Secretly Distributon

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2019-06-14
"Blue" Gene Tyranny: Out of the Blue

First-ever LP reissue. "Blue" Gene Tyranny's debut album Out of the Blue - newly remastered with original cover art - which was among the first to releases on Lovely Music in 1978 alongside Robert Ashley Private Parts, David Behrman On the Other Ocean, Jon Hassell Vernal Equinox, Meredith Monk Key, and Peter Gordon Star Jaws. Disarmingly direct, funky, and profound, Out of the Blue is an equanimous, wide-open exploration of Tyranny's musical world: equal parts song cycle, tone poem, keyboard fantasia, and avant-garde pop record. Recorded and mixed by Tyranny at Mills College, this album emerged following the legendary 1976 Trust in Rock concerts, where Tyranny and collaborator Peter Gordon presented New Music for rock band. "Next Time Might Be Your Time" and "For David K." were co-produced by Gordon, and also feature Mills's Maggi Payne on flute as well as Oingo Boingo’s Steve Bartek on guitar; “Leading a Double Life” is sung by Lynne Morrow and Jane Sharp, accompanied by Tyranny on piano and polyMoog synthesizer; "A Letter from Home" is a half-hour electro-acoustic narrative meditation on "the Doppler effect as a metaphor for the development of consciousness." Out of the Blue lives up to its name: it is both surprising and familiar, revealing for the first time something that was always already there.

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2019-06-14
"Blue" Gene Tyranny, Peter Gordon: Trust in Rock

Trust in Rock documents the last evening of an epic concert series held at Berkeley's University Art Museum in November 1976, featuring an all-star ensemble of the Bay Area's most unclassifiable musicians performing works by "Blue" Gene Tyranny and Peter Gordon. This band, and this concert, played at the nexus of New Music, jam bands, "pattern music," and punk. Tyranny had quit Iggy Pop's band in 1973; Gordon had already moved to New York and began playing with Arthur Russell and Rhys Chatham. Their combined band crossed styles and institutions and time, and was assembled from the effervescence of the Bay Area scene in the 1970s. It included Gordon on saxes and the RMI Synthesizer; Tyranny on the piano; local video-performance artist Patrice Manget on vocals; Karl Young on saxes; composer-performer-guitarist Paul Dresher, who played in Tyranny's band Edge of the Road along with percussionist Gene Reffkin; Steve Bartek of the Mystic Knights of Oingo Boingo on bass; and Mills College student Janet Cuniberti on the funky Clavinet and RMI Synth.

Tyranny's direct and profound songs are "concerned with influence, trust, self-reliance, and having to re-do what is true for you;" Gordon’s songs, with lyrics by then-partner Kathy Acker, give the performance a sexual and political edge, complimenting the intensity of his instrumental works. Though some of the works on Trust in Rock also appear on Peter Gordon's Star Jaws and "Blue" Gene Tyranny's Out of the Blue, many others are available here for the first time. At this performance, Gordon, Tyranny, and their band were not afraid to take the time to "listen to the interior state of something," as Tyranny later put it: they put their trust in rock.

Anatolian Weapons feat. Seirios Savvaidis: To The Mother Of Gods

Anatolian Weapons, the project of Aggelos Baltas (Dream Weapons, Fantastikoi Hxoi), makes its Beats In Space Records debut with To The Mother Of Gods. A hypnotic journey through the psychedelic folk music of Seirios Savvaidis, To The Mother Of Gods testifies that music, through repetition and drone, can take us outside ourselves to a liminal space beyond thought and rationality. LP comes with high-quality digital download.

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2019-06-14
Crumb: Jinx

Crumb is the collaboration of Brooklyn-based musicians Lila Ramani (guitar, vocals), Brian Aronow (synth, keys, sax), Jesse Brotter (bass), and Jonathan Gilad (drums). The friends came together in 2016 with the goal of developing and recording a collection of songs Ramani had written in high school and college, the work ultimately resulting in the band's first two EPs, 2016's "Crumb" and 2017's "Locket." Encouraged by the warm reception online and at shows, the band evolved into a full time touring and recording project.

In June 2019, Crumb will release Jinx, their first full-length album and best distillation to date of their singular blend of psych-rock and jazz. On Jinx, Ramani continues to helm the songwriting, with Aronow, Brotter, and Gilad each bringing distinctive ideas to match her ethereal, intimate vocals and luminous guitar lines. Informed by two years of nearly non-stop touring, the songs sweep and swell to capture the beguiling live spirit of Crumb shows, while taking listeners one step further down the band’s dizzying, hypnotic path.

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2019-06-14
Duster: Stratosphere

Best listened to from inside the womb, Duster's 1998's debut Stratosphere simultaneously capped off and reinvented the slow core's first wave. A four track dreamscape that will wake the neighbors and then lull them back to sleep. Hazy, arpeggiated guitars layer over a deliberate drummer with no real place to be, as semi-inaudible vocals warn of millennial malaise and subtly encourage the listener to "rock out, rock out, rock out, rock out."

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2019-06-14
Duster: Contemporary Movement

A muffled cry into the technological darkness, Contemporary Movement slid into the world right as the MP3 was seeping out of college dorms. A 39-minute drift into the void, drenched in Cold War-era reverb and then submerged in four track hiss for good measure. Duster constructed a Brutalist masterpiece on the outskirts of a suburban mall, as if to say, "We were here."

Mike Adams At His Honest Weight: There Is No Feeling Better

**NOTE - Colored Vinyl pictured is fictional! It is JUST the cover artwork!**

There Is No Feeling Better, the fourth album from Bloomington, Indiana's Mike Adams at His Honest Weight finds the titular Adams-the singer/songwriter/multi-instrumentalist/producer at the center of the independent pop institution-focused less on who he is and more on where he is. Though the album's not short on truthful introspection, it's an outward gaze that defines these eleven songs. It's the kind of record you can make only after really knowing how to make records. It's ambitious, but never labored sounding, sweeping but always intimate.

Pulling from disparate sources, like retro-pop era Starflyer 59, ELO, the Beach Boys at their most transcendental, the Southern gospel of the Isaacs, and the dead-serious humor of The Roches, Adams has shaped these touchstones into a new world. The sock hop mysticism of "Free & Reduced," the noir mood of "That’s One Way," the lush cooing of "Educated Guess," the daydream pop of "Olivia"-you can live in songs like these. They're testaments to the act of creation and recreation, examinations of the glee that can be accessed by ripping up the map and getting lost.

MONO: Hymn To The Immortal Wind (10 Year Anniversary Edition)

** TITLE HAS NOT BEEN ANNOUNCED! PLEASE DO NOT POST ANYWHERE ONLINE (INCLUDING A PREORDER) UNTIL May 13th**

To commemorate the 20th anniversary of MONO, and the 10th anniversary of their most iconic album, Temporary Residence Ltd. proudly presents Hymn to the Immortal Wind - Anniversary Edition. Beautifully remastered from the original analog master tapes by Bob Weston at Chicago Mastering Service, this super deluxe reissue sounds, looks, and feels more pure and powerful than ever before. The CD format has been repackaged in a gorgeous full-color gatefold jacket with metallic gold inks, matte varnish, and custom inner sleeve. The 2xLP vinyl format is packaged in a mind-blowing full-color, custom die-cut jacket with metallic gold foil stamping, matte varnish, and 7 interchangeable full-color cover inserts. The vinyl is pressed onto 100% virgin, audiophile-quality vinyl. No expense was spared in properly honoring what has become MONO's most beloved album. A limited number of Pearlescent Blue-Green Colored Vinyl (TRR348LP-C2; Edition of 1,000) are available while supplies last.

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2019-06-14
SadGirl: WATER

With their new album Water, Los Angeles trio SadGirl taps into the romantic and nostalgic spirit of their native city while exuding a time-tested authenticity suggesting they've had a peek behind the curtain of the glitzy boulevards and relentless sunshine. It's a collection of breezy pop songs captured with the timbre of old-time recording techniques. Songs like "Little Queenie" touch upon the yesteryear reverberations and longing of a Ken Boothe ballad. Similarly, a tormented love song like "Miss Me" transports the listener back to slow dances at a previous generation's sock hop, only to be subverted by a chorus of "miss me with that bullshit." It's as if guitarist/vocalist Misha Lindes, drummer David Ruiz, and bassist Dakota Peterson want to conjure an idealized past only to remind us of innocence lost.

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2019-06-14
Shellac: The End of Radio

1994 PEEL SESSIONS

TRACK LISTING: Spoke / Canada / Crow / Disgrace TRANSMISSION: JOHN PEEL SHOW, 22 JULY 1994, PROGRAMME NUMBER: 00YJ7271 RECORDING: RADIO ONE SESSION, 14 JULY 1994, BBC MAIDA VALE STUDIO 3

2004 PEEL SESSIONS

TRACK LISTING: Ghosts / The End of Radio / Canada / Paco / Steady As She Goes / Billiard Player Song / Dog And Pony Show / Il Porno Star TRANSMISSION: JOHN PEEL SHOW, 2 DECEMBER 2004, REFERENCE: XLN448/00JY3660 RECORDING: LIVE FROM MAIDA VALE SESSION, 1 DECEMBER 2004, BBC MAIDA VALE STUDIO

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2019-06-07
Eluvium: Pianoworks

Pianoworks is Eluvium's first solo piano album since his sophomore album, An Accidental Memory In The Case Of Death (2004). Inspired by the quiet thoughts and solitary observations of children - and the evolution/dissolution of that ephemeral, uncorrupted wander of simple joy - Pianoworks begins with a song about children's piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record's dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience. As any minimalist painter, poet, or architect can attest, it is oftentimes the profoundly simple art that proves to be the most time-consuming and torturous to produce. Pianoworks exemplifies this dichotomy, having been recorded, re-recorded, and re-re-recorded in the span of nearly a decade. Cooper exhausted every attempt to achieve a very specific, peculiar sound that is out of time - a sound not entirely lost in an attic, but also one not easily found in a playlist. The process to achieve this elusive sound was painstaking, but it has yielded a rare kind of music that is as uncomplicated as it is uncompromised.

Holy Hive: “Oh I Miss Her So” b/w “If I Could See Her Now”

Holy Hive, the group that coined the genre Folk/Soul, comes out swinging with this monster of a two-sider. The A side "Oh I Miss Her So" is pulled from their recently released Harping EP: a drop dead gorgeous tune of love and longing featuring the harping of Mary Lattimore. The tune serves as a testament to The Hive's gift for songwriting and arrangement, taking the listener on a ride from the first notes of Paul’s falsetto to the outro featuring Dave Guy's (The Roots) gorgeous trumpet solo.

The B Side is The Hive's crushing cover of Sunny & The Sunliners' classic "If I Could See You Now". Homer's world renown drumming provides an instant dance floor backbone to the tune while Paul's signature vocals add a welcome twist giving the original version a proper run for its money. This cover is pulled from the forthcoming Big Crown Records label compilation "Dear Sunny…" a collection of Sunny covers done by the roster of Big Crown artists.

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2019-06-07
Jake Xerxes Fussell: Out of Sight

On his third and most finely wrought album yet, guitarist, singer, and master interpreter Jake Xerxes Fussell is joined for the first time by a full band featuring Nathan Bowles (drums), Casey Toll (bass), Nathan Golub (pedal steel), Libby Rodenbough (violin, vocals), and James Anthony Wallace (piano, organ). An utterly transporting selection of traditional narrative folksongs addressing the troubles and delights of love, work, and wine (i.e., the things that matter), collected from a myriad of obscure sources and deftly metamorphosed, Out of Sight contains, among other moving curiosities, a fishmonger's cry that sounds like an astral lament ("The River St. Johns"); a cotton mill tune that humorously explores the unknown terrain of death and memory ("Winnsboro Cotton Mill Blues"); and a fishermen's shanty/gospel song equally concerned with terrestrial boozing and heavenly transcendence ("Drinking of the Wine").

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2019-06-07
Jamila Woods: LEGACY! LEGACY!

Jamila Woods has a voice and lyrical sensibility that transcends generations, and so it makes sense to have this lush and layered album that bounces seamlessly from one sonic aesthetic to another. This was the case on 2016's HEAVN, which found Woods hopeful and exploratory, looking along the edges resilience and exhaustion for some measures of joy. Her new album, Legacy! Legacy! is the logical conclusion to that looking. From the airy boom-bap of "Giovanni" to the psychedelic flourishes of "Sonia," the instrument which ties the musical threads together is the ability of Woods to find her pockets in the waves of instrumentation, stretching syllables and vowels over the harmony of noise until each puzzle piece has a home. The whimsical and malleable nature of sonic delights also grants a path for collaborators to flourish: the sparkling flows of Nitty Scott on "Sonia" and Saba on "Basquiat," or the bloom of Nico Segal's horns on "Baldwin." More than just giving the song titles the names of historical black and brown icons of literature, art, and music, Jamila Woods builds a sonic and lyrical monument to the various modes of how these icons tried to push beyond the margins a country had assigned to them. On "Sun Ra," Woods sings "I just gotta get away from this earth, man / this marble was doomed from the start" and that type of dreaming and vision honors not only the legacy of Sun Ra, but the idea that there is a better future, and in it, there will still be black people. Soul music did not just appear in America, and soul does not just mean music. Rather, soul is what gold can be dug from the depths of ruin, and refashioned by those who have true vision. True soul lives in the pages of a worn novel that no one talks about anymore, or a painting that sits in a gallery for a while but then in an attic forever. Soul is all the things a country tries to force itself into forgetting. Soul is all of those things come back to claim what is theirs. Jamila Woods is a singular soul singer who, in voice, holds the rhetorical demand. The knowing that there is no compromise for someone with vision this endless. That the revolution must take many forms, and it sometimes starts with songs like these. Songs that feel like the sun on your face and the wind pushing flowers against your back while you kick your head to the heavens and laugh at how foolish the world seems.

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2019-06-07
Lust for Youth: Lust for Youth

Pirouetting on decadence, meeting eyes with a dizzy sensation, falling and flying at the same time - Lust For Youth have continually held poise through the most vitalising of times. Their new album, a self-titled collection of eight songs, is sure-footed where they had earlier feared to tread, and light-headed for a new set of reasons. The album is driven by a dance-pop agenda, hustling its way through upbeat peaks that level out into reflective ballads. While still taking clear cues from a crop of austere synth-pop, Lust For Youth sound brighter than they ever have before, taking tips from some of the flirtiest Eurobeat to aid their new direction.

Sunny & The Sunliners: “Smile Now, Cry Later” b/w “I Only Have Eyes For You”

When it comes to Chicano / Lowrider Soul there are a few people who are credited as the founders of the genre, Sunny & The Sunliners are one of them, if not number one on that list. Similarly, when it comes to the tunes that define the genre, Smile Now, Cry Later is undoubtedly the anthem.

The A side "Smile Now, Cry Later", is a tune written by Sunny about his girlfriend at the time's amazement of the difference between the man on stage and off. However, it went on to become a one-liner and a symbol of the Lowrider Soul culture. An absolute classic tune amongst Sweet Soul lovers, and also something of a slogan of the Lowrider Soul community which is tattooed on thousands and thousands of people along with the theater mask artwork from the LP cover.

The B side, Sunny's cover of The Flamingos "I Only Have Eyes For You" is a must have for the Slowie fans. Having never been pressed on 45, it rounds out this record amazingly. The plugside a big tune for Sunny that has seen pressings on at least four different label variations and the B side something that even the deepest collectors of the genre will have to pick up so they can spin.

Bacao Rhythm & Steel Band: Great To Be Here b/w All For Tha Cash

"By popular demand, Bacao Rhythm & Steel Band is back with another must have of a two sider. Two tracks finding their way to vinyl for the first time that were cut during The Serpents Mouth sessions but only made it to the cd and digital release. A lot of people wrote us asking for it, and here it is, a 7 inch release that lives at the intersection of Funk, Soul, and Hip Hop.

The A side is Bacao's crushing cover of the Jackson 5's B-Boy classic "Great To Be Here". A tune that a lot of people probably thought had steel pans on the original version, a misconception that lead to BRSB choosing it for their inimitable treatment. They open the tune with a chunky open drum break that gives way to the steel pan work banging out the infectious and instantly recognizable guitar lines from the J5's version.

The B side finds Bacao diggin deeper into the hip hop crates again and coming up with a monster of a Gang Starr track to cover. Taking on their underground street anthem they cut for their Full Clip compilation, "All 4 Tha Ca$h". BRSB tease the tune in with the two top notes of the riff for the first 8 bars catching listeners ears and giving the DJs a record to work with. When the whole riff drops and they give away what the tune is they are covering awww shits & ooooooohs are sure to be heard out in the crowd."

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2019-05-31
Brainiac: Hissing Prigs in Static Couture

Hissing Prigs In Static Couture is a record you'll want to keep forever. It's got all kinds of hip stuff that lame bands are afraid of; something that sounds like scratching on "Pussyfootin'", freaky effect on everything but the drums ('cause even in Revolution, you just don't f**k with drums), and a kiss-off to goose-stepping fascists.

1996 saw the release of Brainiac's Touch and Go full-length debut, Hissing Prigs in Static Couture. Like their two previous full-lengths, this was also produced by Eli Janney, and saw the band use less Moog and more random electronic gadgets and noisemakers. Jim O’Rourke produced 1997's Electroshock for President EP, in which Brainiac continued their transition into a more electronic rock band. They began to receive serious interest from major labels. On May 23, 1997, however, only weeks after the EP's release and the band’s return from a European tour supporting Beck, Tim lost his life in a car accident in his hometown of Dayton, Ohio. He was 28.

A feature length documentary exploring Brainiac's music, legacy, and loss, entitled Transmissions After Zero and directed by Eric Mahoney, premiered at the SxSW Film Festival in March 2019.

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2019-05-31
Crying High: ♬ (Music)

Crying High is the new project from Toronto born multimedia artist and psychedelic crooner, D Kleiser. The album is called ♬. You can call it "Music" if that's easier. It was produced in Montreal by D Kleiser, and is a wonderful introduction to the proud world of Kleisonia, and all the artifacts of its inward adventures.

Although Crying High is a new project, Kleiser has been producing weirdo bedroom pop albums for 11 years. By 2014, while greyhounding between Toronto and Montreal for shows Kleiser and friends began The Rotating Cassette Carrousel project, an ongoing mixtape compilation of demos and home recordings from across Canada. From this, Kleiser began crafting a new and more theatrical solo act that would ultimately become the 'Karaoke'eko' cassette, then 'The Story of Pop Music', and finally, after learning from and improving upon each of its proto-forms…. CRYING HIGH.

Crying High is vapornoir from Montreal: disco and ebm slowed down beyond dance utility and used as the framework to support late night phone confessional vocals that sing heartbreak, joy, catharsis, pleas and attitudes of gratitudes. Crying High broadcasts little alternative pop pata-communications into the void in an attempt to forgive it. Sifting thru the mp3 junk yard of 20th century pop culture to cobble together something pretty. A personal exercise in Memehommage-as-Shadow Work, ♬ comes complete with a solid and timeless moral, simply put: learn to love yourself or you'll die.

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2019-05-31
Eluvium: Pianoworks

Pianoworks is Eluvium's first solo piano album since his sophomore album, An Accidental Memory In The Case Of Death (2004). Inspired by the quiet thoughts and solitary observations of children - and the evolution/dissolution of that ephemeral, uncorrupted wander of simple joy - Pianoworks begins with a song about children's piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record's dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience. As any minimalist painter, poet, or architect can attest, it is oftentimes the profoundly simple art that proves to be the most time-consuming and torturous to produce. Pianoworks exemplifies this dichotomy, having been recorded, re-recorded, and re-re-recorded in the span of nearly a decade. Cooper exhausted every attempt to achieve a very specific, peculiar sound that is out of time - a sound not entirely lost in an attic, but also one not easily found in a playlist. The process to achieve this elusive sound was painstaking, but it has yielded a rare kind of music that is as uncomplicated as it is uncompromised.

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Artist
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Release Date
2019-05-31
JR JR: Invocations / Conversations

The time between albums for any band or artist usually comes with a few minor twists and turns at a minimum, or in the case of JR JR (f.k.a. Dale Earnhardt Jr. Jr.), quite dramatic ones. Since the release of their last full-length in 2015, the band fronted by Josh Epstein and Daniel Zott fought their way out of a major label deal, assessed certain lifestyle choices affecting one's mental health, and in Zott’s case, fostered to adopt two children only to be surprised with a biological one as well within the span of three months. It has been a wild ride, and it only makes JR JR all the more proud to announce the formation of Love Is EZ Records in partnership with Secretly Distribution. The newly minted label’s first release will be the band’s forthcoming double album Invocations / Conversations, due out May 31st. The aforementioned challenges and life events, as well as the calamitous political and social upheaval that has taken place over the past few years, are just a few aspects of the beautiful, complicated, and messy story behind two discs worth of excellent, introspective, and emotional songwriting.

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2019-05-31
Juan Wauters: La Onda de Juan Pablo

In the last couple of years, Juan Wauters has covered a lot of ground, both artistically and geographically. The year 2016 saw him performing his music in his native Uruguay for the first time as well as directing a film, Romane en Juin, in the South West of France; and, since then, he has been traveling throughout Latin America extensively, taking time to press pause and rethink his life, his art and his career after releasing two critically acclaimed albums on Captured Tracks, 2014’s N.A.P.: North American Poetry and 2015’s Who Me?.

As both time and place often have a unique influence on his music, Wauters originally planned to record his next album while traveling, seeking a break from his life in New York City, the city he has called home since moving from Montevideo in 2002. In 2017, no sooner had he settled in Mexico City to focus on writing when he was suddenly offered a role in an independent film being shot in Argentina. Ever the happy wanderer, Wauters repacked his 100-pound mobile recording studio into two suitcases and took off for Buenos Aires. When filming was complete, Wauters wound up writing and recording all over Latin America — from Argentina, Uruguay, Peru, and Chile to Mexico and Puerto Rico — seeking collaboration at every stop with local musicians who embody the traditions and energies specific to each region.

Puerto Rico was one of his first destinations. At a restaurant on the way to Charco Azul in Guavate - a natural swimming hole - Wauters heard a duo playing boleros, music he has been familiar with since his early childhood, but had never experienced in its original context. Those boleros would inspire the repeating melody that makes up the infectious love song, “Guapa”. Later, Mexico City was to become the birthplace of “A Volar”, a beautiful, buoyant track about dreaming wildly that features multiple musicians that Wauters met in Garibaldi, a popular square in Mexico City where musicians for hire gather. Later, he would trek to Buenos Aires, Santiago and Montevideo, creating music and incorporating the local traditions into his yarns.

Until this point in his career, most of his songs had been sung in English, but revisiting his Latin roots inspired him to record songs in his native tongue. Thus, Wauters gives us the wonderful La Onda de Juan Pablo, the world of Juan Pablo Wauters.