critically-bestowed 'new age' tag, but the resonance is there particularly in McGuire's prose, and it's not unreasonable that he appeared alongside venerated new age masters Iasos and Laraaji in The New York Times' appraisal of the new age music renaissance ('For New Age, the Next Generation', Mike Rubin, February 16, 2014).

Running nearly 80 minutes, the bold and fearless Beyond Belief is McGuire's magnum opus to date, but in truth, there is no end in sight for McGuire's vision, making any such assessment wholly premature.

Title
Artist
Label
Release Date
2015-09-04
Kevin Morby: Moonshiner b/w Bridge To Gaia

In anticipation of Kevin Morby's Dead Oceans' debut in 2016 and in support of a thorough fall touring schedule, "Moonshiner" and "Bridge To Gaia" are two unreleased gems from Morby's reliably powerful, yet understated work.