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2019-01-18
Angelo De Augustine: Tomb

'Tomb', the third full length album from Thousand Oak, CA's Angelo de Augustine, addresses lost love, the cost of honesty, and the ramifications of regret. It's a deeply inward album, but like the best albums about heartbreak, 'Tomb' transforms pain into beauty. "This album is at its core a prayer for hope and clarity, and a prayer for love," says De Augustine.

The record is a significant shift from his previous home recordings, such as previous album 'Swim Inside The Moon'. It was recorded at NYC's Reservoir Studios with his friend and renowned musician Thomas Bartlett (a.k.a. Doveman), whose credits include work on albums for Sufjan Stevens, Glen Hansard, and Rhye. 'Tomb' is a musical breakthrough for De Augustine, with Bartlett's artful production spotlighting his increasingly impressive songwriting.

The songs of 'Tomb' achieve grandeur with sweeping minimalism: a voice, a guitar, and the occasional flourishes of Bartlett's signature piano and instrumental arrangements. But the simple strength of songs like "Time," "You Needed Love, I Needed You," and "Kaitlin" will remind listeners that De Augustine is among the best of the rising crop of young, emotionally compelling singer-songwriters.

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2019-01-18
Antena: Camino Del Sol

1982, Brussels: Living on busking wages and next door to Tuxedomoon, Antena manage to make a contemporary bossa nova record that provides the missing link between Antonio Carlos Jobim and Kraftwerk. The original Camino Del Sol has been given back its spacious mini-LP quarters, recasting this short-lived combo's forward-thinking mile marker as a modern-day masterstroke.

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2019-01-18
Bruno Bavota: RE_CORDIS

Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and an extraordinary gift for marrying the intellectual and emotional into earnest and profoundly effective songs. Though favorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota has found himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of a more distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates his songs in real time as he performs - often with his bare hands engaged in a seesaw battle of construction against obstruction. It infuses a genuine sense of tension and forward momentum that makes his work extraordinarily poignant. Recorded live in one afternoon at a friend's studio in Bavota's hometown of Naples, Italy, RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they stand at this moment in time - ever-evolving musical life-forms that change shape while maintaining their distinctive skeletons. It also introduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chord strikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling of feet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As an exhibition of Bavota's skills as a composer and performer, it's impressive; as a glimpse of what's to come, it's an epiphany.

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2019-01-18
DOG Power: DOG Power

DOG Power is a New Zealand founded, Serbian based rock band. DOG Power is rooted in their use of samples, live percussion, drum machines, synthesisers and guitars which lay a foundation for Perry's deep, sonorous voice. Taking equal ques from Sade and The Stooges, Serge Gainsbourg and Suicide, these seven tracks span genres, encompassing everything from industrial electronica to baroque pop, super-sonic rock'n'roll to something out of a seventies spy film… One directed by David Lynch.

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2019-01-18
Hama: Houmeissa

Nigerién composer Hama presents a groundbreaking album of traditional electronic desert folk songs, hovering somewhere between early 90s techno and synthwave. Nomadic herding ballads, ancient caravan songs, and ceremonial wedding chants are all re-imagined into pieces seemingly lifted from a Saharan 1980s sci-fi soundtrack or score to a Tuareg video game. With a deep love and respect, Hama effortlessly takes back and re-appropriates fourth-world ethnoambient music.

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2019-01-18
Julian Lynch: Rat’s Spit

Wisconsin-based artist and producer Julian Lynch began releasing solo music in 2009, and has since recorded five LPs along with an array of EPs, cassettes, and film scores. Julian balances his output of solo material with his pursuit of a joint PhD in anthropology and ethnomusicology, and more recently his role as guitarist in the band Real Estate since 2016. Rat's Spit, Julian's latest full length, arrives on January 18th, 2019.

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2019-01-18
LAPS: Who Me?

Glasgow duo Ladies As Pimps, a.k.a. LAPS, make their DFA debut with the Who Me? EP. After first meeting each other in an analogue production course run by Green Door Studio several years ago, Lady Two Collars (Golden Teacher) and Sue Zuki (Organs of Love) have now refined their sound and produced one of the most focused and vital club singles to emerge from the Glasgow underground, with their unique and thoroughly danceable fusion of dub, house, and trip-hop.

"Who Me?" asks the question via a French-English narration, anchored by a hard-edged rhythm that assertively struts between percussive triplets and whizzing frequencies. "Ladybug" gets even more dubbed out, with arrangements that unfurl somewhere between Neneh Cherry, ESG, and early Tricky. "Who Me?" caught the ears of everyone from Ben UFO (who hosted LAPS live at XOYO and on Rinse FM) to Rihanna, who featured their music in her Savage x Fenty show at this year's NYFW.

On remix duties, LA producer M. Geddes Gengras appears under his Duppy Gun alias, chopping the vocal track into a pleasantly disorienting remix. Vancouver-based D. Tiffany (1080p, Coastal Haze, Pacific Rhythm) and Melbourne up-and-comer Roza Terenzi collaborate on a stripped-back, high-energy take, while ANY WAYS, a.k.a. Tom Marshallsay (Golden Teacher, General Ludd) rounds out the EP, bringing it back to Glasgow.

"Who Me?" and "Ladybug" were originally released in July 2017 by MIC Records (London, UK). This EP is a co-release between MIC and DFA.

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2019-01-18
Laurie Spiegel: The Expanding Universe

The Expanding Universe is the 1980 debut album by composer and computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP or 2CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new 2018 edition. Since this album's first reissue in 2012, it has gone on to be widely established as a classic of electronic, ambient, and 20th century classical music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, "East River Dawn" and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s. The 3LP vinyl edition was cut by Rashad Becker at Dubplates and Mastering, Berlin.

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2019-01-18
Laurie Spiegel: Unseen Worlds

Laurie Spiegel’s second full-length album, Unseen Worlds, arrived just over ten years after her debut album. Having realized the pieces found on The Expanding Universe (1980) on an instrument no longer available to her, the GROOVE System at Bell Laboratories, Spiegel moved on to composing and developing for the Alles Machine, alphaSyntauri, McLeyvier and various other instruments before creating an instrument entirely her own. Spiegel created “Music Mouse - An Intelligent Instrument” on a Macintosh 512k so that she could have an instrument that was not general purpose but a small, specialized, and well defined musical instrument for and by her that she did not have to compromise on or risk losing access to it. While it was a very personal instrument for Spiegel, demand among friends and colleagues nevertheless grew until “Music Mouse - An Intelligent Instrument” became a commercial product for the Macintosh, Amiga, and Atari personal computers with a devoted popular following that continues to this day, despite the obsoletion of those platforms. At the time of her Unseen Worlds album’s original release in 1991, the issuing record label turned out to be going out of business, dissolved and disappeared, sending the album immediately into obscurity. Outside of a private CD edition issued by Spiegel on her own Aesthetic Engineering label in 1994, this new edition represents the first proper commercial release of Unseen Worlds.

“Unseen Worlds is not so much based on melody and rhythm as it is on textures, pulses, and sonic environments. Sometimes dark, sometimes light, its drama pulls in the adventurous listener who wants to take a musical journey. Using computer software she wrote in order to implement a unique musical vision, Unseen Worlds blends the artistic and the technical, the cerebral and the sensual, and revives the virtually abandoned tradition of electronic music. Unseen Worlds is the work of a sonic explorer whose music can both challenge and caress. Those looking for other worlds of sound can put on headphones and find them here.” - Craig Anderton

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2019-01-18
M. Ward: What a Wonderful Industry

What A Wonderful Industry is the follow up to M.Ward's 2016 acclaimed album More Rain. Via Ward: "This is a record inspired by people in the industry I have known - heroes and villains in equal measure. There's some beautiful moments when you travel for a living, and I'm grateful for being part of an industry that's taken me around the world so many times - but you quickly learn there's a perfectly imperfect balance of cold-blooded and warm-blooded animals in the zoo. This record visits the most memorable characters. There's a lot of very inspirational people I've had the pleasure to work with but there are also a few I wish I’d never met. It all tragically ends with an imaginary Griffin Mill-inspired murder ballad. This album is a reminder to keep your friends close, your enemies closer and don't let the ones that just need an extra couple hours of therapy bring you down. Anyway I hope you like it. All names have been changed to protect the innocent."

Recorded in Portland, OR, the album was produced by M. Ward, engineered by Mike Coykendall and Adam Selzer, mixed by Rob Schnapf, and features guest vocals from Jim James.

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2019-01-18
Machinefabriek: With Voices

With Voices is the newest recording by Dutch composer Rutger Zuydervelt under the moniker Machinefabriek. True to its title, the album's eight pieces exhibit Zuydervelt's use of tone generators, radios, synths, and other hi-fi curio to construct bewildering aural architecture around vocal contributions from Marissa Nadler, Peter Broderick, Richard Youngs, and others.

The track "III" (the tracks are simply titled with Roman numerals) slowly winds like ivy through staccato phrases spoken by Peter Broderick, whose micro-incantations skip along mechanically only to telescope into monastic grandeur at the track’s midpoint. On "VIII" Marissa Nadler leads the suite to its lullabic endpoint with overlapping wisps of harmony devoid of accompaniment concluding the album on an angelic note.

Throughout much of With Voices, warm-blooded arteries seem to have grown around bits of well-designed artifice to form something warmly alien, soberly futuristic, and inherently satisfying. More than simply an album of collaborative features, With Voices is a mutating collage of modern minimalism that challenges as often as it comforts. There is an alchemical, metallurgical quality that arises from Zuydervelt's unique way of merging humanness with abstraction, harshness with beauty, and unintelligibility with familiarity on what may be the most affecting Machinefabriek release to date.

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2019-01-18
Sharon Van Etten: Remind Me Tomorrow

Remind Me Tomorrow was written in stolen time. In the four years since Are We There, Van Etten guest-starred in The OA, performed in David Lynch's Twin Peaks revival, and wrote her first film score and song for TV - for Kathering Dieckmann's Strange Weather Tig Notaro's show Tig, respectively. Van Etten also had a child, and began studying psychology. In the scraps of hours between these endeavors, Remind Me Tomorrow was born.

Working with producer John Congleton, Remind Me Tomorrow reveals piano keys that churn, deep drones, distinctive sharp drums. Originally a piano ballad, "Comeback Kid" evolved into a dark, menacing anthem. "Seventeen" began as a Lucinda Williams-esque dirge, but winds up a star-spangled nod to Springsteen, exploring gentrification and generational patience.

The breadth of Van Etten's new passions have inflected Remind Me Tomorrow with a wise, warped-time perspective. She explains, "I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair. I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." This is Remind Me Tomorrow, fusing a pained attentive realism and radiant lightness about new loves.

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2019-01-18
Shigeto: Weighted

One year after Michigan-based artist Zach Saginaw released his third album as Shigeto, a genre-blending Detroit love letter called The New Monday, he returns with another eclectic display of affection for the musical community that makes Motor City music tick. The four new tracks on his Weighted EP, including a sumptuous remix from Detroit house luminary Andrés, continue to refine and augment the patchwork of jazz, hip-hop, and electronics that Shigeto has built his catalog with.

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2019-01-18
Sourakata Koite: En Hollande

Senegalese kora master Sourakata Koité began music from pretty much day one. "All the Koité are musicians!," he says. Indeed he is a member of a family of djéli (or griot in french), the hereditary caste of musician-storyteller-historians in West Africa. After moving to Paris in the late 70s he began to play in different bands and for musicians like Manu Dibango, Touré Kounda, Mangala, Mah Damba and more. During a festival in Holland, a music producer form Plexus Records heard him and asked to make a recording. In 1984 in an old chicken coop near Delft, Koité recorded the entire album in one take, including overdubs. The rich sonics and deep sound beautifully presents Koité's virtuosic and entrancing renditions of traditional and original tunes. With the reissue of en Hollande, Awesome Tapes From Africa continues its mission of bringing tapes posted on the ATFA website over the years, including this one, to music fans all over the world.

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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.