Secretly Distributon

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2018-08-03
Elephant Micah: Genericana

Joe O'Connell on his new album: I guess the lodestone in the process of making this was the kind of global avant garde mood that's prevalent in a lot of 1980s albums I admire. Things like Joni Mitchell's Dog Eat Dog and Arthur Russell's Calling Out of Context. These records where singers were making really eclectic and outward looking productions - writing *through* the process of recording, and literally *playing* with technologies that were totally new to them.

All the gear that I gathered to make the album was basically discarded or devalued. I got a bunch of stuff from Craigslist that interested me: a cheap FM synth, some Hindustani electronics, and an old three-head tape deck to use as a "poor man's space echo." The icing on the cake is a one-of-a-kind homemade digital synthesizer called "The Mutant". The concept of the synth is parallel to the concept of the album itself. It's an electronic take on "folk" sounds (bends, drones, modal playing) and folk creative approaches (a cobbling together and reformatting of existing elements).

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2018-08-03
Little Ugly Girls: Little Ugly Girls

Legendary Australian punk band Little Ugly Girls formed in Hobart, Tasmania in the very early 90s, but have never released a record until now. This new self-titled set is officially their debut album, and features recordings spanning more than 20 years.

The band formed around fiery vocalist Linda Johnston, whose high-kicking stage antics make her one of Australia's most electrifying frontpeople, and her guitar demon brother Dannie "Bean" Johnston. After moving to Melbourne in the mid 90s, the band settled on their classic lineup of Brent "Sloth" Punshon on drums, and rock-solid bassist Mindy Mapp (previously of another cult 90s band, Brisbane's much-loved Fur).

Little Ugly Girls played with the likes of Bikini Kill, Fugazi, and once memorably headlined over the White Stripes in Melbourne. But their only recordings released to date include a handful of 90s cassettes.

Now nearly 30 years since they formed, the debut album by Little Ugly Girls shows them at their towering best - fierce and inspiring, with Linda's scarifying lyrics and impassioned delivery set to a huge wall of taut punk noise. It has been a long time coming, but it's as good as you could have dreamed.

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2018-08-03
SPELLLING: Hard to Please

Hard to Please is the debut Sacred Bones 7" release by Bay Area artist Tia Cabral, aka SPELLLING. SPELLLING released her first full length Pantheon of Me in September 2017 and it was self written, performed and produced in her apartment in Berkeley, California. SPELLLING's powerful vocal range dances over compositions that vary from rhythmic and ethereal to crunchy and hypnotic, while all remaining singularly cohesive to her distinct and enveloping sound. Pantheon of Me was Bandcamp's #4 record of the year in 2017 and they raved: "Cabral has it, from her careful sense of composition to her charismatic presence to her ability to communicate with her music straight through to the listener's heart."

Her newest tracks "Hard to Please" and "My Other Voice" (a cover of Sparks' 1979 symphonic disco track) pair together to reflect on bittersweet passions of an obsessive romance. "Hard to Please" presents as dance music but journeys through a swirling climax to something more spiritual. On "My Other Voice" the power of SPELLLING's voice elevates this cover beyond an homage and to a unique vision entirely its own.

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2018-08-03
Steve Hauschildt: Dissolvi

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2018-08-03
Sweet Valley: Eternal Champ

Sweet Valley is a Bermuda Triangle-like place, where cannabis crumbs, spilt beer, record dust and that mysterious shit you had to blow out of game cartridges all collect as if pulled by some gigantic junkyard magnet. Sweet Valley is a blood pact between two brothers, Nathan (WAVVES) & Joel Williams (Spirit Club), gone awesomely off the rails. Ghost Ramp is proud to present the reissue of 2012's incredible record Eternal Champ for the first time on any physical format! The album is a benchmark for the duo and an absolute fan favorite. Sample-heavy, tripped out beats pull the listener into a psychedelic, 16-bit wonderland. Floating somewhere between video game nostalgia, cutting edge hip-hop obsession and sludged out California stoner-ism, Eternal Champ sets the standard for instrumental beat records. Sweet Valley draws their influences from Three 6 Mafia to The Legend of Zelda with everything in between. Coinciding with the release of the new sequel Eternal Champ II, this limited colored vinyl release is the perfect entry point into the fantastical, experimental and endlessly fun world of the brothers Williams.

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2018-08-03
Sweet Valley: Eternal Champ II

Sweet Valley is a Bermuda Triangle-like place, where cannabis crumbs, spilt beer, record dust and that mysterious shit you had to blow out of game cartridges all collect as if pulled by some gigantic junkyard magnet. Sweet Valley is a blood pact between two brothers, Nathan (WAVVES) & Joel Williams (Spirit Club), gone awesomely off the rails. Six years have passed since Sweet Valley's cult classic release Eternal Champ. Brothers Williams are back with the conceptual sequel to the record that started it all. Eternal Champ II is both a sonic and thematic partner to the original with an even more advanced tilt. Their video game influenced beat oriented music leaps to new heights on ECII. Samples cut through driving dance grooves at a manic pace creating a truly memorable mix-tape experience. The album cover art is a higher fidelity interpretation of the original cover by video game artist Karsten Schreurs. Joel and Nathan aren't stopping there with touring and more music planned in 2018 and beyond!

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2018-07-20
Drahla: Twelve Divisions of the Day

Following their 2 sold out singles and the outstanding Third Article EP, Drahla is set to release their first new music since signing to Captured Tracks. The commanding new 7" single "Twelve Divisions of the Day" features a B-side remix that strikes with just as much fervor as the original while leaving a different bite mark.

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2018-07-20
Nathan Salsburg: Third

Third is the stunning third album by Nathan Salsburg, one of his generation's most gifted and idiosyncratic acoustic guitarists. It's been five years since his last solo record (Hard For To Win And Can't Be Won, 2013) - but not because he hasn't been playing guitar. In the intervening years he's backed up Joan Shelley on three releases and several hundred live dates; put out a collection of guitar duets with multi-instrumentalist James Elkington and teamed up with neighbor and fellow Louisvillian Bonnie "Prince" Billy on an EP. The original pieces on Third, his first strictly solo guitar record - no singing, no guests - all display a notable increase in confidence and ease, as Salsburg has quietly, persistently established a style marked by a depth and a complexity that are utterly his own.

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2018-07-20
Negative Scanner: Nose Picker

Chicago punk band Negative Scanner return to the fray with their second long-player, the cheekily titled Nose Picker. Once again recorded by the band themselves in their Chicago practice pace, Nose Picker opens with a question; "Is there anybody there?", which acts as both a legitimate query as well as a rallying cry. Despite the darkness on the surface, Nose Picker has an unmistakable air of whimsy, and a sense of humor, punctuated by the very literal album cover, and by the sound of a toilet flushing at the album's closing. The past two years have seen the band step out of the Midwest DIY spaces and basement shows and tour the USA and Europe, support UK band Sleaford Mods on select dates in the UK and the USA and standing toe-to-toe with the underground's finest acts, including Sheer Mag, Protomartyr and more.

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2018-07-20
Optiganally Yours: O.Y. In Hi-Fi

The Optigan was a chord organ made by Mattel in the early 1970s that played back lo-fi sound loops on flexible LP sized discs, each disc containing optically encoded rhythm section grooves in a particular style of music (i.e. country, bossanova), along with drum loops and keyboard tones. Think of it as the 1970's version of GarageBand, where amateur artists could put together their own songs using loops of recordings by professional musicians. Optiganally Yours started in the mid 1990's when Pea Hix became obsessed with the magnificent Optigan. When Pea had the idea to start a band around these haunting sounds, his roommate Rob Crow chimed in and said "I'll be the singer, and the band will be called Optiganally Yours." After releasing two albums 1997's Spotlight On Optiganally Yours followed by Exclusively Talentmaker in 2000 Pea rescued the Optigan's original studio master tapes from a SoCal garage, and set out to assemble basic tracks from the thousands of loops and samples the tapes contained. Thus work began on a third album, O.Y. in HiFi. "Several of these sessions never became discs, so Pea chopped them up, as you would with a real Optigan," says Crow. "And we wrote all these new songs using these materials, in addition to my guitar and voice of course. I think it's the best record I've ever done."

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2018-07-20
The Essex Green: The Long Goodbye (reissue)

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2018-07-20
The Essex Green: Cannibal Sea (reissue)

"We're not breaking any records yet" is the opening line from "This Isn't Farmlife," the first track from The Essex Green's fourth outing, Cannibal Sea. Perhaps they were feeling like they had nothing to lose with this album, so why not raise the flag with a shrug? Ironically, they came out firing on all cylinders with renewed focus and musical precision. While previous releases tended towards the Brian Wilson approach of utilizing the full studio and all the attendant aural tricks, on Cannibal Sea, the band sounds like a cohesive live unit. And the "hits" are numerous: "This Isn’t Farmlife" wears a mod stomp skinny tie; raise-the-voice and make-joyful-noise abound on the harmonic "Don’t Know Why (You Stay)"; pop supreme "Penny & Jack" summons the Rickenbacker guitar army era of classic IRS records; hints of Stereolab circulate on the starry-eyed “Cardinal Points”; and the spirit of Lee Hazlewood is alive and well on "Rabbit." Through it all, The Essex Green stay rooted in honor of all those cool Nuggets compilations, with nods to early Soft Machine, Arthur Lee, The Left Banke, The New Pornographers, and all the dusty $1 record finds in some desolate resale shop just off a two-lane blacktop on Route 66.

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2018-07-13
Alexander Heir: WARRR2K∞//WORK 2014-17

The work of Brooklyn artist and musician Alexander Heir has become one of the defining aesthetics in the contemporary underground music scene, having been prominently involved in designing, printing and producing for countless NYC and international punk and metal artists for over 10 years. Similarly, his clothing brand Death/Traitors has become a counter culture staple, reaching beyond the hardcore punk community, while still embracing its values. In addition to fronting industrial punk band L.O.T.I.O.N. Heir has exhibited around the world, including a solo show at Boo Hooray in New York City in support of his first book, Death Is Not the End. WARRR2K∞//WORK 2015-17 showcases all of Alexander Heir's visual work created since the release of his last book, Death Is Not the End, in addition to a new full-color series exclusive to this volume. Expanding upon war, police brutality, political corruption, and death as his canon of punk subject matter, his latest work brings sci-fi and psychedelia influences into the fold, blending them with his impeccable design aesthetic and signature sense of twisted playfulness. The result shows Heir making his most sophisticated, detailed and demented work to date.

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2018-07-13
Beak>: Beak>

To celebrate the addition of Bristol's preeminent out-rock trio, Beak>, to the Temporary Residence family, we are reissuing their eponymous debut album on audiophile-quality double vinyl. Remastered for vinyl by Josh Bonati, and packaged in a heavyweight old-style tip-on gatefold jacket, Beak> includes the original album in its entirety, as well as a vinyl-only bonus track not available on the CD or Digital formats. Formed in 2009 after jamming together at an INVADA Records New Year's Eve party, the members of Beak> (Geoff Barrow, William Fuller, and Matt Williams) agreed to meet again in the studio to see what happened. The three met at the studio and prepared a very simple recording set up (8 mics). Very little was said between them before the engineer pushed RECORD, and the band began playing. That very first recording became "Blackwell", the first song on their eponymous debut album. Beak>'s debut album was originally released in November of 2009. The music was recorded live in one room with no overdubs or repair, only using edits to create arrangements. All tracks were written over a twelve-day session in Bristol, England.

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2018-07-13
Beak>: >>

To celebrate the addition of Bristol's preeminent out-rock trio, Beak>, to the Temporary Residence family, we are reissuing their acclaimed second album, >>, on audiophile-quality double vinyl. Remastered for vinyl by Josh Bonati, and packaged in a heavyweight foil-stamped jacket, >> includes the original album in its entirety, as well as vinyl-only bonus tracks not available on the CD or Digital formats. Who would have thought after that historic day in 2009 when Beak> played their first notes together in the studio that it would lead them to touring the globe, appearing as one of the first live bands to ever perform on Boiler Room, performing countless times at ATP, and actually selling actual records to actual people…(yes, that actually happened). Naturally, when it came time to record a new album, spirits were extremely high, chests were pumped, and expectations were great. The recordings went incredibly well, CD's were burned, and everyone left the studio full of optimism... A few days later, the band reconvened to listen to the tracks, and it was almost immediately obvious to everyone involved that these tracks were utter shite. Yes…gone were the subtleties and distant echoes of old, only to be replaced by what can best be described as "Progressive Wank Rock" for men in leather trench coats. It was truly awful…and they knew it. Touring had made them utterly crap. After many tears and a good amount of soul searching, the band returned to the studio. Initially scared to play another note, together they slowly but surely began to play…and the engineer pushed RECORD…and that became >>.

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2018-07-13
Carl Stone: Electronic Music from the Eighties and Nineties

Following the widely acclaimed 3LP collection, Electronic Music from the Seventies and Eighties, Unseen Worlds has compiled a second, 2LP collection of favorite and unreleased Carl Stone works. Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone's slow-evolving, time-bending composition. While we can't always identify the source, we can hear that his sounds come from somewhere, and that there is a "correct" or "complete" version of them in theory; and so we can hear when they are being changed. What drives Stone's music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of "Mae Yao"'s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of "Sonali," or the slow, ambient evolution of "Banteay Srey". "Woo Lae Oak," issued in a single side edit for the first time, is an exception. Its samples - a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone locates the inherent emotional properties of the sounds and takes them into unexpected expressive territory.

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2018-07-13
Chastity: Death Lust

Chastity is a world of its own from the mind of Brandon Williams. Reflecting the working class background of Whitby, Ontario, Chastity's songs are charged with the ethos of archetypal youth on the fringe. A project more aptly characterized by its intentions than specific sound or medium, Chastity stands to confront the struggles of those existing in the unseen, often silenced periphery. It is an artifact of youth culture constantly working to form community, bridging isolation with collectivity.

Visuals play a meaningful role in this world with Williams using his penchant for crafting consistently sharp, challenging imagery to personalize the narratives running throughout all of Chastity's work - most discernibly, a call for the disruption of harmful status quo.

Releasing Friday the 13th of July, 2018, Death Lust follows the plot of suffering to survival. The album begins on a tortured note with 'Come' and builds toward the plummeting finale of 'Chains', evolving from start to finish in a crescendo of severity. Chastity explains, "Death Lust is about growing up death obsessed. It's about the pain that it takes but the capacity that we have to overcome."

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2018-07-13
Lotic: POWER

Power is the debut album from Lotic, an expansive exploration of the many ways in which power can be expressed and experienced. Those familiar with Lotic's two 2015 EPs - Heterocetera (Tri Angle) and Agitations (Janus) - will trace a warm-blooded evolution: Power retains the Berlin musician's inquisitive intensity, while mining the depths of nuance like never before. Across its 11 songs, Lotic stretches their wings into unexpected new spaces, both compositionally, and, for the first time, vocally.

"Hunted," quoted above, returns the colonial gaze with an arched eyebrow and a hushed chant in one of the more pop-leaning moments on the album. "Distribution of Care" pulls Lotic's rigorous club aesthetic into a symphonic context, pairing strings and drums in a wordless questioning of society’s priorities. The playful "Nerve" serves up an icey hip-hop beat over which they invoke their H-Town roots while issuing a warning. And, of course, there couldn't be a sonic exposition of power without its most generous manifestation: "Heart" is a love ballad that finds Lotic and NON Records's Moro, the album's sole guest, trading vulnerable verses.

"It originally started as an empowerment album," says Lotic. "I felt that I needed to offer something outside of myself, as sort of a healing moment. And then I lost my apartment. Mentally, I could only work on music once every three months or something. The question of what would be empowering - the answer to that changed so often over a two-year period. I had to figure out who I was all over again. With this record, I went back and incorporated all of my musical selves."

Lotic was born in Houston, and studied electronic music composition and saxophone at university. They moved to Berlin in 2012, where they helped form the Janus club collective. In 2015, they were commissioned to create two remixes for Björk's Vulnicura, and subsequently were invited to be the opening act at her live show in Berlin.

Power is grounded by Lotic's love of Texan marching bands - "Beats and drumming are so integral to black culture," they explain - and was in part inspired by Ta-Nehisi Coates's Between The World And Me. Per a recent announcement, Lotic's pronouns are they/them.

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2018-07-13
The Ophelias: Almost

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2018-07-13
Ursula K. Le Guin & Todd Barton: Music and Poetry of The Kesh

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples (the Kesh) from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin's Always Coming Home.

The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet, and with early editions, a cassette of "field recordings" and indigenous song. Le Guin wanted to hear the people she'd imagined; she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition. For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this vinyl edition, where only traces of the book linger (the jacket offers some of Le Guin's illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport-offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.