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2017-10-20
John Carpenter: Anthology: Movie Themes 1974-1998

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

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2017-10-20
John Carpenter: Anthology: Movie Themes 1974-1998

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

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Artist
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Release Date
2017-10-20
John Carpenter: Anthology: Movie Themes 1974-1998

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

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2017-09-08
Amen Dunes: Love

While the previous Amen Dunes records have all been largely improvisational first-take affairs, recorded in a matter of weeks at most, the forthcoming full-length Love is the product of close to a year and a half of continuous work by Damon McMahon. Unlike McMahon's earlier Amen Dunes recordings, which were almost always a solo affair, the music on Love was performed by a variety of musicians, including his longtime collaborators Jordi Wheeler on guitar and piano, and Parker Kindred on drums. McMahon chose to hold the main recording sessions for Love in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs. So did saxophonist Colin Stetson and Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on two tracks. This project has always seen McMahon guided by traditional song and sound, but Love is the first work in which this clearly shines through. The result is definitively the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful.

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2017-09-08
Pharmakon: Bestial Burden

Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ. "After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time," Chardiet said. "It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness."

Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet's internal conflict.

Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013's critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet's mind.

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2017-09-08
Zola Jesus: Okovi

Nika Roza Danilova has been recording music as Zola Jesus for more than a decade. For the majority of that time, she's been on Sacred Bones Records, and Okovi marks her reunion with the label. Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music on this record was written in pure catharsis, and as a result, the sonics are heavier, darker, and more exploratory. In addition to the contributions of Danilova's longtime live bandmate Alex DeGroot, producer/musician WIFE, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build the textural universe of these songs.

Above all, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the great works of its genre. Okovi speaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well.

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2017-09-08
Zola Jesus: Stridulum

"Seven years ago, it was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I'd made. The world, at once, felt clear. These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I'm still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It’s like Stridulum's still here with me, underneath it all." -Nika Roza Danilova, June 2017

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2017-07-14
Psychic TV: Allegory & Self

Beginning in 1982, the conceptual audiovisual troupe labeled Psychic TV set out on a multimedia journey filled with subversion, liberation and rebellion. While the members' previous works took root in the counterculture zeitgeist of late '70s UK punk and conceptual art, it was no longer a question of how to rebel against authority, but rather how to carefully subvert it through collective infiltration. Parallel to Psychic TV, its members formed the anti-cult faction Thee Temple of Psychick Youth, further propagating the Psychic TV message and vision.

While the ensuing years saw Psychic TV's major label infection and record breaking live album release binge, it wasn't until 1988 that the band started to ready itself for a chart-friendly pop endeavor in the form of "Allegory & Self". This would be the band's most notable and successful endeavor but tragically, it would be the final songwriting collaboration between P-Orridge and Fergusson. "Allegory and Self" was a perfect storm of catchy pop melody along with subversive counter-culture reference and occult leanings, packaged in a perfect bundle of underground hits.

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2017-07-14
Psychic TV: Pagan Day

Shortly before Christmas 1984, the core songwriters, Genesis P-Orridge and Alex Fergusson, of underground arts collective Psychic TV quietly released a limited edition record containing sketches and ideas for songs. Some songs would become later fully-realized arrangements, some abandoned and others were just covered in praise of their creator. The record, in recognition of its seasonal release, was simply titled "A Pagan Day" and would capture the intimate songwriting sessions that were prevalent during crucial time in the band's career.

In classic Psychic TV fashion, rumors and myths surround the album's creation. Most have suggested that it was recorded in a single session over a cup of coffee on a lone 4-track cassette recorder above an old YMCA building in London, though later revealed that the recordings were from various sessions over the course of a couple years prior to the record’s release. After quickly pressing the songs to vinyl, the record was originally only available through Rough Trade for a few hours on December 23, 1984 and pressed on picture discs, which adorned a photo of P-Orridge's first born, Caresse, in exactly 999 copies.

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2017-07-14
SQÜRL: EP #260

SQÜRL is: Carter Logan and Jim Jarmusch.

An enthusiastically marginal rock band from New York City who like big drums & distorted guitars, cassette recorders, loops, feedback, sad country songs, molten stoner core, chopped & screwed hip-hop, and imaginary movie scores.

SQÜRL began in 2009 when Jim Jarmusch and his producer Carter Logan teamed with producer/engineer Shane Stoneback to record some original music for the film THE LIMITS OF CONTROL. Echoing the varied Spanish landscapes captured in the film, the three emerged with a set of slow-motion psychedelic rock instrumentals (releasing them as Bad Rabbit). Following these scoring sessions Jim, Shane, and Carter continued to record new originals while also exploring the back-alleys of American country, noise, and psychedelia. SQÜRL released a series of 3 EPs of these songs, recorded over a 3 year period by Shane at Treefort Recording in Brooklyn, NY.

In 2012, Jim collaborated with baroque lutist Jozef Van Wissem and released an LP on Sacred Bones entitled The Mystery of Heaven. In 2013 they began to compose and perform the score for the film ONLY LOVERS LEFT ALIVE with Van Nuisance. Bridging ancient and modern sounds, the score serves as a reflection of the distinct textures of Detroit and Tangier. The film and soundtrack, the latter which also features Zola Jesus, were released worldwide in 2014, and quickly earned the group the Cannes Soundtrack Award.

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2017-06-30
Trouble: Snake Eyes

Written and recorded for the highly anticipated return of David Lynch's cult television classic Twin Peaks, "Snake Eyes" effectively harkens a time when noir R&B was the de-facto soundtrack to hard liquor violence. The instrumental trio Trouble includes Lynch's son Riley Lynch on guitar, longtime music supervisor for Lynch, Dean Hurley on drums and Alex Zhang Hungtai (Dirty Beaches, Last Lizard) on tenor saxophone. The B-side to the single consists of the bonus "Mother’s Gone;" a menacing companion track also recorded during the band's only Twin Peaks recording session. There may never be any more music from Trouble, but this 45 serves as physical evidence of the group's continued existence in a parallel cinematic universe, grinding out late night Roadhouse gigs in the fictitious town of Twin Peaks, Washington.

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2017-06-16
David Lynch & Alan R. Splet: Eraserhead Soundtrack

Eraserhead rests firmly at the top of that canon of American underground culture for which there is no genre. A staple of the dark underbelly of popular cinema that was originally only viewable at arthouse screenings or on the Midnight Movie circuit, Eraserhead is a truly unadulterated offering; and much of its sensation lies beyond the purely visual realm. The stark, dusty black and white images put forth are caked with and submerged in a dense jungle of industrial hums, buzzes, screeches and screams. Eraserhead is a narrative made up of two intertwined veins: one of bleak and beautiful pictures elegantly painted in gray and black, and one of blankets of sublime, enveloping noise and static, the tinkering of Fats Waller organ rolls echoing in the background. To lay in the dark and listen to this dizzying succession of blissful noise is a different way to get "lost" than in the visuals of the film itself. It's no stretch to consider this soundtrack an experimental, early industrial masterpiece. Eraserhead's individual passion and personal tone shines through even in the thickest moments of fierce static, an audio undertaking that took David Lynch and sound designer Alan Splet years to perfect. Eraserhead's most famous piece of music is undoubtedly Peter Ivers' unforgettable, oft-covered haunting ballad "In Heaven," and the most exciting attribute of this edition of the soundtrack is no doubt its expansion, and it’s present here, along with "Pete’s Boogie," an Ivers recording previously only available on the long out-of-print limited edition LP of this soundtrack.

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2017-06-16
The Men: Leave Home

The Men yes, "The", are a four-piece post punk outfit from Brooklyn, NY. Their catalog which began in 2008 with a hand-dubbed self- released demo cassette has grown to include two LP’s- We Are the Men and Immaculada- two more tapes, and a 7". The buzz in their hometown has grown so fervent that the Village Voice debuted this album's first single, "Bataille," a full six months before the record was scheduled to street. Named for the famed French pornographic writer the track review expounds it, "rides a pug-ugly joy-punk riff into almost krautrock oblivion--complete with gorgeous voice cracks and face-mooshing distortion." Having three songwriters in the band allows them to pull from innumerable post punk sources, referencing drone, metal, shoegaze, and even Suicide lyrics on Leave Home. Recording to tape for the first time here, using elements of distortion, feedback, pop hooks, and a couple of beautifully destructive instrumental passages, The Men have been described by Mishka as, "more composers than musicians." They have breathed new life into the genre of hardcore and created a seminal album that is truly for punks of all ages.

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2017-06-02
Föllakzoid: II

Föllakzoid began in Santiago, Chile from what they describe as the result of "a product of a trance experience between friends, sort of a soul abduction in which they’ve been living since 2008." The band is made up of multi-faceted artists: Juan Pablo (bass, vocals) is a producer of the Sangre Fresca Music Festival in Santiago, Diego (drums) is a photographer, Alfredo (synth) is an architect and Domingo (guitar) is also a filmmaker who just premiered his first long length movie "Partir to Live". They believe that there is some sort of gravitational force that makes South America able to dialogue directly with other places, times and dimensions. They have all known each other from childhood in Santiago. This album shows the band growing an enormous amount as songwriters, focusing on more developed songs and structures. Throughout these five songs, Föllakzoid craft one of the finest kraut-rock record in years.

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2017-06-02
Institute: Subordination

Since their first demo in 2013, the Austin expats in Institute have edged their raw anarcho punk blitz into something much more expansive and nuanced. 2014’s Salt EP marked the beginning of the band’s working relationship with Sacred Bones, and it explored longer, more experimental song forms. Catharsis, the band’s debut full-length, was another huge push forward, with a slightly cleaner production and some krautrock influence creeping in around the edges. Subordination sees them push themselves further out of genre, incorporating hard rock and glam and writing some of the most diverse material of their career.

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2017-06-02
Moon Duo: Killing Time (Expanded Edition)

Moon Duo is the solo alter-ego of Wooden Shjips guitarist and singer Ripley Johnson. Under the Moon Duo moniker Johnson creates expansive Krautrock influenced tapestries of warm cascading fuzz and controlled feedback, organ, and accenting keyboard. This four song 12-inch is the second release and incorporates a much more concise, composed and driving sound than before. Johnson expands on ideas only hinted at on the Sick Thirst 12-inch (which is already long gone) adding a driving drum machine beat behind the thick walls of layered sound. Don’t sleep on this one. Information on bonus tracks: "Bopper’s Hat" originally released on a split-7" with Bitchin Bajas on Permanent Records. "Run Around" originally released on Menagerie #2 on Blackest Rainbow Records. "Dead West Pt. II" originally released on Raven Sings the Blues Vol. 2.

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2017-06-02
Psychic Ills: Hazed Dream

Sacred Bones Records is proud to present Hazed Dream, the new long-player from fellow New Yorkers, Psychic Ills. Since their formation in 2003 as a home-recording experiment, the Ills have evolved into a live band, in their element playing the extended jam. Musically, it also marks a departure from some of the band’s more recent sonic explorations. The raga rumbles and synthesizer space-outs aren’t gone all together; the singular blasted musical perspective of the Ills remains.

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2017-06-02
The Men: Open Your Heart

Ironically referred to by Timeout NY as "Thurston Moore & the E Street Band," The Men have never been a band to play by categorical punk subgenre rules. Instead, over the last three years, this band has dabbled in everything from hardcore punk to psych to shoegaze to black metal; and they have done all of it effortlessly, and for the most part, flawlessly. Totally removed from the current climate of a.d.d-youtube-blog-hyped generation of musicians under 21, The Men stand out from the pack as both scene elders and actual record collectors. What makes this band so unique is their ability to synthesize their influences rather than just regurgitate them.

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2017-05-05
Moon Duo: Occult Architecture Vol. 2

Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means "the bright side of the hill" and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo's complex psyche.

"In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace," guitarist Ripley Johnson explains. "The darkness of Vol. 1 gave birth to the light of Vol 2. We had to have both elements in order to complete the cycle. We're releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect."

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2017-03-31
Pharmakon: Contact

Bestial Burden, the previous album by Margaret Chardiet's Pharmakon project, focused on the disconnect between mind and body, looking at the human as an isolated consciousness stuck inside of a rotting vessel. For Contact, she wanted to look at the other side of the spectrum - the moments when our mind can come outside of and transcend our bodies.

In trance states, music and the body are used to transcend the physical form and make contact with some outside force. Chardiet decided to structure the compositions of each side of Contact after the stages of trance: preparation, onset, climax, and resolution.

ARTIST'S STATEMENT: Man is a rabid dog, straining at its leash of mortality with bared teeth. Snarling and clawing over each other, we aim to reach a higher ground to claim as our own. There are those who will attempt to exert power over others to attain it. They will sniff you out; lay claim over your body, your actions, your thoughts, your time. (How starkly human, so desperate for the sense of vantage over all versions of its own reflection!) Their aims are empty, because their power is a construct they created and gave back to themselves. They too are small and inconsequential. All people are only human and humans are only animals. The nature of existence and our sentience is chance, owing nothing to anything. Humankind is of no special significance to the universe. (Despite all our scrambling rejections, we cannot transcend all of our instincts - just animals, lost in a confused dream, where mankind is real and at the center of everything). We are each nothing but a single, short-lived cell in a vast organism which itself will one day die. If we accept that the only true claim sentience gives us is our tiny sliver of time, it opens us to revel in it, to make CONTACT. When we pick up on transmissions between the private rooms inside our heads and the flesh of our vessels, when thought escapes its isolation and is seen, heard and understood. When our mind uses the body in order to transcend and escape it! The moments of connection/communion/CONTACT, when the veil is for a brief but glorious moment lifted, and we are free. Empathy! EMPATHY, NOW!

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2017-03-03
Blanck Mass: World Eater

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassionate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself.

World Eater, the new album by Benjamin John Power's Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, "actual love songs."

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2017-02-03
Moon Duo: Occult Architecture Vol. 1

Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo's fourth album - a psychedelic opus in two separate volumes released in 2017 - is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light.

Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang.

In Chinese, Yin means "the shady side of the hill" and is associated with the feminine, darkness, night, earth. Following this logic, Vol. 1 embraces and embodies Moon Duo’s darker qualities - released appropriately on February 3, in the heart of winter in the Northern Hemisphere.