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2019-01-18
Bruno Bavota: RE_CORDIS

Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and an extraordinary gift for marrying the intellectual and emotional into earnest and profoundly effective songs. Though favorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota has found himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of a more distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates his songs in real time as he performs - often with his bare hands engaged in a seesaw battle of construction against obstruction. It infuses a genuine sense of tension and forward momentum that makes his work extraordinarily poignant. Recorded live in one afternoon at a friend's studio in Bavota's hometown of Naples, Italy, RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they stand at this moment in time - ever-evolving musical life-forms that change shape while maintaining their distinctive skeletons. It also introduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chord strikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling of feet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As an exhibition of Bavota's skills as a composer and performer, it's impressive; as a glimpse of what's to come, it's an epiphany.

Janek Schaefer (For Robert Wyatt): What Light There Is Tells Us Nothing

For over 20 years, British sound artist, Janek Schaefer, has earned significant international acclaim & awards for transforming the power of half-forgotten memories into otherworldly works, that are often as ambiguous as they are evocative. Previous collaborators include Charlemagne Palestine, Philip Jeck, Stephan Mathieu, and a work-inprogress with William Basinski. Schaefer's compositions primarily occupy and inhabit the spaces between sadness and joy, and relish in the unpredictability of emotional gravity. It is this transience that makes his new album, What Light There Is Tells Us Nothing, so resonant. In 2014, with Robert Wyatt's blessing, Schaefer was commissioned by the Sounds New Festival in Canterbury, England to compose a new, original piece of music created entirely from elements of Wyatt's Cuckooland album. The composition was crafted using Schaefer's custom two tone-arm 'Twin' turntable with effects pedals and digital collage. Originally presented at the festival as an immersive, multi-channel radio installation, his cloud of sound is a sublime meditation on the profundity of Wyatt’s work, and its transporting idiosyncrasies. Schaefer presents that piece as the title track of this new full-length opus, which is complimented with seven original compositions that not only exist in the same wondrous space, but echo its playfully poignant resonance, well after the album has ended...

William Basinski + Lawrence English: Selva Oscura

For over half a decade, William Basinski and Lawrence English have been in regular contact with one another. During that time their paths have crossed repeatedly in various cities; Zagreb, Los Angeles, Hobart and more, in a variety situations. It was from these chance encounters - and the strange familiar of lives lived in transit - that their first collaboration, Selva Oscura, was seeded. Each of the extended pieces on this record maps an acoustic topography that draws on the concept of drifting into the strange familiar. The works each dwell in an ever shifting, yet fundamentally constant state of unfolding. As one sound fades away, another is revealed in its place, creating a sense of an eternal reveal. Selva Oscura was recorded in Brisbane and Los Angeles simultaneously. The compositions were each created through a process of iteration and rearrangement that inverted the micro and macro characteristics of the raw sonic materials. Dynamics and density were chiseled with restraint and at other times intensely reductionist approaches to create a limitlessly deep, but open sound field - as rich as the suggested place from which its title is drawn.

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2018-09-21
Beak>: >>>

Acclaimed UK out-rock trio, Beak>, return with their first album in six years. The aptly-titled >>> will be released on September 21, 2018 on Temporary Residence Ltd./Invada Records. Written over the last year and, for the most part, written and recorded live at Invada Studios, the band continue to forge their own path through their own genre of oddness. ">>> definitely sounds like a step forward. The production and feel of the first two albums were like listening through frosted glass; a band playing behind a curtain. Now we are hearing Beak> in sharp focus, but without forfeiting what the band see as its 'wrongness'. This could be the result of having played bigger stages and festivals - something that was never part of the plan - or perhaps it is just a reaction to the infinite cut & paste fuzz pedal kraut bands on the planet." - Redg Weeks, Invada Label Manager

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2018-09-21
Field Works: Box Set

Metaphonics: The Complete Field Works Recordings is a sprawling anthology of site-responsive music, imagery, and original text, spanning 7 vinyl LPs and a hardbound book. Inspired by Stuart Hyatt's audio field recordings, musicians from around the world have contributed complex sonic narratives under the Field Works banner. Each album begins with Hyatt's samples and soundscapes from a particular time and location, weaving them into musical phrases and ultimately into song cycles intended to give the listener a heightened and more nuanced sense of place. The Field Works musicians are: Stuart Hyatt, Dan Deacon, Juana Molina, The Field, Pantha du Prince, Eluvium, Dntel, Kaitlyn Aurelia Smith, Gazelle Twin, Visible Cloaks, The Album Leaf, Loscil, Matmos, Rafiq Bhatia, Paul de Jong, Julien Marchal, Mary Lattimore, Lali Puna, Lusine, B. Fleischmann, William Tyler, Nick Zammuto, Lullatone, Benoit Pioulard, Luke Abbott, Marcus Fischer, Rafael Anton Irisarri, Greg Davis, Player Piano, Prototokyo, Daring Ear, Enrique Ramirez, and Forrest Lewinger. An edition of 225, this very limited boxed set comes hand-assembled in custom packaging, and includes high-quality audio download codes for the entire 7xLP set.

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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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2018-06-15
Tangents: New Bodies

After an eventful year of touring throughout their native Australia - including runs with labelmates MONO and likeminded pioneers Tortoise - and featuring alongside the work of artist David Hockney at the National Gallery of Victoria, post-everything quintet Tangents return with another album, and another stylistic detour. New Bodies continues Tangents' rummage through countless varieties of electronics, rock, dub, noise, and free improv jazz that defines the group's acclaimed aesthetic. The spacious dub of a plucked cello gives way to a minimalist breakbeat tableau resting over rhythmic prepared piano; a staid electronic groove is gradually absorbed into washes of frenzied improv; staccato synths are woven into tumbling avant-rock; and shimmering free drums phase over static loops of piano, guitar and cello. To quote FACT Magazine, "The quintet are so comfortable working with jazz, folk music, postrock and electronic music that it comfortably hangs in a space between them all." On New Bodies, that description rings more intuitive and authentic than ever.

Young Widows: DECAYED: Ten Years of Cities, Wounds, Lightness, and Pain

DECAYED: Ten Years of Cities, Wounds, Lightness, and Pain perfectly charts Young Widows' evolution from inspired post-hardcore trio to peerless entity crafting profound combinations of post-punk, noise rock, heavy psych, and gothic folk. The fifteen tracks in this collection originally appeared on stand-alone singles, b-side, splits with likeminded artists (including Bonnie 'Prince' Billy, Pelican, Melt-Banana, and MY DISCO), and rare compilations. Four of them have never been released until now. Of the many impressive aspects of Young Widows' decade-plus run as a band perhaps most remarkable is the quality and breadth of music they made that didn't appear on their albums. Every song here is a standout track from the evolving eras of the band, and as with all things Young Widows, DECAYED pays respect to the past while planting roots for the future.

Rachel Grimes: The Doctor from India: Original Motion Picture Soundtrack

An ethereal and meditative soundtrack album from pianist and composer Rachel Grimes (Rachel's, King's Daughters & Sons), The Doctor from India features piano, violin, harp, saxophone, and strings interspersed with ambient sound design. Created for a new documentary film by Jeremy Frindel, this score provides a thematically unified sound scape to support the inspiring story of Dr. Vasant Lad, a holistic health pioneer whose approach centers around the ancient practice of Ayurveda.

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2018-04-06
Paul De Jong: You Fucken Sucker

You Fucken Sucker is the new album by Paul de Jong, cofounder of beloved collage-pop eccentrics, the Books. Presented in the exact sequence in which it was conceived, You Fucken Sucker charts a grueling and complicated time span in de Jong's life. Over the course of its 14 tracks - which range in length from 15 seconds to nearly 10 minutes - we hear complex tapestries of acoustic and electronic instrumentation submit to waves of unhinged screaming; found-sound assemblage seamlessly incorporating subtle R&B rhythms; Freudian funk; lo-fi prog-metal; and vast synth patch orchestration adding unexpected textures and tension to the whole spectacular mess. Like much of Paul de Jong's work, You Fucken Sucker is a genre unto itself, overflowing with innovative exploration of sounds and senses. Unlike his previous work, it is an unvarnished exposition of anger, frustration, misery and confusion. Perhaps most vitally, it is an opportunity for the rest of us to experience the kind of communal emotional purge more typical of his roots; pre-Internet basement punk rock shows - unafraid of being afraid.

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2018-03-09
Majeure: Timespan Redux

A decade ago, Zombi cofounder A.E. Paterra conceived his solo endeavor, Majeure. Released in 2009, the debut album, Timespan, took the term "full-length" quite literally - its 40-minute runtime filled by three epic, side-long journeys through time and space. It merged the sinister soundtracks of Vangelis and John Carpenter, the stately minimalism of Cluster and Ashra, and the relentless drive of Tangerine Dream and Jean-Michel Jarre, delivering inspired sci-fi disco-prog of the highest caliber. Originally released on 2xCD and 2xLP, Timespan quickly sold out on both formats and has been out-of-print for nearly a decade since. To celebrate its forthcoming 10th anniversary, the album is given an entirely new mix and master for this special-edition reissue, Timespan Redux. Mixed from the original master files by A.E. Paterra, and remastered by James Plotkin, Timespan Redux improves upon the original in virtually every way. The vinyl format of Timespan Redux is pressed onto 100% virgin vinyl for premium sound quality, and is available on limited-edition colored vinyl (clear w/ transparent blue streaks) while supplies last.

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2018-02-16
Songs: Ohia: Travels In Constants

Sometime in 2001 - sandwiched between the release of Ghost Tropic and its follow-up, the cryptic classic, Didn't It Rain - Songs: Ohia recorded an EP for Temporary Residence's distance-themed subscription series, Travels In Constants. The untitled EP consisted of a single 18-minute song - performed live by Jason Molina in his living room, recorded directly to 4-track cassette as the sounds of a typical Chicago night bled through the air. Built solely from an acoustic guitar and Molina's familiar melancholy croon, it's a hauntingly intimate track. Molina once remarked that it was "probably too out there" for a proper Songs: Ohia album, which is perhaps why is felt right at home in this context. Scarcely available in its original CD-only edition of 1,000 copies, Travels In Constants has finally been remastered and reissued for vinyl and digital formats. Completing this reissue is "Howler," another unusually lengthy Songs: Ohia track that, like Travels In Constants, was recorded and released in 2001 in an edition of only 1,000. These tracks are amongst the most abstractly beautiful and alarmingly delicate music that Molina ever committed to tape. It's an honor to finally make it properly available for the world.

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2017-11-10
Four Tet: New Energy

This is the new Four Tet album on gatefold double vinyl format.

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2017-11-10
Howard Hello: Election Year

After more than ten years apart, multi-instrumentalist songwriters Marty Anderson (Dilute, Okay) and Kenseth Thibideau (Tarentel, Sleeping People) have reconnected to resurrect Howard Hello. Originally founded to craft music inspired by the American Zeitgeist, Election Year finds Howard Hello returning to familiar themes: The dichotomies of reality and illusion; organic and synthetic; sincerity and irony; faith and fact. These themes, however familiar, are perhaps no more confusing and confounding than right now in present-day United States (hence the album's title). Musically Anderson and Thibideau use music as an analogy, fusing abstract and traditional instrumental textures with angelic, distorted layers of vocal accompaniment. Their collaborative connection is extraordinary and rare, symbiotic craftsmen of profound meditations that are as fascinatingly weird as they are irrefutably wonderful.

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2017-10-20
Watter: History of the Future

When Watter first appeared fully formed in 2014 as a trio featuring founding members of Grails and Slint, most assumed the mercurial group would vanish into the ether just like the foggy echoes of sound they crafted on their debut album, This World. Instead, they toured the US with their longtime friends in Om, and returned home to begin work on an ambitious new recording studio, from which their new album, History of the Future was born. As with their first album, the songs on History of the Future evolved from many long days and nights of improvisation, experimentation, and collaboration. In many ways, the guests - which include, among others, Britt Walford (Slint), Dominic Cipolla (Phantom Family Halo, Torres), Rachel Grimes (Rachel's), Bundy K. Brown (Tortoise), and Todd Cook (Shipping News, The For Carnation) - and the gear were as vital to the creative process as the core duo of Riles and multi-instrumentalist Tyler Trotter. It is this exploratory nature that breathes life into Watter, and turns ephemeral into eternal.

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2017-10-06
Canon Blue: Lasso Yo

Lasso Yo is the third full-length from Canon Blue, the alter ego of Nashville producer-songwriter, Daniel James. It's been over a half-decade since Canon Blue’s previous album, the Efterklang and Amiina-augmented orchestral pop opus, Rumspringa. Six years can feel like a lifetime, and James knows that all too well, and he tells the whole story on Lasso Yo. Conceived during increasingly long periods of isolation caused by increasingly intense bouts of anxiety and depression, Lasso Yo weaves those difficult personal struggles into a lyrically earnest and musically rich collection of songs. Produced, performed, and recorded by James at Taylor York's (Paramore) house, and mixed by John McEntire (Broken Social Scene, Yo La Tengo, The Sea and Cake), this is not only Canon Blue's most personal record, but also his most profound. For what was undoubtedly a challenging, cathartic record to make, Lasso Yo achieves a kind of weightlessness that betrays the heavy load it carries. It's this dichotomy that gives the album a curious magic, an unlikely transcendence spawned by an uncomfortable confrontation between James' past and present, and the new shape it gives his future.

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2017-09-22
Behind the Shadow Drops: H a r m o n i c

Behind the Shadow Drops is the new solo endeavor from Takaakira 'Taka' Goto, founding guitarist and composer of iconic Japanese experimental rock group, MONO. Established in 2016, Behind the Shadow Drops combines Goto's disparate but commensurate interests in many different forms of music, most notably ambient, trip-hop, industrial minimalism, and modern classical. Recorded at Goto's home studio and mixed with esteemed producer and percussionist, John McEntire (Tortoise, The Sea and Cake, Yo La Tengo), H a r m o n i c merges Goto's dynamic, moody compositions with McEntire's renowned drum programming and percussive sensibilities. What begins as a passing resemblance to the more melancholy work of Goto's ensemble, MONO, slowly mutates into something otherworldly, submerging in a symphony of synths, drum machines, noise loops, and mournful strings (courtesy of Los Angeles experimental cellist, Helen Money). Resembling something like waves rippling in the ocean under a cloudy moonlit sky, H a r m o n i c is as eerie as it is beautiful - a vast abyss punctuated by seemingly endless glimmers of light.

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2017-09-22
Mogwai: Every Country's Sun

Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds - towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume - and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics ("Coolverine"), church organs as chariots of existential fire ("Brain Sweeties"), tremulous, foreboding bleeping - possibly from a dying android ("aka 47"). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, "Party In The Dark," a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's "directionless and innocent, searching for another piece of mind". This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal "Every Country's Sun," its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.

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2017-09-22
Mogwai: Every Country's Sun

Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds - towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume - and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics ("Coolverine"), church organs as chariots of existential fire ("Brain Sweeties"), tremulous, foreboding bleeping - possibly from a dying android ("aka 47"). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, "Party In The Dark," a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's "directionless and innocent, searching for another piece of mind". This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal "Every Country's Sun," its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.

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2017-03-31
Hauschka: What If

Since 2004, Volker Bertelmann - aka Hauschka - has, steadily earned a remarkable reputation as a purveyor of imaginative, distinctive, prepared piano music. On What If - which finds him adding player pianos (also known as pianolas) to his arsenal - Bertelmann expands his range even further, defying expectations and delivering what is without a doubt his most ingenious album yet. While engaging with his trademark technique of utilizing unusual objects - art erasers, for example - to treat (or 'prepare') the piano, Hauschka also programmed parts for player pianos, exploiting the speed at which they could play, manipulating the resulting sounds, and building layers to emphasize a composition's meter. What If aims to provoke reflection beyond the musical sphere with the titles of the both the album and its individual tracks. Overflowing with haunting melodies, mysterious sounds, and complex patterns, What If crowns an extraordinary couple of years for Hauschka. Likely to prove one of 2017's most original albums, What If redefines the very notion of piano music in dramatic and exceptional fashion. It stands as a rebuttal to those who lazily shoehorn Hauschka's work into the so-called, uncomfortably broad 'new classical' category, and instead underlines his status as a unique and invaluable artist.

Grails: Black Tar Prophecies Vol's 1, 2, & 3 (Reissue)

At the start of 2005 Grails returned to the US from a month-long European tour. Stepping off the plane, most of the band walked in one direction and the violinist strayed off into another. It ended up being the last time most anyone would see or talk to him. A bandmate for three albums in five years had vanished only to exist in the form of vague rumors. As the varied reports of brief encounters and sightings grew stranger and darker, the band began a series of recordings called Black Tar Prophecies. With newly liberated instrumental roles came new possibilities for the band's sound. In this way the collected Black Tar Prophecies Vols. 1, 2, & 3 ends up being a more idiosyncratic mission statement for future Grails recordings, revealing their fondness for the '60s and '70s experimental artists that saw music as a process of discovery. A parallel was now forming between Grails and pioneering experimental bands like Faust who, rejecting their past, started over from the beginning to build new languages in music.

Remastered for vinyl and reissued for the first time in over a decade, Black Tar Prophecies Vols. 1, 2, & 3 is a massive evolutionary step in the established Grails sound and is shrouded in change and pain. The somewhat clinical studio sound and recording style with which they had established a tremendous following has been replaced with a much more free and conceptual recording style. This method liberated the group in the studio and these recordings feel much more open, heavy, and psychedelic. This sound has always existed within Grails, but it was here that it became their identity.