Secretly Distributon

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2018-12-07
Anal Trump: The First 100 Songs

The true identities of Rob and Travis Trump remain shrouded in mystery. Whatever the origin of these mystery men, they found only one way to deal with the insanity happening in the political world: they became Anal Trump. Anal Trump come from a rich tradition of politically-motivated extreme music. Grindcore’s origins date back to Margaret Thatcher’s Britain, when a collective of teenage anarcho-punks decided to call themselves Napalm Death and throw thrash metal and hardcore punk in a blender set to “loudest” and “fastest.” The First 100 Songs pays tribute to classic Anal Cunt (AxCx) album titles like The 110 Song CD and 5643 Song EP. Rob feels their appeal lies in that gray area. “They took hate so far beyond everything that all meaning seemed to invert at some point and back again so often that it became impossible to take seriously.” Whatever the intent, they succeeded in horrifying parents everywhere. Anal Trump have one distinct advantage over Seth Putnam’s trailblazing act: whereas Putnam and his collaborators had to come up with their own sleazy subject matter, Rob and Travis have a ready-made supply of parent-offending quotes straight from the Oval Office. Produced, recorded, mixed, and mastered by Rob Trump, The First 100 Songs boasts a hundred songs in eleven minutes -- their entire recorded output to date. Rob and Travis Trump aren’t going to fill your ears with talk of universal healthcare or equal voting rights or any of that socialist stuff -- although they donated 100% of the proceeds from their EPs to non-profit organizations like the ACLU and Planned Parenthood. They just want to point out that the most powerful man in the world is a hate-mongering clown, using shrieks and micro-riffs as their chosen vehicle.

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2018-12-07
Delvon Lamarr Organ Trio: Live At KEXP!

The Delvon Lamarr Organ Trio may have this KEXP session to thank for much of the notoriety they have received since it first premiered. Since then, they've secured a record deal, a world renowned booking agent, a publishing deal, international sponsorships, and will be embarking on a national tour this spring. This session was released on vinyl for the first time for Record Store Day 2018, marking the first full KEXP session ever to be pressed on vinyl. Now it's available once again on black vinyl, CD, and cassette.

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2018-12-07
Emily Noyes Vanderpoel: Color Problems (Paperback)

Emily Noyes Vanderpoel (1842-1939) was an artist, collector, scholar, and historian working at the dawn of the 20th century. Her first and most prominent work, Color Problems: A Practical Manual for the Lay Student of Color, provides a comprehensive overview of the main ideas of color theory at the time, as well as her wildly original approaches to color analysis and interaction. Through a 21st century lens, she appears to stumble upon midcentury design and minimalism decades prior to those movements.

This book has for too long languished in antiquarian book markets, never receiving its proper audience. With this publication, we aim to change that, and have taken meticulous measures to reproduce the original artifact with this new edition. Using the most current digital methods and archival printing production, we aim to do justice to Vanderpoel's forgotten legacy as visionary and pioneer.

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2018-12-07
Gong Gong Gong: Siren / Something’s Happening

Beijing's Gong Gong Gong make driving, stripped-down transnational blues, tapping into the spirit of Bo Diddley, the Monks, and psychedelic music from West Africa to South- east Asia. "Phantom Rhythm" is the concept at the duo’s core: between Tom Ng's percussive guitar and Joshua Frank's melodic, charging bass, an aura of ghostly snare hits emerges over a thumping low-end pulse. Atop this framework, Ng recounts Cantonese tales of absurdity, love and lust with fragmented, wry vision.

On their first US release, Gong Gong Gong brings to life a cinematic chase scene. Shot-by-shot, frame-by-frame, "Siren" is a story of galloping hooves and screeching tires - a horse and car racing each other through mountains and desert, charging into the city. The flip-side, instrumental "Something's Happening" is Gong Gong Gong at their most raw: locomotive jangle and fuzz-faced roar. Dust, sweat and engine oil, the landscape rushing by.

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2018-12-07
HXXS: MKDRONE

When recording their EP 'MKDRONE,' duo Jeannie Colleene and Gavin Neves - a/k/a HXXS - were cramped in a San Jose warehouse, sharing a wall with a porn studio. Despite their vocal takes periodically interrupted by even louder and harsher vocal takes echoing in the halls, MKDRONE came together. But similar to life with no health insurance and recording music wedged in the walls of a porn studio, HXXS live somewhere between the uncomfortable and the alluring. Their live show, which consists of any hardware they can get their hands on - drum machines, synthesizers, samplers - is built on loops, making the songs feverish and at times deliberately frenzied to a point of anxiety. However the duo anesthetize this angst with more subdued nods to electronic and post-punk acts of the 80’s, 90’s, 00’s and Present.

While their music is undeniably erotic - a tip of the hat to their vocal San Jose neighbors - the EP is what happens when your intrigue with pop culture media and conspiracy theories from the 60's to present turns obsession. Contemplating the bombardment of modern media and those ill served by it. Women, the LGBTQ+ community, people of color, victims of white supremacy and the patriarchy.

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2018-12-07
LCD Soundsystem: I Used To (Dixon Rework b/w Pulse v.1)

Last year, LCD Soundsystem released their long-awaited fourth album american dream. The band's first record since 2010's This Is Happening garnered critical fervor - Pitchfork raved that the songs "couldn’t sound timelier" and "Murphy and company have never sounded so invigorated," while The New York Times hailed "call the police" as "a quietly ambitious protest song… except that instead of searing, it motors." Noisey embraced "american dream" like "a warm blanket."

Now the band return to the fold with two new 12"s, featuring the previously digital-only single "pulse (v.1)," and remixes of "i used to" and "oh baby" by Dixon and Lovefingers. Berlin DJ Dixon (named Resident Advisor's #1 DJ four years in a row) takes on the broodiness of "i used to" and opens it up into a club space, a logical choice for the Innervisions head and Muting The Noise owner. LA native and ESP Institute founder Lovefingers puts two different spins on the sincere "oh baby," making the original track a bit more upbeat and psychedelic. Both Dixon and Lovefingers are prolific selectors and continue the impressive lineage of LCD remixes.

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2018-12-07
LCD Soundsystem: oh baby (Lovefingers Remixes)

Last year, LCD Soundsystem released their long-awaited fourth album american dream. The band's first record since 2010's This Is Happening garnered critical fervor - Pitchfork raved that the songs "couldn’t sound timelier" and "Murphy and company have never sounded so invigorated," while The New York Times hailed "call the police" as "a quietly ambitious protest song… except that instead of searing, it motors." Noisey embraced "american dream" like "a warm blanket."

Now the band return to the fold with two new 12"s, featuring the previously digital-only single "pulse (v.1)," and remixes of "i used to" and "oh baby" by Dixon and Lovefingers. Berlin DJ Dixon (named Resident Advisor's #1 DJ four years in a row) takes on the broodiness of "i used to" and opens it up into a club space, a logical choice for the Innervisions head and Muting The Noise owner. LA native and ESP Institute founder Lovefingers puts two different spins on the sincere "oh baby," making the original track a bit more upbeat and psychedelic. Both Dixon and Lovefingers are prolific selectors and continue the impressive lineage of LCD remixes.

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2018-12-07
Los Sospechos: Postales Soundtrack

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2018-12-07
Richard Swift: The Novelist / Walking Without Effort

Richard Swift's duo debuts, The Novelist and Walking Without Effort, are fraternal twins wrestling with same Big Questions in opposite ways - one toiling in a cinderblock basement slugging typewriter coffee; one lost on the Pacific Coast Highway, looking again and again for something in a sunset that just ain't there. One's wheezing through a crusty gramophone in some Artie Shaw air-conditioned nightmare; one's gliding on the soft tape of an 8-Track, fat tears welling up behind those outlandish 70s sunglasses. Taken together, they speak to Swift's wild, preternatural shapeshifting ability, an auteur's understanding of mood and place. Yet, you always know you're seeing these new places through Swift's translucent, wolven eyes. These two recordings are his 8½, both the portal and the Rosetta Stone to Swift's singular musical universe and language.

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2018-12-07
Richard Swift: The Hex

Richard Swift believed in and sought real beauty. And so, even at its most caustic and sardonic, his masterpiece swan song The Hex is beautiful. Conceived in pieces over the last several years and completed just the month before his passing, The Hex is the grand statement Swift acolytes have been a-wishin-and-a-hopin' for all these years. After a career of sticking some of his finest songs on EPs and 45s, here are all his powers coalescing into a single, long-player statement. At its core, The Hex is an aching call out into the void for Swift's mother ("Wendy") and his sister ("Sister Song") whom he lost in back-to-back years. You hear a man at his lowest and spiritually on his heels. The pain fueling Swift's cries of "She's never comin' back" on the absolutely gutting standout "Nancy" is some sort of dark catharsis for anyone who's ever lost a loved one to the cold abstraction of Death. Over a slow, Wall of Sound kick and a warbling synth, Swift's cries climb higher-n-higher-n-higher into what may be his most devastating vocal performance on record. A cry of pain so real and so raw Swift had to treat the performance with just a little studio effect, without which the recorded grieving might be too much to bear. The Hex is presented here as "The Hex For Family and Friends." An obsessive fan of Wall of Sound doo-wop, early Funkadelic, Bo Diddley, Beefheart and Link Wray, Swift gives them all a moment with the flashlight around The Hex campfire, one moment to make a strange shadow-cast face for us, his family and friends.

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2018-12-07
Shame: Songs Of Praise

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2018-12-07
Sufjan Stevens: Lonely Man of Winter

LIMITED ITEM: Orders will be capped and pre-order links are discouraged. — from your friends at Secretly Distribution.

In 2007, Sufjan Stevens wrote and recorded "Lonely Man of Winter" and, as part of a holiday marketing contest to promote Stevens' Songs for Christmas boxset, traded ownership of the song to the winner, Alec Duffy. In turn Duffy gifted his song, "Every Day is Christmas," to Stevens.

But instead of widely releasing "Lonely Man of Winter," Duffy held listening sessions in his home and around the world, sometimes pairing the private listenings with cookies and hot chocolate.

In an end to that years-long project, Duffy - now founder/Artistic Director of the non-profit Brooklyn performance venue JACK - has decided to release the song "Lonely Man of Winter" on Asthmatic Kitty Records, digitally and on limited edition 7 inch, with funds going to support JACK's mission of fueling experiments in art and activism.

The 7-inch, which arrives in early December, includes the originally-shared song on side A (called "The Greatest Song No One Will Ever Hear" by the Wall Street Journal and "gorgeous" by the Village Voice) and an updated mix by Doveman (Thomas Bartlett) featuring Melissa Mary Ahern.

The digital single, released on November 9th, 2018, includes both versions, and "Every Day is Christmas" by Alec Duffy.

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2018-12-07
The Sight Below: Glider 10 (Remastered)

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2018-12-07
Wild Nothing: Golden Haze (CT10 Edition)

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2018-11-23
Ahmoudou Madassane: Zerzura - Original Soundtrack Recording

Soundtrack to the Saharan acid ethno-Western Zerzura. Instrumental soundscapes invoke a surreal fever dream of the desert. Reverbed electric guitar, subliminal drones, and ghostly percussion. Free form improvisations from Ahmoudou Madassane (Mdou Moctar, Les Filles de Illighadad) offer an entirely new vision of the familiar Tuareg guitar genre.

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2018-11-23
Beach Fossils: Beach Fossils

Beach Fossils’ self titled debut album is a seminal release from the halcyon days of Brooklyn’s underground music scene. Songwriter and composer Dustin Payseur’s home recorded masterpiece captures the naĂŻvetĂ© of youth, the anxiety of routine, and the joy of infatuation, though a track list full of layered guitars and heartfelt lyrics. Beach Fossils take inspiration from 60’s jangle pop, 70’s kraut rock, 80’s post punk, to create a sound uniquely their own with this first record, causing a ripple effect on the sound of indie music in the years that followed it. The album is now being reissued for the first time on Payseur and his partner Katie Garcia’s own label, Bayonet Records, including a limited edition green vinyl pressing.

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2018-11-23
Beach Fossils: What a Pleasure

Brooklyn bedroom pop pioneers Beach Fossils’ stand out EP, What a Pleasure, is being reissued for the first time since it’s 2011 release! Songwriter and composer Dustin Payseur’s upbeat follow up to his band’s self titled debut is a refined exploration of dreamy guitar sounds, lush synth arrangements, and confessional songwriting. Born out of late night jams with his bandmates and long time collaborator Jack Tatum (Wild Nothing), What a Pleasure expanded on Beach Fossils’ sonic landscape and resulted in some of Payseur’s most memorable tracks. The EP has gradually become a cult classic among fans of the band, and many of its songs still work their way into Beach Fossils’ live sets today. This What a Pleasure reissue will be released on Payseur and his partner Katie Garcia’s own label, Bayonet Records, including a limited edition yellow vinyl pressing.

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2018-11-23
Beach Fossils: Clash The Truth + Demos

Beach Fossils’ sophomore album, Clash the Truth, is modern post-punk triumph that’s left a lasting impression on the music scene it was born out of. After releasing their self titled debut and the beloved EP, What a Pleasure, songwriter and composer Dustin Payseur began recording dissonant and introspective demos reflecting on his southern upbringing and young adulthood in New York. The tracks that would eventually make up Clash the Truth involved Payseur taking his songwriting in a new direction, employing jagged instrumentals, existential lyrics, and socially conscious subject matter. The darker themes of Clash the Truth still come out vibrant through bright guitar tones, locomotive drumming, and Payseur’s inventive home recording techniques. Referencing the sounds of Factory Records releases, New York’s no wave scene, and 90’s avant-pop, Beach Fossils expanded their sound past the perimeters of bedroom dream pop. The album is now being reissued for the first time on Payseur and his partner Katie Garcia’s own label, Bayonet Records, including a limited edition clear pink vinyl pressing.

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2018-11-23
Calexico: The Black Light (Anniversary Edition)

An album about crossing physical and metaphorical borders that has never been timelier: Calexico’s classic album "The Black Light" turns 20 this year. This limited edition celebratory anniversary edition includes all new artwork by Victor Gastelum, extensive liner notes, and 11 bonus tracks.

What was surprising about The Black Light (and what set its architects apart from their indie rock peers) was the album's unusual willingness to wade into the rapids of American and Mexican culture, fully immersing itself midstream. From the outset, with 'Gypsy's Curse', the record combines guitar twang and flamenco flourishes; and by its end, almost an hour later, it's contrived a skillful and instinctive union of smoky bar room jazz, arthouse indie rock, and compelling mariachi brass in 'Frontera'. If Calexico falls short as a name, it’s only in the fact that - alongside their mining of Mexico's fertile musical past - Joey Burns and John Convertino weren’t just digging into California's songbook...they were unearthing America's too.

Capital Punishment: This Is Capital Punishment (Black Friday 2018 Exclusive)

Hot on the heels of Captured Tracks' reissue of Capital Punishment's 1982 album Roadkill, the quartet of Kriss Roebling, Ben Stiller, Peter Zusi, and Peter Swann present This Is Captial Punishment - an EP of new material recorded almost 35 years after the group disbanded.

Recorded at the Garden in Brooklyn, This Is Capital Punishment came about when Captured Tracks boss Mike Sniper asked Roebling for bonus material for the Roadkill reissue. The original members got back together and did a remake of their track "Confusion." A blistering, motorik take on the original, the new version reimagines "Confusion" as a much louder and sinister track. It was so loved by the label - and the band had so much fun recording it - that they decided to record new material.

Capital Punishment burn through four other tracks that all explore the darker edges of rock 'n' roll. From the strangely sultry "Drumming Out Time Inside Me" and "Grey And Illuminate" to the band’s favorite "Hot Love," Capital Punishment may not be teenage punks anymore, but they certainly haven’t lost their edge. Pressed on translucent blue vinyl, This Is Capital Punishment is limited to 1500 copies worldwide.

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2018-11-23
DIIV: Covers

Originally shared on DIIV's YouTube channel and then later given away on a limited edition cassette run of 50 copies at an acoustic DIIV show in a synagogue in New York City, Captured Tracks now presents a vinyl version of Zachary Cole Smith's lauded Sparklehorse and (Sandy) Alex G covers. Pressed on Clear Vinyl and limited to 500 copies to celebrate Captured Tracks' 10th Anniversary.

Durand Jones & The Indications: Durand Jones & The Indications Live Vol. 1 (Black Friday 2018 Exclusive)

In 2012 Durand Jones left his small-town in Louisiana, alto saxophone in tow, for the Jacobs School of Music at Indiana University. "Being a singer was never part of the plan," Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of "Dock Of The Bay," to a basement full of drunken undergrads. That rowdy band unfolded into The Indications which includes founding members Aaron Frazer (drums, lead vocals) and Blake Rhein (guitar).

Inspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller High-Life, the group spent their Sunday evenings recording into the early hours of the morning. The result is their modern soul masterpiece Durand Jones & The Indications (Dead Oceans/Colemine Records).

With comparisons from Charles Bradley, Lee Fields to Al Green, this young band are now at the forefront of 60's soul revival. Their sweaty, fiery live shows have earned them a reputation for giving it their all each night which can be witnessed on Durand Jones & The Indications Live Vol. 1. Available for the first time on limited translucent blue vinyl, the album includes tracks from their debut and deep cut soul covers fans have become accustomed to experiencing live.

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2018-11-23
Eric Copeland: Mixbone

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2018-11-23
Florry: Brown Bunny

Florry is a brand new rock band from Philadelphia. Teenage bandleader Francie Mendosch leads her rollicking ensemble (featuring Peter Gill, Theo Woodward, Debbie and Abbie Jones Hornburg) through the exuberant, yearning roller coaster tracks of Brown Bunny. There is a directness to Mendosch's lyricism and playfulness to her song's arrangements that feels anxious and hopeful. When Mendosch says "my fingertips are glowing / but it's not enough to keep me from blowing up" on "Please," one might believe her. Named in honor of Chloe Sevigny's character in the film Brown Bunny, Mendosch's songs are about cultivating a sense of self acceptance in the face of social shame and bullying. Brown Bunny is full of startling nuance and diverse emotionality, from the sorrowful melancholy of "Kung Fu Girl" to the anticipatory excitement of "Kanagawa". Brown Bunny is a fully realized portrait of tying the loose ends of adolescence and venturing onwards.

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2018-11-23
Minks: By the Hedge

The project of Shaun Kilfoyle, Minks' moody take on indie pop initially drew comparisons to the Cure, New Order, and My Bloody Valentine. Little was known about the group until the April 2010 release of their first single, "Funeral Song". That summer, the band returned with second single "Ophelia", revealing a softer side to Minks' music. Live shows with Veronica Falls and labelmates Cosmetics and Blank Dogs increased buzz around the band, culminating with the release of Minks' debut album, By the Hedge, in January 2011. With their debut, MINKS showcased the ability to make listeners feel an eternal autumn. Kilfoyle's ability to capture the raincoat grey Boston mornings of his youth make you feel like you are listening to a dream, only you're awake and standing in the pouring rain. Put on your raincoat and enjoy the splendor.

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2018-11-23
Ouri: We Share Our Blood

Ouri is a DJ, electronic producer and multi-instrumentalist. Hailing from South America by way of France, she produces electronic music in Montreal. Her background experience with the piano, harp and cello heavily influence her shape-shifting approach to melody and bass. Her 2015 EP Maze is a provocative experience of vivid, entrancing dance music. Aggressive, refreshing and playful, her sound is bold and self-assured. In 2017, Ouri released her debut album Superficial, a kind of laboratory where she mixes her truth with chaos. Her obsession with strong sensations, femininity and this same truth makes up the heart of this project. In late 2017, she joined force with Montreal-based singer-songwriter Mind Bath and dropped a surprise self-titled EP. The Ouri / Mind Bath EP features both tenderness and aggressiveness, and balances the femininity and masculinity of the two artists. Ouri's first oering in 2018 is a new EP entitled We Share Our Blood and her first release on Ghostly International. Despite crusades or potential AI domination, we keep sharing our blood: for creation or destruction. Either motivated by rivalry, fusion or strangeness, we blend. Ouri uses a direct path to convey this primitive condition. A sovereign state, this project allows no collaboration. Using her own voice for the first time, she suspends with deep sincerity the moral turpitude that seeks to be caressed. The drum breaks are crisp and raw, the bass lines are overpowering. The voice and appealing harmonies bring out a soothing side, balancing this whole adventure. Contrary to her previous work, this EP is shaped out of mantras and hymns, ushering through the portal an oering of space for listeners to investigate their own fantasies.

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2018-11-23
Songs: Ohia: Love & Work: The Lioness Sessions

OUT OF STOCK - REPRESS DUE IN MID-FEBRUARY

The Lioness is the first Jason Molina project to fully turn away from the battlefield folk and deconstructed Americana of earlier Songs: Ohia recordings. At the dawn of the 21st century, the album felt modern. It aligned Molina with a new set of peers - Low, Gastr del Sol, Red House Painters and, most importantly, the influential Scottish band Arab Strap, whose producer and members were crucial in the creation of The Lioness. The avant-garde tones and arrangements of Arab Strap are absorbed here into Molina's songwriting to create what would become, for many acolytes, the archetypal Songs: Ohia sound. Love & Work: The Lioness Sessions, the box set reissue, will serve as the seminal log of the era, complete with lost songs, photos, drawings, and essays from those who knew Molina best.

We know Molina was diligent in both love and work. He treated songcraft like a job at the mill, and his approach to romance was not so different. We know that when he fell in love with his wife, he was dutiful in his adoration. There were strings of love letters and poetic gesture. Included in this edition are replicated examples of this relentless love - an envelope with a letter from Molina, a photograph of Molina and his to-be wife, a postcard, a Two of Hearts playing card, and a personal check for one million kisses. Some of these items were gifts he would send to his new love from the road; others, like the 2 of Hearts, were totems he’d carry with him around this time as a symbol for his burgeoning love.

And so, the head-over-heels album that is The Lioness has its workman counterpart. Nearly another album's worth of material was recorded in Scotland during the album sessions. While similar in tone and structure, the songs seem to deal in the grit and dirt of being. These are songs for aching muscles getting soothed in the third-shift pub. But they're also examples of Molina’s diligence as he constructs what would be the essential elements of The Lioness. In addition to these outtakes, we also have a 4-track session made weeks earlier in London with friend James Tugwell. Comprised of primarily guitar, hand drums and voice, these songs are raw experiments that mostly serve to illustrate Molina's well of words and ideas. But then, there is the devastating Sacred Harp hymn "Wondrous Love." While he may have had his new love in mind, one can't help but think of Molina's legacy as he softly warbles "Into eternity I will sing/Into eternity I will sing." You don’t have to try too hard to mythologize Molina. He did all the work for you.

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2018-11-23
Vessel: Queen of Golden Dogs

Queen of Golden Dogs -the third album from Vessel- was conceived, developed and rendered into life over eighteen months of solitude in rural Wales. In essence, it is an exploration of living a life devoted to uncertainty, curiosity and change.

Influenced by a range of writers, the painter Remedios Varo, and a new love, the album is a marked departure from Vessel's previous work. The world of QoGD is saturated with colour; oscillating between grief, bombast and fierce joy, this is music shot through with both sincerity and irreverence.

Whilst traces of his sonic signature remain, there is much changed since Vessel's second album, Punish, Honey. An infatuation with chamber music brought about in collaboration with his violinist lover, and a voice given by singer Olivia Chaney leave strong impressions, providing landmarks in a world that is essentially about the joys of difference.

'Fantasma', a prologue of sorts, careens from bent cello to blunt force percussion and billowing synthesisers, dispersing into the harmonically restless lament of 'Good Animal', providing the album with the first of it’s many purposefully uncomfortable segues. Ideas of transformation are regularly explored internally within individual pieces, as well as across the album as a whole, dominated by unpredictable shifts in tone. The probing string swells of 'Argo' give way to throbbing bass and slippery rhythms, which twist briefly into an almost pop leaning chorus before a barrage of fuzzy drums lead to one of the albums most straightforwardly techno moments. The layered voices of 'Torno-me eles e nau-eu' offer the most overt example of Vessel’s move towards classical forms. Using chromaticism, dissonance and sweetness, he explores a space that seemingly refuses to resolve, although eventually revealing itself as an extended reflection of album centrepiece, 'Paplu'.

I wanted to make this work to realise experiences that I thought I had already had. Quite quickly I realised that I was reaching too far; and because I wanted so much more I had to give more. I often think that the writing was mutual. - Vessel

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2018-11-16
Asnakech Worku: Asnakech

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