Secretly Distributon

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2017-09-22
Balmorhea: Clear Language

A decade-plus on the road, near-constant musical output, and shifting creative priorities caused the revered Austin duo, comprised of multi-instrumentalists Rob Lowe and Michael Muller, to soberly assess the band's future. What, in the form of Balmorhea, was there left to say? And did they have the energy to say it? Stranger, the group's maximalist, genre-leaping full-length from 2012, had already seemed to trace the group's farthest bounds. And, over the years, they'd worked with a roving cast of accomplished string and rhythm players to craft a glassy-eyed, sage-brushed, instrumental Americana that, while celebrated in The New Yorker, Pitchfork and The Atlantic, among myriad other press, and attracting the film, ad, and television worlds risked pigeonholing them for good.

As they had in the beginning, in 2006, Muller and Lowe worked simply and with restraint, letting intuition guide them as they molded the 10 elegant, spacious gestures that comprise Clear Language. A relaxed, clear-eyed wonder tumbles through these songs like herons lancing through Kerouac's "hungermaking" fog. Clear Language is the sound of two friends transmitting unfettered meaning in a milieu choked by double-speak at every turn.

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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
Duncan Kissinger: Make Time Stop

Duncan Kissinger is a 25-year-old, Indianapolis, IN native that captures moments in time and turns them into songs. Crafting his music with the simplest of instrumentation, Duncan gives his songs room to breathe, to think, without ever indulgently dragging out his arrangements. His new album, Make Time Stop, is a collection of nuanced moments from Duncan's life, replayed and reflected upon in verse.

With this record, Duncan attempts to hold himself accountable for the first time. It's a record about love and how hard it is to know about love. These songs are moments, urges, impulses, reflections on what’s happening as it's happening. Make Time Stop is meant to empower others to place more value on individual moments and embrace emotion and intuition as the truest thing we have.

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2017-09-22
Eric Copeland: Goofballs

Eric Copeland (Black Dice) returns to DFA with a brand-new set of hyper & hectic leftfield club music. Goofballs places its emphasis on playful melodies, ear worm hooks & vocals mixed with trademark machine funk rhythms that hit hard and land off-balance. Any other way would be too obvious for an artist like Eric. Perhaps he even invented a new dance genre: 'Goofstep'. We'll see if that one sticks...

Eric Copeland is a founding member of Black Dice as well as a prolific solo artist. Besides DFA, he has released albums on L.I.E.S., Post Present Medium & Paw Tracks.

Goofballs was mixed by Rusty Santos (who has mixed everyone from DJ Rashad to Panda Bear to Owen Pallett) and mastered by Joe Lambert. It is Eric's third solo album for DFA Records.

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2017-09-22
Godspeed You! Black Emperor: Luciferian Towers

this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.

1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen - the wind is whistling through all 3,000 of its burning window-holes!

2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them!

3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. neglect, cancer maps, drone strike, famine.

4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too.

much love to all the other lost and wondering ones, xoxoxox god's pee / montréal / 2017

Hinds / Los Nastys: 'Holograma' / 'Castigadas En El Granero' Split

Punk rock exploded on the international scene just as Spain was awakening from the end of Franco's 35-year regime. And while new freedoms for an old country meant a blossoming of art and culture, the combination of geographical obstacles, a struggling economy, and prejudices towards the countries of the Iberian Peninsula meant that the Spanish underground music scene operated with added urgency, it also operated in relative isolation. But as anyone that’s dug into Spanish punk could tell you, the scene has an unparalleled vibrancy. Suicide Squeeze Records is proud to spread the word on this exciting community by way of a split 7" by two of Madrid's most ecstatic contemporary garage rock bands- the fiery quartet Hinds and the psych-tinged scorchers Los Nastys. In a nod to Madrid's close-knit underground circuit, the longstanding musical tradition of covers, and the band's mutual admiration, the split 7" features the two bands tackling each others' songs. Side A finds Hinds covering Los Nastys' pop gem "Holograma" while the flipside finds Los Nastys' doing a rave-up of Hinds' "Castigadas En El Granero." The record is both an unabashed party and an exciting document of an oft-overlooked scene. The split 7" will be available via Suicide Squeeze on 1000 copies of translucent blood red vinyl. Comes with a download coupon.

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2017-09-22
Hisato Higuchi: She (Reissue)

Expanded reissue and first-time vinyl release of Japanese musician Hisato Higuchi's startling debut. When "She" was self-released in 2003, Higuchi had been writing and performing his style of "Tokyo laborer's blues" for a decade. The delicate song textures of "She" capture the utter feeling of loneliness and a sleep-deprived mind staring off into a blurry urban night sky.

The music is "assembled from pedaling shapes of wraithlike guitar, blasted, genderless vocals and thin films of digital electronics and fuzz," David Keenan wrote in The Wire at the time. "On guitar he plays blues as oratorical as Loren Mazzacane Connors, moving from chords that sing like the guts of pianos through slouched single notes, propping up song forms as nod out beautiful as anything conceived by Kendra Smith and David Roback ... One of the finest solitary broadcasts from beneath the Tokyo pavement for a while." This reissue of "She" includes new cover art by Higuchi, two additional songs from the original recording session and remastered audio by Taylor Deupree of 12k. Download code included.

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2017-09-22
Hiss Golden Messenger: Hallelujah Anyhow

Hallelujah Anyhow is the latest studio album from Hiss Golden Messenger, out September 22 worldwide on Merge Records. Its ten new songs, penned by HGM principal M.C. Taylor, were recorded with Brad Cook, Phil Cook, Chris Boerner, Josh Kaufman, Darren Jessee, Michael Lewis, and Scott Hirsch. Alexandra Sauser-Monnig, Tift Merritt, Skylar Gudasz, Tamisha Waden, Mac McCaughan, and John Paul White provided vocal harmonies.

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I see the dark clouds. I was designed to see them. They're the same clouds of fear and destruction that have darkened the world since Revelations, just different actors. But this music is for hope. That's the only thing I want to say about it. Love is the only way out. I’ve never been afraid of the darkness; it’s just a different kind of light. And if some days that belief comes harder than others, hallelujah anyhow.

Whatcha gonna do when the wall comes down? When the wall comes down? What you ought to do is let it lie-let it lie And in the gathering darkness vow to never go back It was built by man and you can tear it down Tear it down, tear it down Step back, Jack, from the darkness

I've seen darker things than night. Hallelujah anyhow. -M.C. Taylor, July 2017

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2017-09-22
John Barera & Will Martin: Proceed To The Root

John Barera & Will Martin Proceed to the Root of their sound on their second album & strongest work to date. A tough collection of Techno & House styles collide with Soulful electronics and touches of Dub and Jungle for an album of finely crafted, sculptural, storytelling, and no-nonsense club music.

The recording process for 'Proceed to the Root' started almost immediately after their first album 'Graceless' came out. That was when they wrote the track 'Golden Hour'. There was a lot of momentum after the release of the debut album and buoyed by it's reception, they knew they wanted to do another album together and started writing for the next one right away. Although they've released a couple EPs since the album, all of those records had been recorded before it came out. So 'Proceed to the Root' is really the beginning of the next chapter for them and their music.

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2017-09-22
Lina Tullgren: Won

Lina Tullgren is from Southern Maine just over the border of the northernmost seacoast of New Hampshire. It's an unexpected location for artistic incubation, but osmosis is bound to occur when you grow up surrounded by family, friends, and weirdos interacting at all times with their own interpretations of creative output. Shifting in trainings and traditions, the 23 year old eventually found herself a voice with the electric guitar, uniquely flavored and shaped from the many years of fiddle lessons and classical technique. The shifts in genre and instrumentation are stark, but important for her growth as a songwriter. Lina's morphing interaction with music has mirrored a growing determination to harness her ability to melodically and lyrically express complex emotions - a rare gift at such a young age. With 2016's Wishlist EP - recorded to tape at the home of band mate Ty Ueda - Lina proved an ability to craft simple, introspective and succinct songs, each one a pulsing glow leaving you both hollow and whole, alone but never lonely. It is on Lina's debut album Won that we reap the full rewards of this newfound confidence in expression and rejection of internal hesitation. "The writing doesn't necessarily get easier, but I feel more comfortable tapping into emotions and going to those places that need to be written about. Won, as it turned out, is the product that I have been hearing and picturing in my head as I write and listen to music." It is the product of what happens when you push past the fear of what it means to think out loud - to become accountable for your internal struggles by way of manifesting your ideas into songs that are then free to grow apart from you, to exist on their own while always remaining specifically implicative of you. Now backed by a full band, each track manages to remain piercingly intimate, sometimes brief, and always honest, while gaining a wholly new sense of gestation both sonically and lyrically.

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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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2017-09-22
Moses Sumney: Aromanticism

Written in Montreal, Los Angeles, Asheville, Topanga, Laguna, Big Bear, coastal Nicaragua, and on a sleepy ship traversing the Pacific ocean, making Aromanticism was a 3-year adventure into the parts of the self that society encourages us to silence for the sake of our sanity.

The album title was chosen before any of its songs were written. The not-yet-in-the-dictionary definition of an "aromantic" is simply someone who doesn't completely feel romantic attraction. I'm just trying to get it out from over the red squiggly line.

Aromanticism features performances and production contributions from Matt Otto (Majical Cloudz), Thundercat, Joshua Willing Halpern, Paris Strother (KING), Miguel Atwood-Ferguson, Rob Moose, Ian Chang (Son Lux), Tosin Abasi (Animals as Leaders), Nicole Miglis (Hundred Waters), Ludwig Gorannson, Cam Obi and more. All of the lyrics and vocal arrangements were written by me. Genre is shirked while choir-inspired vocal layering is employed in order to explore the multiplicities that are contained within a single person. - Moses Sumney, June 2017

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2017-09-22
OMNI: Multi-task

Atlanta, GA trio Omni charges out of the gate in 2016, stunning everyone within earshot with their debut longplayer, "Deluxe"; a dizzyingly refreshing amalgam of wiry post-punk jitters & a dash of zen cool. "Multi-task" is their latest offering & all signs point to the coveted goal of "next level".

Guitarist Frankie Broyles (ex-Balkans/Deerhunter) & bassist/vocalist Philip Frobos (Carnivores) crafted "Deluxe"s eleven tracks in their practice space with friend & engineer Nathaniel Higgins. They returned to Higgins for "Multi-task", recording basic drum tracks at Higgins' home studio & overdubbing bass, guitar, vocals & more during two separate trips to a remote cabin in the woods near Vienna, Georgia.

"Multi-task" is a more musically adventurous step forward for the band, keeping the frantic, fleet-fingered fingerpicking of Broyles' guitar work & Frobos' dead-cool delivery while expanding their musical palette & to include whispers of post-Roxy glam & Postcard Records pop. "Multi-task" balances the band's trademark off-kilter & unconventional jams with an elegance not found in many of their contemporaries, Omni pulls it off with grace & style, still whirring on their minimalist funk-fused agit-pop while creating an album that is awash in the excitement of new love, or fleeting attraction - a journey from that dizzying buzz of first date pheromones found twirling on the dance floor to the cab ride cool-down to home (or wherever.)

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2017-09-22
Phoebe Bridgers: Stranger In The Alps

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song "Killer" EP, released to much acclaim on Adams's Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others.

On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

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2017-09-22
Ritual Howls: Their Body

Ritual Howls are a unique brand of industrial rock with death jangle-like guitars. Collaboratively, Ritual Howls create a surreal, introspective gloom that could fuel a disco in hell, a soundtrack to your favorite nightmares and most grisly fantasies.

The trio consists of Detroit's Paul Bancell (vocals/guitars), Ben Saginaw (bass) and Chris Samuels (Synths, Samples, Drum Machines). They collect samples of the physical world and feed them with guitar, vox, bass, synth and drum machines to create an aura of darkness over a pop sensibility. Paul Bancell provides lyrics that Poe or Lovecraft would approve of while Chris Samuels and Ben Saginaw sculpt sounds that bring his macabre tales lurching into the world of the living.

The band's Their Body EP follows up their third album, Into The Water, released a little over a year ago on Felte. Ritual Howls' production sees the band dipping their toes into cleaner sonic territory than previously heard. Lead single "This Is Transcendence," may be their most "pop" song to date. And lyrically, it's lyrics are as straightforward as we've heard from Paul Bancell too.i "Perfume" could have the most terrifying opening synth line that will sear your ears instantly. "Blood Red Moon" is reminiscent of signature Ritual Howls with Bancell's guitar leading while drum machine rhythms keep the industrial feel intact and Saginaw's low end thickens the intensity throughout.

While we wait for another full-length, Ritual Howls continue to impress and build upon an eclectic sound that seems to have never-ending possibilities.

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2017-09-22
Various: Warfaring Strangers: Acid Nightmares

As the hippie movement hurdled towards its emanate demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening fuzz and satanic screams to create their proto-metal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips.

Deluxe 2LP comes housed in a blacklight poster-style jacket, replete with flocking and lysergic neon. 24 pages documenting the creeping existential dread of the hard rock underground are tucked into the gatefold pocket alongside two dead dinosaur-heavy LPs. Compact disc is packaged in standard Numero slipcase, with digipak and 40-page book, limited to 2000 copies.

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2017-09-08
Alex Cameron: Forced Witness

Up until 2014 I was an investigator's assistant in a public law office. I can't tell you exactly what my job was on account of I signed a shut your mouth agreement around the time I quit for stress related reasons. But what I can say is that I dealt with corruption and badness perpetrated at the highest levels of authority, daily. I clocked all these leads and I made a file. Because these aren't things you keep in the dark. You shine a light on the badness and you strive to understand it.

From a dossier on all things delicate and beautiful and sadly human. crimes of passion and victims of love. All contained in 10 hot songs. Who's the culprit? I've got my inklings and you can get your own. But first you need to listen to the thing, take it all in, stick photos to your walls and connect them with string, measure footprints in the yard, wear a suit made of reeds, track the migration patterns of birds, intercept whispered transmissions, learn to eat spiders with a hunting knife, sleep in air ducts, make the case.

Here it is, my album: Forced Witness.

Alex Cameron

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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
Angelo De Augustine: Swim Inside The Moon

Swim Inside the Moon is a record by 24-year-old Angelo De Augustine. This second full-length of Angelo's career captures a sound he’s been looking for since he started playing music a decade ago:

"A sound behind the voice," says Angelo, who recorded all of this record in his bathtub using a reel-to-reel machine and a single Shure SM57 microphone. "I noticed that when you sing off a reflective surface you hear two voices. I was compelled to isolate that voice and bring it more to the front of the songs because in many ways I feel more connected to and comforted by that voice following me."

Listeners might hear Nick Drake's intricate arpeggiated guitar parts, Elliott Smith's pure vocals, or, at times, a likeness to the soulfulness of artists such as Vashti Bunyan, Judee Sill, and José González. But for Angelo's part, he found this sound on his own terms. As to what these songs mean, well, that’s harder to say. "I couldn’t tell you," says Angelo. "I get into this place, and then I wake up with a song instead of a dream."