Secretly Distributon

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2013-08-20
Andrew Cedermark: Home Life

Following his 2010 effort, Moon Deluxe, the rock-and-roll musician Andrew Cedermark spent 2012 putting new songs to tape in an honest-to-goodness rock-and-roll recording studio. Ten of these songs make up his new album, Home Life, which is set in New York, New Jersey, and Virginia, and which, loosely, is about growing up only to find that you didn't have to, and the subsequent discovery that the process is irreversible. Other irreversible processes discussed in the album include falling in love; losing friends while not making friends; and realizing that one is mired in a place where one does not belong. Like country and rap music, neither of which Home Life resembles, the album's lyrical content is designed to reflect the likely concerns of its listeners.

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2012-07-24
Eric Copeland: Limbo

Eric Copeland is an experimental musician based in New York City. He is a core member of Black Dice and forms half of the duo Terrestrial Tones with Animal Collective’s Avey Tare. His extensive and exemplary solo work has long been hailed for its ingenious torrent of sounds and schemes.

Tie up your laces and listen loud. Feeling like a funked up alien comic book, Copeland’s newest full length, Limbo (out on June 5th via Underwater Peoples), extends his ouvre of layered, pitched, and all-out fucked sounds toward an easier place, a more familiar musical terrain. More fleshed out than his earlier work, Limbo’s six parts give it a capacious feel of action. Well organized and having an undeniable rhythm, the album is an excellent progression from the concepts explored within throughout his body of work.

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2014-02-18
Evan Ønly: No Matter What EP

We'd like to invite you to experience Evan Ønly's debut EP, No Matter What, a highly-evolved pop record with human progress in its sights and soulful electropop as its means. Produced by Ice Choir's Kurt Feldman, these nine kinetic anthems alchemize the DNA of Ønly's preferred architects of sound -- Prefab Sprout, Pet Shop Boys, The Associates, and David Bowie's Let's Dance -- into an astute psychological pop adventure for a future-facing generation. Like the British avant-pop artists who infused classic tunes with a social awareness, Ønly creates music in the belief that pop can still change the way you see yourself and the world. We've all got something on our mind; No Matter What gives you the keys to find out where it leads.

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2013-06-11
Free Time: Free Time

Free Time formed in the summer of 2012 around Melbourne luminary songwriter Dion Nania (Panel of Judges). After moving to New York in 2011, Nania kicked around for a while, played some lead guitar with fellow Melbourne transplantsScott and Charlene’s Wedding, then helped out the Twerps playing bass on a national tour. Shortly thereafter he began writing new songs with the intent of putting a new band together, eventually enlisting the support of Adrienne Humblet on bass, Jonah Maurer on guitar, and Michael Mimoun on drums. Filling out Nania’s jangly, sometimes heartbreaking pop, the band quickly recorded most of their first LP the day before Dion flew home to mix it. He returned with fragments for new songs and the band finished the record in December 2012.

Nania’s songs tell stories of following love across the world, of being unsure about the future and of his place in it. Like the trans-pacific ping pong of the last 2 years of his life, his songs veer between sweet sadness and wild exuberance.

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2014-08-19
Free Time: Esoteric Tizz

Free Time’s new 7” for Underwater Peoples pairs the saturnine “Guess Work” with the uptempo flip “Esoteric Tizz”. The double A-side presents a unique juxtaposition of form, a spaced-out pastoral take on the nature of love contrasted with a hectic pop exploration of what it can mean to live a double life.

Free Time is Melbourne expat Dion Nania on guitar and vocals, Jonah Maurer on guitar, Mike Mimoun on drums, and Eric Harm on bass - though the 7” features original bassist Adrienne Humblet.

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2012-09-11
Ian Drennan: The Wonderful World

The greatest innovators are often characterized by their love – hate relationship with popularity and acceptance. To accept what is ‘now’ is to stagnate, yet to reject it is to become irrelevant. The true harbingers of the ‘new’ reach for the stars with one arm while clinging to the ground with the other. In essence, dragging us forward.

Such is the case with The Wonderful World, Ian Drennan’s debut solo work, to be released September 11, 2012, as a double LP on Underwater Peoples.

The Wonderful World is as gratifying as it is unnerving, the music weds perfectly with the boundless number of variables facing those alive, today. The sensitive listener in search of a thesis statement will enjoy voyaging through Bill Nelson’s melodic lure and Otomo Yoshihide’s stylized noise, yet they may find an optimistic message to murky and fucked to be considered a workable form of positivism. Ian Drennan’s first solo effort is sorrowful, active and curious; a vast record that is exponentially enjoyed by the emotionally attuned.

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2015-10-30
Ian Drennan: Flower of Love

Flower of Love is the third album by artist, composer and musician Ian Drennan. The album will complete a trio of a typical, meditative records that Drennan has composed using partially automated software processes. Flower of Love follows The Wonderful World, which Drennan debuted for Underwater Peoples in 2012, and Prelude to Bleu Bird Cabaret, which was released on Underwater People's sister label PIKdisc in 2013.

Uncrowded textures and sequences show Drennan's equal sensitivity to the physical and temporal elements of sound, placing his music in a lineage that includes other transitional noise, avant and musique concrete outfits who have hybridized influences towards more individualized ends.

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2012-07-31
Ice Choir: Afar

80s production married to 19th Century poetic influences, simultaneously disengaged and deeply personal, the immediacy of its melodies obscuring ornate arrangements, Ice Choir’s debut album “Afar” revels in the multiple contradictions it presents to listeners. This is a record that sounds like it was tracked thirty years ago in a $5,000-aday studio: all sheen, synths, compressed guitars and digitally revived vocals yet is as bedroom-and-laptop as any; written and produced on the road and out of suitcases over the past 12 months by Kurt Feldman (and later brought to life via MIDI and an extensive collection of outmoded vintage synthesizers). Indeed, part of its genius is this unyielding commitment to subverting expectations. Rather than engaging in crude revivalism, “Afar” challenges conventional perceptions of 80s technopop, highlighting its musically progressive and literate roots and re-imagining them to create a startlingly original sound. This makes for an unconventionally diverse album that dips into the palettes of Italo-disco, avant-garde pop, classical music and even smooth R&B while somehow remaining completely, utterly, coherent. Feldman jokes that he originally tried to make something that sounded “equal parts Flyte Tyme, flight school (via SNES Pilotwings) and luck dragon in flight.” Notwithstanding the meticulous detail to composition and arrangement throughout “Afar”, perhaps it is the substance and quality of lyrics, and their centrality to its appreciation, which will distinguish it most from its contemporaries. This is writ large in Feldman’s nod to John Keats’ Fancy on the album closer “Everything Is Spoilt By Use” (a glittering, tinsel-clad ballad that features a sublime cameo from Chairlift’s Caroline Polachek).

“Afar” is 35 minutes of the most considered pop music out there; a compelling ode to lust, distance and alienation …

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2011-06-14
James Ferraro: On Air

Electrocuted Moon Hair, Cone Headed Space Punks in Fast Forward Neo Tokyo’s Virtual Flat Screen Pop Stars, Jetset Tabloids Zebra Print Moon Boats Splattering Ketchup Packets are just some of the themes that pour out of the Musical Imaginarium of James Ferraro’s highly anticipated, fully restored and remastered version of the 2009 limited edition CD-R classic On Air, featuring the online hit singles “Cinderella,” “On Air,” “Flashy Kamikaze” and more! Take an electric bite out of the Space Age Glam Sound of Metal Spaz Punks combing their 30 ft Tall Green Mohawks under Saturn’s Post-American Desert Skies and find out what happened after MTV lasered their logo into the moon. Made available by Underwater Peoples Records, two LPs fully loaded with Pop Art Mania guaranteed to give all the 21st Century Digital Children a fresh breath of Glam Rock Magic!

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2011-04-26
Julian Lynch: Terra

Julian Lynch grew up in Ridgewood, NJ, where, as a youth, he learned to play clarinet and guitar. In high school, he performed in bands alongside future members of Real Estate, Titus Andronicus, and Family Portrait. During a year spent studying in Scotland, Julian collaborated with Gary Caruth of Sad City. While working for Smithsonian Folkways Recordings in Washington, D.C., he played drums with the band Hairizona. Julian moved to Madison, WI, in Fall 2008 to begin a Master’s program in Ethnomusicology. In Madison, he recorded and released three CD-R’s under his given name: Born2Run, Birthday and Garden is Adventure. In 2009 and 2010, Olde English Spelling Bee released two LPs by Julian Lynch, Orange You Glad and Mare, respectively. Julian continues to live and record in Madison, where he is currently enrolled in a joint PhD program in Ethnomusicology and Anthropology.

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2013-03-26
Julian Lynch: Lines

Julian Lynch has been releasing home-recorded music under his own name since 2008. He has developed a unique style across several releases in the last five years, most fully realized in his newest long-playing project, Lines. Lynch builds Lines upon musically complex and thoughtful compositions without abandoning the accessibility, nuanced timbres, and vivid instrumentation found on his first three LPs. In addition to recording and performing music, Lynch leads a parallel life as a PhD student in Anthropology and Ethnomusicology at the University of Wisconsin-Madison.

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2012-09-11
King Cyst: Real Pussy

Luka Usmiani was asked to come on board as principal lyricist for King Cyst in mid 2011, following the aftermath of his former project No Demons Here. King Cyst had primarily been an instrumental Doors cover band before Usmiani, so it wasn’t long before Usmiani passed along a demo CD to the band showcasing his own songwriting (“Magnificent”, “Greedy Garden”). The band was smitten and an album was recorded within five months time at Flower Power Studio with Usmiani penning most of the lyrics and singing on the opening track, among others. Saxophonist, Ian Drennan was called in to help finish the album with Usmiani after an extended period of failing to meet deadlines. Following lots of work and lots more work, King Cyst is happy to bring you their first full length Real Pussy, out September 11, 2012 on Underwater Peoples Records. Usmiani has built his songwriting on the shoulders of his heroes from the 1970s Canterbury Scene. Progressive legends Robert Wyatt and Kevin Ayers provide the backdrop for the whimsical nature of both his tunes and lyrics, and there is a healthy smattering of Syd Barrett that barely bubbles over Usmiani’s pot.

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2016-02-05
King Cyst: King of New York

King of New York by King Cyst is a 42-minute odyssey about the limits of carnal adventure in New York City. Songs weave together circuitous paths, dead-ends and social impasses; the humanism of its heroes and heroines is strained by their undying libidos. Seductive in the same way a disproportionate painting might be, King of New York is candid series of portraits.

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2012-02-21
La Big Vic: Dub the World!: Actually Revisited

In the Press Release for La Big Vic’s debut LP, Actually, the music was defined by merely describing its creators. There was Peter, an industrious analog synth tinkerer, Emilie, an extrospective songwriting violinist, and Toshio, a foreign and mysterious cornucopia of inspirations. Together, they created what critics called “cosmopolitan” music, a hybrid of synth-pop, krautrock, psych-rock, dub music, and world influences explicit and obscure, “a strand of experimental music that is as wide-spanning in feeling as it is in sound.” (Martin Douglas, Pitchfork). Actually is an ornate entity, sweeping and grand, yet easy to listen to for days on end. This stems from the general calm an open mind derives from successful diversity. While a Cosmopolitan city may seem outwardly frenetic, it is the fluidity and synthesis of its components which define it so. Such disparate parts thriving so mechanically canillicit complacent wonder within the minds of gazing tourists. With Dub The World!: Actually Revisited, a conceptual sequel to LBV’s debut, Underwater Peoples would like to invite you underneath the great city of Actually. Down here, things may sound familiar to you, but certainly not the same. Reverberations cast long, evolving shadows across the tunnel walls. Flickers of light are extinguished by sirens. Dubbed and Re-imagined at Aki Road Studios by LBV’s own Toshio Masuda, Dub The World! contorts, subverts, and expands upon La Big Vic’s debut.

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2013-01-29
La Big Vic: Cold War

Since forming out of a drafty residential loft building in the Hasidic section of Williamsburg, Brooklyn’s La Big Vic has captured the heart of the American underground as a band that encapsulates the melting pot that is New York City. Toshio Masuda, a Japanese producer and multi-instrumentalist with a background in J-Pop and R&B, started the band in late 2009 with Emilie Friedlander, a classically trained vocalist and violinist who also happens to be a well-regarded music journalist. Soon joined by Peter Pearson, a keyboard player and avant-garde composer who restores vintage synthesizers by day, they bonded over an interest in repetition, the melding of electronic and analog sounds, and a panoply of musical reference points including dub, ‘70s electronic music, and the trip-hop of the early aughts. Unmoved by revivalism, they explored interconnecting ideas of musical expression, wielding inspirations more as paint than as the image being captured. Simply stated, La Big Vic just doesn’t sound like anyone else. There aren’t that many rock bands that use violin as a core instrument, and still fewer electronic groups that eschew the current machine-made aesthetic. La Big Vic are in fact both, but they value the immediate impact of a well-turned melody above all. Cold War hones in on the power of a soulful hook without forfeiting the cosmopolitanism that made its predecessor, Actually, so unique. The arrangements are more lush and crisp than ever, thanks partly to Toshio Masuda’s mastery of his bedroom recording studio, and partly to Soft Landing Studio’s Steve Griesgraber, who engineered the vocals and violin. Grounded in both hip-hop beats and melodic synth leads, Cold War also sees the band venturing deeper into narrative storytelling, darting between emotional missed connections and the romantic melancholy of wandering city streets at alone at night. It’s an upside-down love letter to the city that never sleeps, and the sound of three musicians coming into their own.

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2012-02-07
Liam the Younger: Clear Skies Over Black River

Is there anything as ubiquitous and personal as nostalgia? It is a feeling we all readily acknowledge and are inescapably drawn to, often finding it in the same places, while cherishing it for our own reasons. Simply reading the word evokes a unique slew of images in all of us, from which we subconsciously define the sentiment. Yet culturally, at least from an American perspective, it is common to find that we describe the emotion using very similar phrases and images, as if they were drawn from a collective memory – a national dream in the most literal sense. Liam Betsonʼs music lends itself to our collective memories – the true American dream, blasting images into the blackness of our minds like a spinning animation wheel making a horse gallop. After the Graveyard and Clear Skies Over Black River are vivifying and mnemonic works that bestow the same gift of empathy that Dorothea Lange gave our grandparents. Liam the Youngerʼs songwriting equalizes the bucolic dreams of our American consciousness, pacifying the storm waves of understanding each other. It is both euphoric and lonely in a way that Guthriean folk has a tendency to be, yet is altogether present and its own.

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2012-02-07
Liam the Younger: After the Graveyard

Is there anything as ubiquitous and personal as nostalgia? It is a feeling we all readily acknowledge and are inescapably drawn to, often finding it in the same places, while cherishing it for our own reasons. Simply reading the word evokes a unique slew of images in all of us, from which we subconsciously define the sentiment. Yet culturally, at least from an American perspective, it is common to find that we describe the emotion using very similar phrases and images, as if they were drawn from a collective memory – a national dream in the most literal sense. Liam Betsonʼs music lends itself to our collective memories – the true American dream, blasting images into the blackness of our minds like a spinning animation wheel making a horse gallop. After the Graveyard and Clear Skies Over Black River are vivifying and mnemonic works that bestow the same gift of empathy that Dorothea Lange gave our grandparents. Liam the Youngerʼs songwriting equalizes the bucolic dreams of our American consciousness, pacifying the storm waves of understanding each other. It is both euphoric and lonely in a way that Guthriean folk has a tendency to be, yet is altogether present and its own.

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2014-07-15
Melted Toys: Melted Toys

Melted Toys self-titled debut is out on Underwater Peoples August 5, 2014. Culminating three years after their acclaimed Washed & Dried EP first unveiled the group's distinct blend of hazy, plaintive pop and psychedelic electronica, the full-length reigns in squarely as the group's most definitive vision yet. It comes on as a sort of sanctuary-in-transit, inspired both by the shifting visions of dreams and global travel, so that each of the twelve passages flicker and flame with equal impression.

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2012-11-20
Monopoly Child Star Searchers: The Garnet Toucan

The Garnet Toucan is the latest release from Monopoly Child Star Searchers, the project of Charles Berlitz aka Spencer Clark (Skaters, Black Joker) The album is the final work in the “Romance Audio Trilogy”, succeeding 2010′s Bamboo For Two (Olde English Spelling Bee) and the CDr, Make Mine Macaw.

In his own words:

The intention in thse works lies in finding a symbolic, exotic, animal to unleash a psychoactive environment expression that leads one to an elaborate meeting with the natural world. The Garent Toucan completes the trilogy by uncovering the symbolic animal’s transfiguration into the outerzone of infinite space. The Parrot or Toucan is thought of as a mediator between human and nature…

Underwater Peoples is thrilled to present The Garnet Toucan in a stunning gatefold package designed by Clark himself.

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2016-07-08
Sean McCaul: Midnight at Purple Palace

Vibraphonist Sean McCaul is a highly accomplished New York City based musician/composer who has performed and recorded with many notable and diverse artists, such as, Philip Glass and Yo Yo Ma (Sony Classical), Dean and Britta (Jet Set Records), Lucy Woodward (Verve Records), and, Shilpa Ray (Northern Spy Records). Playing many solo and group performances around the city, Sean has established himself as one of New York's finest mallet percussionists. He has also produced numerous musical soundtracks for independent films, performance art and dance pieces. Self produced independent CD releases include the solo vibraphone work "Alone", and, instrumental record "No Words", which, have sold over 10,000 copies to date. Currently, Sean's new album of instrumental music, "Midnight At The Purple Palace" is set to be released on Vinyl by Underwater People's Records and features 9 original new works, as well as, a solo vibraphone re-working of Chopin's "Prelude in E minor". His style of playing would be best described as "Jazzy-Psychedelic" .

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2012-04-24
The Memories: The Memories

When the bleary eyed and wistful extol love’s endless utility, it is natural to recoil. Cloaked in sensibility, it’s easy to sigh deep, hunch awkward, and ignore the flirty beams of light sneaking past leafy guardsmen. It takes a slightly more valiant fellow to drop one’s plans, get stoned, and flirt back.

The Memories debut, self-titled LP, is a thesis statement for the young, courageous romantic. A drug fueled philosophy with pretty girls atop a pyramid of friends, weed, skateboarding, pizza and weed.

The Memories sound as if the The Feelies and The Delfonics had children, then left them to grow up alone in southeast Portland on a diet of sandwiches and skipped school days. Recorded in the upstairs bedroom of their shared home, The album bops between lamenting croons and peppy chorusses. The songs are short and stick around just long enough to properly articulate the sentiment, i.e. “Baby (You’re Totally Crazy)” & “Took Drugs (Went Insane).”

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2014-05-27
Three Legged Race: Rope Commercial Vol. 1

The scope of Robert Beatty's hydra-headed art practice has grown into an extreme articulation of unconfined creativity across multiple disciplines. A founding member of 2000's noise outfit Hair Police, as well as visionary illustrator and album-art designer for many of this era's most celebrated underground artists, Robert Beatty records his solo work under the name Three Legged Race. Come May 27, 2014, Three Legged Race will release the first volume of Rope Commercial, a planned series of EPs premiering through the label Underwater Peoples.

Rope Commercial Vol. 1 will be the first Three Legged Race record since 2012's acclaimed Persuasive Barrier (Spectrum Spools / Editions Mego) and Beatty's follow up to last year's video score collection, Soundtracks for Takeshi Murata (Glistening Examples, 2013).

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2012-09-18
Twerps: Work It Out

Triple A-side single from Melbourne’s pop chillers Twerps, the first new release since their celebrated debut album of last year, and perhaps their most polished effort yet.

The new 7″ takes their warm jangle pop down a darker path. Yet even as Marty Frawley’s lyrics explore the sadder side of getting to know someone, the music maintains the driving charm that helped us fall in love in the first place.

The 7″ is a co-release with Chapter Music.