New Releases: March 9th & March 16th by Secretly Distribution

NewRel eas es :Mar ch9t h& Mar ch16t h

MARCH 9TH NEW RELEASES

------------------------------• ONEIDA - ROMANCE | CD (JNR246cd) | Joyful Noise Recordings PHYS UPC:714270691645 • ONEIDA - ROMANCE (BLACK VINYL) | 2xLP (JNR246lp) | Joyful Noise Recordings PHYS UPC:714270691652 • ONEIDA - ROMANCE (RED VINYL) | 2xLP (JNR246lp-C1) | Joyful Noise Recordings PHYS UPC:714270691669 • HAILU MERGIA - LALA BELU (BLACK VINYL) | 7" (ATFA028.5lp) | Awesome Tapes From Africa PHYS UPC: • HAILU MERGIA - LALA BELU | CD (ATFA028cd) | Awesome Tapes From Africa PHYS UPC:616892557340 • HAILU MERGIA - LALA BELU (BLACK VINYL) | LP (ATFA028lp) | Awesome Tapes From Africa PHYS UPC:616892557241 • NAP EYES - I'M BAD NOW | CD (POB033cd) | Paradise of Bachelors PHYS UPC:616892480846 • NAP EYES - I'M BAD NOW (BLACK VINYL) | LP (POB033lp) | Paradise of Bachelors PHYS UPC:616892480747 • NAP EYES - I'M BAD NOW (PINK VINYL) | LP (POB033lp-C1) | Paradise of Bachelors PHYS UPC:616892340645 • THE SKULL ECLIPSES - THE SKULL ECLIPSES | CD (WV144cd) | Western Vinyl PHYS UPC:751937436720 • THE SKULL ECLIPSES - THE SKULL ECLIPSES (BLACK VINYL) | LP (WV144lp) | Western Vinyl PHYS UPC:751937436713 • THE SKULL ECLIPSES - THE SKULL ECLIPSES (GRAY VINYL) | LP (WV144lp-C1) | Western Vinyl PHYS UPC:616892556848 • ERIC CHENAUX - SLOWLY PARADISE | CD (CST131cd) | Constellation PHYS UPC:666561013127 • ERIC CHENAUX - SLOWLY PARADISE (BLACK VINYL) | LP (180 gram) (CST131lp) | Constellation PHYS UPC:666561013110 • MAJEURE - TIMESPAN REDUX (BLACK VINYL) | 2xLP (TRR145RDXlp) | Temporary Residence Ltd. PHYS UPC:656605314549 • MAJEURE - TIMESPAN REDUX (CLEAR W/ TRANSPARENT BLUE STREAKS VINYL) | 2xLP (TRR145RDXlp-C1) | Temporary Residence Ltd. PHYS UPC:656605314556 • DUB NARCOTIC SOUND SYSTEM - RHYTHM RECORD VOL. ONE | LP (KLP045lp) | K Records PHYS UPC:789856104512

MARCH 16TH NEW RELEASES

-----------------------------• DURAND JONES & THE INDICATIONS - DURAND JONES & THE INDICATIONS | CD (DOC157cd) | Dead Oceans PHYS UPC:656605145723 • DURAND JONES & THE INDICATIONS - DURAND JONES & THE INDICATIONS (TRANSLUCENT RED VINYL) | LP (DOC157lp-C1) | Dead Oceans PHYS UPC:656605145730 • STARCHILD & THE NEW ROMANTIC - LANGUAGE | CD (GI310cd) | Ghostly International PHYS UPC:804297831022 • STARCHILD & THE NEW ROMANTIC - LANGUAGE (BLACK VINYL) | LP (GI310lp) | Ghostly International PHYS UPC:804297831015 • STARCHILD & THE NEW ROMANTIC - LANGUAGE (BLACK & RED VINYL) | LP (GI310lp-C1) | Ghostly International PHYS UPC:804297831008 • ESSAIE PAS - NEW PATH | CD (DFA2567cd) | DFA Records PHYS UPC:829732256727 • ESSAIE PAS - NEW PATH (BLACK VINYL) | LP (DFA2567lp) | DFA Records PHYS UPC:829732256710 • CAROLINE SAYS - NO FOOL LIKE AN OLD FOOL | CD (WV164cd) | Western Vinyl PHYS UPC:616892490746 • CAROLINE SAYS - NO FOOL LIKE AN OLD FOOL (BLACK VINYL) | LP (WV164lp) | Western Vinyl PHYS UPC:616892490845 • CAROLINE SAYS - NO FOOL LIKE AN OLD FOOL (TWO-TONE SKY + OCEAN COLORED VINYL) | LP (WV164lp-C1) | Western Vinyl PHYS UPC:616892561545 • MYTHLESS - PATIENCE HELL (BLACK VINYL) | 12" EP (JNR252lp) | Joyful Noise Recordings PHYS UPC:714270691942 • STUART CHATWOOD - DARKEST DUNGEON: ORIGINAL SOUNDTRACK (BLACK VINYL) | 2xLP (GR038lp) | Ghost Ramp PHYS UPC:628110320025

CONTACTS

------------------------------• DOMESTIC SALES & MARKETING - SHELLY WESTERHAUSEN - shelly@secretlydistribution.com - 812.822.3886 • INTERNATIONAL SALES & MARKETING - LAUREN BROWN- lauren.brown@secretlydistribution.com - 812.822.3894 • DIGITAL DISTRIBUTION & PROMOTION - CHARLEY KIEFER - charley@secretlydistribution.com - 812.822.3885

LABEL GROUP

------------------------------2062 / Arbutus Records / Acéphale / Asthmatic Kitty / Awesome Tapes From Africa / Bloodmoss / Captured Tracks Cloud Recordings / Constellation / DFA Records / Dead Oceans / Family Vineyard / Felte / Flying Nun / Ghostly International Hometapes / Jagjaguwar / Joyful Noise Recordings / K Records / Lovepump United / Magnetic South / Merge Records No Quarter / Numero Group / Omnian Music Group / Overcoat Recordings / Paradise of Bachelors / PPM / Quarterstick Records Quite Scientific Records / RVNG Intl. / Sacred Bones Records / Secretly Canadian / The Social Registry / Sounds Familyre Suicide Squeeze / Temporary Residence Ltd. / Tomlab / Tri Angle Records / Trouble in Mind / Underwater Peoples We Are Free / Western Vinyl :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

Secretly Distribution

1499 West 2nd Street Bloomington, IN 47403 USA

RELEASE DATE : March 9, 2018 CATALOG # : JNR246

LP (Black) UPC: 714270691652

AVAILABLE FORMATS : 2xLP / CD GENRE : Rock BOX LOT QUANTITY : 8/LP 30/CD

LP-C1 (Red) UPC: 714270691669

PACKAGING : GATEFOLD / WALLET

VINYL NON-RETURNABLE. TRACK LISTING :

1 Economy Travel 2 Bad Habit 3 All in Due Time 4 It Was Me 5 Good Lie 6 Lay of the Land 7 Cedars 8 Reputation 9 Cockﬁght 10 Good Cheer 11 Shepherd's Axe

VINYL INCLUDES DOWNLOAD

C D U P C : 7 1 4 2 70 6 9 1 6 45

OVERVIEW :

5:14 5:55 3:03 3:47 6:57 10:42 5:03 4:09 4:37 4:25 18:12

Oneida has been a cornerstone of the Brooklyn underground for nearly two decades. Always evolving, the group has been a beacon of musical exploration and enthralling unpredictability, gaining legendary status among heads that know and expanding the limits of what it means to be a rock band. With a discography spanning over a dozen full-lengths, plus live releases, EPs, singles, and limited one-offs, Oneida has demonstrated a mastery of collective improvisation, off-kilter songwriting, complex composition, and everything in between. In 2011 Oneida lost its home base, its studio dubbed the Ocropolis in Williamsburg, Brooklyn, due to the pervasive gentrification and over-development of the neighborhood that was once a thriving arts community. After watching the Monster Island building that housed the Ocropolis transform into a pile of rubble, the band began an intense period of exploration and discovery, retreating from the studio in favor of the stage, and birthing a panoply of limited, uncompromising releases that documented the band’s continuously unfolding journey. Six years after the release of A List of the Burning Mountains, the final emission from the Ocropolis, the band will release their newest studio creation Romance, their first album for Joyful Noise Recordings and a record marked by wild eclecticism, even for a group known for its shape-shifting nature. Recorded over several years in various locales, the 11 songs on Romance are built around deeply developed long-arc rhythm/phase concepts, noise, yearning, blind guitar rage, longing, the lurch of dying electronics, and a multi-modal embrace of human fallibility and artifice. From the crackling synth-led opener “Economy Travel” to the expansive 18-minute epic “Shepherd’s Axe,” Romance is an album in constant flux. On “Bad Habit” the band employs phasing between organ and guitar to great, disorienting effect, while the primitive riffs of “Cockfight” offer a contrasting vision of rock minimalism. Listen closely on “Lay of the Land” and you will hear constant rhythmic development, with drummer Kid Millions eschewing repetition in favor of morphing patterns of hi-hat and snare. As with all mystery, Romance reveals more through closer attention and multiple listens. Oneida, always formidable in the live environment, will be touring throughout the year. Kid Millions remains one of the most in-demand drummers in New York, exploring the outer reaches of percussion music with his own Man Forever project, as well as playing with Laurie Anderson, Royal Trux, and People of the North with Oneida compatriot Bobby Matador. Bobby also takes part in the psych-pop duo Nurse & Soldier, and recently formed yet another duo called New Pope. Guitarist Shahin Moita is a co-founder of underground stalwarts Ex Models and Knyfe Hyts. Through it all Oneida remains a powerful collective voice, a propulsive force for wildness and excitement, with Romance heralding the return of the epic, artful ballad version of the journey.

joyful noise recordings 1030 Orange St | Indianapolis, IN 46203

joyfulnoiserecordings.com info@joyfulnoiserecordings.com

Hailu Mergia — Lala Belu

Capping several successful years traveling the world performing to audiences big and small, Hailu Mergia’s Lala Belu has been a long time coming. It builds on Mergia’s remarkable career resurgence over the past few years. Beginning in 2013 with the reissue of his dreamy Hailu Mergia and His Classical Instrument followed by the enormous success of his seminal Ethio-jazz masterpiece Tche Belew and continuing with last year’s widely acclaimed Wede Harer Guzo, Mergia has received considerable accolades from listeners and press globally, including The New York Times, Pitchfork and The Wire. His old recordings are cherished revelations for Ethiopian music fans; however, Mergia’s return to the stage has been just as inspiring and electrifying. Mergia’s vintage recordings are known for an inherently mysterious and worn-in quality, while his new recordings echo his band’s 21st century live show with modern instrumental interpretations of crucial Ethiopian standards and Mergia’s own original compositions. Tony Buck (drums) and Mike Majkowski (bass), who have backed Mergia on tour throughout Europe and Australia, form the bass-drums trio on the recording. Having played venues from Radio City Music Hall and the Kennedy Center to jazz festivals, rock clubs and DIY spaces all over North America, Europe and Australia, Mergia and Awesome Tapes From Africa want to document this moment in his landmark career with a snapshot of Mergia’s current sound. Since he emigrated from Ethiopia and built a life in Washington, D.C. around 1981—where he remains working as an airport taxi driver when he is not on tour—Mergia’s career has followed a humble trajectory. He made a few recordings in America but they didn’t easily reach fans back home. He kept making music on his own and with friends but after the early 80’s his gigs in the U.S. mostly dried up. It wasn’t until he began working with Awesome Tapes From Africa and putting together bands with the help of booking agents and musicians in Europe and the U.S., that he was able to chart a new path. With a broad audience of young listeners in diverse venues and distant locales, at age 71, Mergia is enjoying his comeback and is not slowing down. AWESOME TAPES FROM AFRICA PO BOX 986 NEW YORK, NEW YORK 10009

01. Tizita (10:00) 02. Addis Nat (04:34) 03. Gum Gum (06:47) 04. Anchihoye Lene (07:06) 05. Lala Belu (04:42) 06. Yefikir Engurguro (06:15) CATALOG #: ATFA028 RELEASE DATE: 03/09/18 FORMAT: LP/CD LIST PRICE: CD: 14.98 / LP: 19.98 DISCOUNT: 5% discount thru two weeks past street date LP BOX LOT: 25 CD BOX LOT: 40 UNITS PER SET: 1xLP, 1xCD GENRE: World/Jazz KEY MARKETS: NYC, LA, DC, Chicago, Detroit, Seattle,   San Francisco VINYL NOT RETURNABLE NO EXPORTS LP#616892557241

CD#616892557340

Selling Points: -First new LP in over 15 years -Builds on 3 successful ATFA reissues of Mergia’s music -First release following several worldwide tours -Legendary artist still active after decades of historic work -Modern Ethiopian jazz built on ancient scales and standards

Paradise of Bachelors P.O. Box 1402, Carrboro, NC 27510 www.paradiseofbachelors.com / info@paradiseofbachelors.com US PR: Patrick Tilley, patrick@pitchperfectpr.com The acclaimed Canadians return with an ambitious, allusive third album that achieves a new sonic clarity, depth, and range to match the effortless melodies and extraordinary writing. It’s the band's most transparent and personal set of songs to date, in which singer Nigel Chapman interrogates social, psychological, and spiritual milieus for clues about the elusive nature of knowledge.

NAP EYES I’M BAD NOW

+ label: + catalog number: + formats: + release date: + UPCs: LP / LP-C1 / CD: + genre(s): + territory restrictions: + LP / CD box lots:

Paradise of Bachelors PoB-033

LP / LP-C1 (pink) / CD / digital (LPs not returnable)

March 9, 2018

616892480747 / 616892340645 / 616892480846

Alternative / Rock USA only 25 / 30

A1. “Every Time the Feeling” 3:12 A2. “I'm Bad” 5:16 A3. “Judgment” 4:14 A4. “Roses” 3:27 A5. “Follow Me Down” 4:02

B1. “You Like to Joke Around with Me” 2:39 B2. “Dull Me Line” 3:28 B3. “Sage” 5:02 B4. “Hearing the Bass” 2:28 B5. “White Disciple” 6:19 X. “Boats Appear” 6:43 (CD/digital only)

+ Deluxe 140g virgin vinyl LP features heavy-duty reverse board jacket, color inner sleeve with band photos and lyrics, and high-res Bandcamp download code. Pink vinyl (first PoB color edition) is limited to 575 copies. + CD edition features 6-panel gatefold jacket with LP replica artwork and lyrics. + Available in other territories from You’ve Changed Records (CA) and Jagjaguwar (RoW). + RIYL The Only Ones/England’s Glory, The Modern Lovers, Felt, The Clean, The Verlaines, The Go-Betweens, Bedhead, Kurt Vile, Courtney Barnett, Nikki Sudden, Belle & Sebastian, all things Lou Reed. + For more information: http://www.paradiseofbachelors.com/pob-033 + Artist page/tour dates/back catalog: http://www.paradiseofbachelors.com/nap-eyes + “Brimming with passion & protest. Immediately familiar, yet bracingly distinct… one the most intriguingly idiosyncratic lyricists this side of Dan Bejar.” – Pitchfork + “One of the best rock bands in business today.” – The FADER + “One of the most fascinating songwriters we have today.” – Newsweek + “Beatific, sun-drenched roadtrip tunes. Nigel has one of the most beautiful voices I’ve heard in years.” – NME + “Unvarnished diarizing in lean, art-pop songs.” – Uncut + “Concise, understated alt-rock with cryptic, literate lyrics for Go-Betweens/Bill Callahan fans.” – MOJO

“In one inconceivably complex cosmos, whenever a creature was faced with several possible courses of action, it took them all, thereby creating many distinct temporal dimensions and distinct histories of the cosmos. Since in every evolutionary sequence of the cosmos there were very many creatures, and each was constantly faced with many possible courses, and the combination of all their courses were innumerable, an infinity of distinct universes exfoliated from every moment of every temporal sequence in this cosmos.” – Olaf Stapledon, Star Maker (1937) The concept of the multiverse—the theoretical existence of infinite universes parallel to or interpenetrating our own—exists as a ripe conceit in fiction as well as physics, with Jorge Luis Borges’s 1941 story “The Garden of Forking Paths” perhaps the most famous literary contemplation. But British philosopher Olaf Stapledon’s description in his 1937 novel Star Maker is earlier and weirder, with its tactile, slightly foul, and rather terrifying description of universes “exfoliating,” like some kind of cosmic dandruff, from every critter’s every potential course of action. These convoluted circumstances are encountered by Stapledon’s first-person narrator, a human being whose disembodied “cosmical mind” roves unmoored through eternally expanding spatiotemporal scales, like some kind of cosmological detective searching for origins and eventualities. Outside of science fiction—IRL—we rarely find those answers, or even those inquiries. They don’t usually arrive in digestible pop song or meme form. So the ambitious, allusive new album by the Canadian band Nap Eyes is an anomaly. These songs position the band’s enigmatic songwriter Nigel Chapman as a Stapledonian “cosmical mind,” an existential detective who interrogates social, psychological, and spiritual milieus for clues about the elusive nature of knowledge. In this role, the song-persona, if not the songwriter, resembles a monkish, beatifically stoned Columbo, vigilantly squinty-eyed in his metaphysical quest for self-understanding, despite ostensible bumbling on the physical plane. I’m Bad Now, the most transparent and personal Nap Eyes album to date, constitutes the third chapter of an implicit, informal trilogy that includes Whine of the Mystic (2015) and Thought Rock Fish Scale (2016). The brilliantly reductive title is something I’ve heard my four-year-old son and his friends announce verbatim when roleplaying the perennial game of heroes and villains, “good guys” and “bad guys.” “I’m bad now,” he declares, but an equivocal binary is implied: it’s only a matter of time or trading places before he (or anyone) has the capacity for good again. Perhaps goodness will manifest in the multiverse, on a different circuit than this faulty, frayed one. Is that faith or fantasy? And what is the difference? The title is also, of course, a sly Michael Jackson appropriation. While Nigel composes Nap Eyes songs in their inchoate form at home in Halifax, Brad Loughead (lead guitar), Josh Salter (bass), and Seamus Dalton (drums), who live a twelve-hour drive away in Montreal, augment and arrange them, transubstantiating his skeletal, ruminative wafers into discourses that aim to transcend what Nigel, in the song “Dull Me Line,” self-laceratingly deems “bored and lazy disappointment art.” The band provides ballast and bowsprit to Nigel’s cosmical mind. The nautical metaphor is not just whimsy: Nap Eyes are all Nova Scotians by raising and temperament, acclimated to life on an Atlantic peninsula linked narrowly to the rest of North America (“Follow Me Down,” with its “broad cove” and bay, and “Boats Appear,” with its “steam trails rising from the sea,” both offer an evocative sense of place for these otherwise mental mysteries.) Brad is a physical guitarist whose lyrical grace is matched only by the dark ferocity of his feedback-laced solos. Salter and Dalton exercise an unassuming mind-meld melodicism and vigor, and their gentle thrumming lends a new sonic clarity, depth, and range to match the effortless melodies and extraordinary writing. One couplet herein suggests the exalted life-force of rhythm in the estimation of Nap Eyes: “Hearing the bass as you enter your teens/Exit your life recollecting universal themes.” The technology of these songs, bass frequencies aside, is essentially catechismal, taking the form of questions and answers posed to assert faith, or to defend doubt. Selected quatrains can tell the tale. The lyrics traffic in second-person address, but the “you” is often Nigel himself, a gaze inward and not, as in the “you” of most romantic pop songs, directed outward to others. The self-interrogation of album opener “Every Time the Feeling” arrives with a subdominant chord and a subdominant attitude, only switching to the first person in the (repeated) final verse, for this devastating admission: Oh I can’t tell what’s worse: / The meaninglessness or the negative meaning But I figured out a way / To get on with my life and to keep on dreaming “I’m Bad,” the almost-title track that deletes the temporal anchor of “now,” switches back to the second person self-address in a country-rock inclined tune that is stylistically different than anything the band has attempted, as well as mockingly self-flagellating. “You’re so dumb,” Nigel sings to himself, diagnosing his delusions. Each persona and decision, bad or good, multiplies futures in a recursive multi-mirror funhouse, and the album follows a slow arc toward self-acceptance, and maybe more: ambivalence begets paralysis; paralysis begets self-reproach; self-reproach begets acceptance; acceptance begets joy; joy begets ambivalence. “If there’s a right road, would you/Kindly show me?” he asks in the churning, static-electric “Judgment.” And then: Think of every single moment in time / That would have faded from your mind If not for the rewiring process / The synaptic protein fold caress So choice is an illusion, memory a precarious neuroelectrochemical process, science and religion the two imperfect prongs of a crooked dowsing rod. The Socratic dialogues of “Sage” and “White Disciple” paint opposing philosophical portraits: “the doubtful sage” hopes, with humility, to vanquish “the damp, heavy disappointment of the wasted day,” whereas “White Disciple” pits a would-be novitiate against the dogma professed by a spurious, possibly sinister, guru. A half-baked application of the scientific method similarly fails to manifest the mutant truth, as the dream of “Boats Appear” reports: It didn’t work when I fed the cells / Such a high ligand dose Too strong, it masked the effect / The mutant wouldn’t even show Solipsism may at times seem to be Nap Eyes’ primary investigative mode, but some of the loveliest moments involve rare glimpses of connection, anxious invitations to alien others. The galloping rhythmic rush of “Roses” locates an external “you” that remains a mirrored embrace: “People look for their reflections/Everywhere in everyone/Some like a soft glow, some a little sharper depiction.” “You Like to Joke Around with Me” offers such a sharper depiction in the form of a self-portrait: In the background of a silent city/ A hard-pressed individual scolds Himself for entertaining self-pity / While a nightingale’s cool voice rolls And yet our hard-pressed hero is redeemed by friendship: “Last night, my friends surprised me/With gestures of kindness I’d never expect,” catalyzing a minor revelation: “Tuning yourself/To catch another’s wavelength/Sure can make a difference/In this world.” The band itself is tuned to the wavelength of succinctly stinging, guitar-centric rock and roll—in other words, and by today’s genre standards, folk music. The indelible melodic clarity of the instrumentation, coupled with the calm, lucid inquisitiveness of Nigel’s voice elevate certain verses, like this one from “Follow Me Down,” to the heights of everyday poetry: I went out walking with my headphones on / Classical Indian raga twenty minutes long Then I listened to old American folk song / A little bit shorter, still a lot going on Ultimately, nature (a nightingale’s song) and distance (walking alone in the cold) provide the potential of peace, an escape from the anxious tyranny of the self, as in the rousing finale of “Sage”: Maybe far away / The night is beautiful and rustic and grey / The rain is rustic, the fields and pastures / Are a deep dark grey We are very many creatures, with innumerable possible courses to explore. So let fly the cosmical mind into the gray night, dear listener. But don’t take my word for it. Again, Star Maker illuminates: “Barren, barren and trivial are these words. But not barren the experience.”

UPC-LP (black)

16892 48074

UPC-LP-C1 (pink)

16892 34064 5

UPC-CD

16892 48084

THE SKULL ECLIPSES

ABOUT THIS RECORD

Known respectively for their independent work as Botany and Lushlife, Spencer Stephenson and Raj Haldar selected their collaborative mantle, The Skull Eclipses, when the album became more than just a one-plus-one combination of their individual sounds. The odd title was originally given to a demo beat that Stephenson sent Haldar back in 2014, but it quickly became apt for the subject matter and emotional tone that the album and group took on during creation. “The Skull Eclipses” refers to the philosophy of Solipsism, that nothing verifiably exists outside of the human mind, and dually to the idea that knowledge of one’s own mortality makes inner peace unachievable. Happiness is “eclipsed” by the image of death, classically represented as a “skull”. Accordingly, Haldar’s lyrics are a free-associative discourse on the value of life amid a growing population, Islamophobia misdirected at non-muslims via racist assumption, poverty, pharmaceutical abuse, mortality, mental illness, international conflict, political unrest, police shootings, and the continual failure of the drug-war that began when the album’s creators were just children. These are topics that Haldar and Stephenson felt could be lost in the perceived sunniness of their solo identities. Haldar himself appears in rotating turns alongside his Lushlife persona, whose head hangs heavier than we’ve previously seen as the character slides off of its inventor’s shoulders like a tattered cape. Haldar sometimes refuses to put it back on altogether, opting instead for subdued delivery and melancholic admissions of auto-biographical turbulence. By this measure, it’s hard to tell if the album’s celebratory moments are little more than a mocking reflection in the mirror. Stephenson’s trademark fractalline production, noticeably more grim and aggressive than the tie-dyed psychedelia of his Botany project, provides ample space for Haldar’s shadow-self to break through. Instead of assuming the centerpiece, the raps become impressionistic graffiti, scrawling messages of societal and personal frustration on Stephenson's walls of sound built of throbbing bass, gothic chants, somber vinyl samples, and tape-destroyed speech. Aside from displaying a wider tempo variation than any of Stephenson’s work to date The Skull Eclipses is spun from sonic threads dark enough to border on horror. Songs are glued together with interstitial bad-trip creep-ups: melting choirs, doomsday evangelists, and the Judica-Cordiglia recordings that are purported to have captured the sounds of Russian kosmonauts burning up on reentry. As grotesque as that sounds, the album might be the most oddly accessible thing Stephenson has put a fingerprint on, each track being its own radio-ready package in contrast to Botany’s album-as-song ethos of seamlessness.

TRACK LIST 1. Yearn Inﬁnite I 2. All Fall (ft. Def Rain) 3. Angels Don't Mind 4. Pillars (ft. Baba Maraire & Felicia Douglass) 5. Take My 6. Encyclopedia 7. Gone (ft. Open Mike Eagle) 8. Gun Glitters (ft. Lojii) 9. Pushing Up the Hills 10. Yearn Inﬁnite II (ft. Laraaji) 11. Spacecrafts in Rajasthan

1:31 4:34 2:41 4:58 2:44 4:38 4:10 4:00 3:37 1:31 4:22

MORE INFO • Limited edition of 500 on gray vinyl • Debut produced by Spencer Stephenson aka Botany, with lead vocals by Raj Haldar aka Lushlife. • First (non-album) single, a collaboration with Mary Lattimore, debuted on the day of the U.S. solar eclipse via Pitchfork. • Album features contributions from Open Mike Eagle, Laraaji, members of Shabazz Palaces, and others • US press by Orienteer (Tyler the Creator, Kaytranada, Joey Bada$$, DIIV, et al)

Broadly, The Skull Eclipses is a post-hip hop album that harmonizes tropes of mid 90s LP UPC 751937436713 CD UPC 751937436720 electronic genres-- ambient, downtempo, jungle, & trip-hop-- under a hauntological umbrella. It is the first offering from a project that is as much indebted to Broadcast & The Focus Group as it is to Pete Rock & CL Smooth, but obligated to neither. Up close 7 51937 43671 3 7 51937 43672 0 LP-C1 UPC 616892556848 however, the album is a peer into the shadows by two figures uncontent with blending into the tapestry of modern music, wholly committed to creating experiences over mere content, which is pouring in from all corners of a frustrated and distracted world. 6 16892 55684 8 Release Date MARCH 9, 2017

Formats VINYL / Ltd. Ed. GRAY VINYL / CD

Catalog Number WV144

Genre HIP HOP

WESTERN VINYL AUSTIN•TEXAS WESTERNVINYL.COM

Packaging LP JACKET / CARDBOARD WALLET

Export Restrictions NONE

Box Lots LP 10 / CD 40

Return Policy VINYL IS NON-RETURNABLE

EXCLUSIVELY DISTRIBUTED BY SECRETLY DISTRIBUTION P:812.335.1572 F:888.678.0167 US DOMESTIC SALES CONTACT SHELLY WESTERHAUSEN E:SHELLY@SECRETLYDISTRIBUTION.COM INTERNATIONAL SALES CONTACT LAUREN BROWN E:LAUREN.BROWN@SECRETLYDISTRIBUTION.COM

Eric Chenaux Slowly Paradise CD • 180gLP • DL Release Date: 09 March 2018 ERIC CHENAUX APPEARED ON THE COVER OF THE WIRE (NOVEMBER 2017) “A singer and songwriter possessed of angelic sweetness and clarity accompanying himself with largely improvised, visceral guitar textures that seem intent on undermining and obscuring his own songs. It’s the need to communicate tussling with the urge to obfuscate; lucidity versus opacity; form against chaos.” – The Wire (Nov 2017) “In the field of avant guitar wrangling, Cheanaux’s style is genuinely distinctive… recalls John Martyn, Marc Ribot and Arthur Russell…Chenaux’s pure sweet voice soars along Chet Baker and Jeff Buckley lines…” – Uncut (Skullsplitter review, March 2015) RIYL: Richard Dawson, John Fahey, Derek Bailey, Richard Youngs, Billie Holiday

Eric Chenaux makes conceptual music that’s not meant to sound conceptual. He operates among various ‘traditions’ but perhaps most broadly, Chenaux’s records grapple with the relationship between improvisation and structure in very particular, unique, idiosyncratic ways – and quite without irony or cynicism, through love. Because fundamentally, Chenaux writes love songs, which he sings in a voice honeyed and clear, while his guitar gently bends, frazzes, chortles, diverges and decomposes. This juxtaposition of his mellow, dexterous crooning and his highly experimental (and equally dexterous) guitar explorations, explodes even unconventional notions of singing and accompaniment, of tonal and timbral interplay between guitar and voice. As a solo artist, Chenaux’s improvisation methods are in certain literal ways solipsistic: as a singer-songwriter, he plays his guitar around and against his voice, challenging easy notions of harmony/harmoniousness, improvising ‘with himself’ in pursuit of surprising himself (and his listeners) as he unfurls ribbons of voice and instrument often to the point of seeming independence, all the better to capture – and be captured by – unforeseen, intimate moments of interdependence: a definition of freedom, as a profoundly intentional state of openness, presence and play. Even within avant-garde currents of folk and jazz balladry, Eric Chenaux feels like an outlier. Yet his music remains wonderfully warm, generous and fundamentally accessible in spite of its irrefutable iconoclasm. While the constitutive elements of Chenaux’s solo work in recent years might suggest some underlying devotion to asceticism, the opposite is much more true: his musical reveries resist, critique and counteract austerity (in all its forms) in a joyful abandonment to the improvised space where playfulness and light-heartedness are taken seriously, and where love is invoked and expressed, without reductive or facile sentimentalism, in a full, nuanced, clear-eyed suspension/rejection of the cynical life. Slowly Paradise is Eric Chenaux’s new solo record. It is a lovely collection of mostly long songs guided by soothing, buttery singing and bent, fried fretwork. It is arguably Chenaux’s most assured and essential solo work, building on the critical acclaim his previous releases Guitar & Voice and Skullsplitter have rightly garnered. Thanks for listening.

CST131 CONSTELLATION TRACKLIST: 01 Bird & Moon 02 Slowly Paradise 03 An Abandoned Rose 04 Slowly Paradise (Lush) 05 There's Our Love 06 Wild Moon DURATION: 41:18 GENRE: Folk / Avant Folk / Singer-Songwriter 180gram vinyl includes 12x24 art print poster + 320kbps MP3 download VINYL IS NON-RETURNABLE NO EXPORT TO ISRAEL

BOX LOT: 40 UPC: 666561013127

LP (180gram)

BOX LOT: 40 UPC: 666561013110 CONSTELLATION www.cstrecords.com Contact & Publicity: (514) 279-9705 pr@cstrecords.com twitter.com/cstrecords

Majeure

TIMESPAN REDUX

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56605 31454 TRR145RDX LP

ARTIST: Majeure TITLE: Timespan Redux CATALOG: TRR145 RELEASE DATE: March 9, 2018 FORMAT: LP / LP-C1 / Digital UPC LP: 656605314549 UPC LP-C1: 656605314556 BOX LOT: 50 TERRITORY RESTRICTIONS: NONE VINYL IS NON-RETURNABLE TRACK LISTING 1. The Dresdex Codex (13:16) 2. Teleforce (9:10) 3. Timespan (17:59) SALES POINTS  A completely new mix and master of the long out-of-print debut album from MAJEURE Features founding member of ZOMBI, and CONTACT 

 Limited edition COLORED VINYL available while supplies last: CLEAR w/ TRANSPARENT BLUE STREAKS

RIYL: JOHN CARPENTER, ASHRA, VANGELIS, ZOMBI, JEAN-MICHEL JARRE 

PRESS “A welcome and exhilarating breath of fresh air.” – Pitchfork

BIO A decade ago, Zombi cofounder A.E. Paterra conceived his solo endeavor, Majeure. Released in 2009, the debut album, Timespan, took the term “full-length” quite literally – its 40-minute runtime filled by three epic, side-long journeys through time and space. It merged the sinister soundtracks of Vangelis and John Carpenter, the stately minimalism of Cluster and Ashra, and the relentless drive of Tangerine Dream and Jean-Michel Jarre, delivering inspired sci-fi disco-prog of the highest caliber. Originally released on 2xCD and 2xLP, Timespan quickly sold out on both formats and has been out-of-print for nearly a decade since. To celebrate its forthcoming 10th anniversary, the album is given an entirely new mix and master for this special-edition reissue, Timespan Redux. Mixed from the original master files by A.E. Paterra, and remastered by James Plotkin, Timespan Redux improves upon the original in virtually every way. The vinyl format of Timespan Redux is pressed onto 100% virgin vinyl for premium sound quality, and is available on limited-edition colored vinyl (clear w/ transparent blue streaks) while supplies last.

Box 7154, Olympia, Wash., 98507 U.S.A., (360) 786-1594, facsimile (360) 786-5024, k@krecs.com, www.krecs.com

Dub Narcotic Sound System

‘Rhythm Record Vol. One Echoes from the Scene Control Room’ Catalogue number: KLP045 Release Date: March 9, 2018 Format: LP and digital streaming/download this album is non-returnable LP UPC: 789856104512 Territory Restrictions: None Genre: Contemporary Box lot LP: 50 5% discount though 2 weeks after street

Songs: 01. Foxy Hardcore 1:46 02. Motion Control 3:40 03. Bite Attack 3:18 04. Echo Control 5:54 05. Foxy Manacle 1:15 06. Spaghetti Feed 4:30 07. Respirator Version 3:11 08. Waffle Ganger 2:26 09. Sunday Go to Meeting 3:14 10. Dub Narcotic Renew 3:34 Vinyl-only instrumental and dub raw. You may need a special tool to carve a deeper groove in your turntable or jukebox in order to play this rhythm method by Dub Narcotic Sound System. Makes your nose bleed. On beyond stomp. Lopsided version galore. The Rhythm Record Vol. One Echoes from the Scene Control Room [KLP045] album was recorded at the same 1994-’95 Dub Narcotic Studio sessions as the Dub Narcotic Sound System debut Boot Party [KLP049], with many of the same participants. It’s an all-instrumental affair, heavily dominated by Calvin Johnson’s trademark melodica (which is still being deployed throughout his contemporary Selector Dub Narcotic experiments). Featured players include members of Dub Narcotic Sound System and other K combos of the time like Wandering Lucy and Kicking Giant, augmented by Olympia residents and visitors from as far away as New York City and Tokyo, Japan. This album was originally released in 1995; it has been unavailable since 1999. Recently remastered by Adam Gonsalves at Telegraph Mastering it has a fresh, echoplasmic sheen of bass and drum beat rhyme. Although still vinyl-only, there will be a digital version of the album available for download or streaming through the usual suspects.

Dead Oceans

DURAND JONES & THE INDICATIONS Durand Jones & The Indications About the album

In the fall of 2012, Jones left his small-town in Louisiana for the foothills of Indiana. Alto saxophone in tow he enrolled in 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—comprised of Aaron Frazer (drums), Blake Rhein (guitar), Kyle Houpt (bass) and Justin Hubler (organ). 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. With comparisons from Charles Bradley and Lee Fields to Al Green, the only thing that separates this band from those greats is their youth. Having now taken their raucous live show all across the US, the band have galvanized a following that are ready to take them to the next level.

Selling Points

Details

CATALOG NUMBER: DOC157 RELEASE DATE: March 16, 2018 FORMAT: CD/LP/Digital CD LIST PRICE: $14.98 LP LIST PRICE: $21.98 DISCOUNT: 5% (standard) through 2 weeks after release date CD BOX LOT: 30 LP BOX LOT: 15 GENRE: Soul KEY MARKETS: Indianapolis, Portland, Seattle, LA, Austin, NY NO EXPORTS VINYL NOT RETURNABLE

CD UPC: 656605145723

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LP UPC: 656605145730

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DIGITAL UPC: 656605145761

Tracks

~ Band have built up a fanbase touring the US for the past year. Will be touring heavily in 2018. Known for their intense live show. ~ Limited first pressing color only - translucent red ~ Early supporters at various TV shows, radio+ press (see glowing press quotes) ~ Early syncs including a Google ad for “Groovy Babe”

SIDE A:

SIDE B:

1. Make a Change 2. Smile 3. Can’t Keep My Cool 4. Groovy Babe

5. Giving Up 6. Is It Any Wonder? 7. Now I’m Gone 8. Tuck ‘N’ Roll

Press contact: Cami Opere - Sacks & Co. Email: cami.opere@sacksco.com Promo photos available. Digital press kit (w/ photos, one-sheet, thumbnails) at www.deadoceans.com/press/

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GHOSTLY INTERNATIONAL

GI-310

Starchild & The New Romantic

Language 01. Language 02. Mood 03. Only If U Knew 04. Hands Off 05. Hangin On 06. Black Diamond 07. Ophelia’s Room

TRACKLIST 08. Some People I Know 09. Can I Come Over? 10. Doubts 11. Good Stuff 12. Boys Choir 13. Lost Boys 14. Hand To God

RELEASE BIO

“Black boys have a whole world of complexity that society makes us stomp out of ourselves." Language, Bryndon Cook's full-length debut as Starchild & The New Romantic, communicates his refusal to do so. Describing himself early-on as a “young romantic boy from Maryland," Cook has long been a dreamer, a student of black music’s rich lineage and its intersection with pop. He's drawn to landmark moments where artists have found truth in darkness; the diverse language of music living in their core. This record is his; lifting off from the monochrome world of Crucial, his 2016 EP on Ghostly International, up towards a dazzling crimson blood-rush of sky-high defiance and autonomy. On Language, Cook refines his phonics for funk, electro, and R&B, and arrives at a revelation, best summarized by a single motto: "my sensitivity is my strength."

RELEASE INFO Catalogue Number: GI-310 Format: CD, LP Release Date: March 16th, 2018 UPC: LP- 804297831015 LPC1- 804297831008 CD- 804297831022 Genre: Alternative Not available for export Box Lot: LP-10 CD-35 Territory restrictions: Japan Vinyl is not returnable

“When I wrote these songs, the sunshine of my mind was beginning to set in a dark place. I found myself developing almost a surrogate relationship with my telephone. I would fall asleep at night clutching it, waiting for a call. When we parted, I would become attached to my phone as a conduit to this person I had lost.” Even if the valleys of their relationship were debilitating — a "black goth realm" to his soul, as Cook puts it — he often overlooks them in hopes of more peaks, more light, resulting in his most earnest, warm-hearted material to date. Take the tender single, "Hangin On." Cook beams above a prismatic soul-tinged shuffle and luminescent keys, still visited by the past yet at peace with the present. The pitch is far more pointed on the album's title track, a vibrant, funk-fueled opener that wastes little time making its purpose heard. "Should have stuck with me kid," Cook begins, as nasty as he is rapturous. By its end, he's in full control. "Can I get a witness?" He screams, invoking the power of an affirmation ushered from church aisles into the lexicon by Kirk Franklin. Sonically and spiritually, Cook finds guidance in grand standards: looking up to producers Jimmy Jam & Terry Lewis, studying their contributions to the New Jack Swing era and pop music at large. Touchstone statements like Janet Jackson's Control, Michael Jackson's Bad, and Prince's 1999; singular breakout LPs from Terence Trent D'Arby and Bobby Brown; the honesty of Bruce Springsteen's Nebraska and Carole King's Tapestry; the ingenuity of Laurie Anderson. Cook also reflects on recent years with Solange, as part of her touring band, and collaborations with Dev Hynes aka Blood Orange, as reminders of artistic individuality. "Being around them now urges me to find my own way of delivering my own messages." Cook expands his message and its impact by arranging talents. For the first time, sessions included members of his band, The New Romantic, allowing for keyboard/synth parts to be recorded straight-through, with no punch-ins, and a more dynamic atmosphere overall. Further, Cook recruits The Newark Boys Chorus to underscore the most poignant lines of "Boys Choir," giving them the entire stage for the coda: "Be it understood. / This love is mine."

POINTS OF INTEREST • Debut full length following his 2016 EP, Crucial. • Media coverage at New York Times, Rolling Stone, i-D, Pitchfork, Interview Magazine, The FADER • Touring member of Solange, Blood Orange, Kindness • In 2017 Starchild collaborated with: Dev Hynes on the VeilHymn project • Guests on Porches’ forthcoming 2018 album, The House • Standard weight vinyl is housed in matte jacket with inner sleeve

Moves like this get to the root of the record: a contemplation of the boyhood that never truly leaves us. "In the black community, any sign of femininity or childlike wonder is often misconstrued as weakness, because society has always expected us to be strong. They prey on us as kids and take us to prison like adults. They kill us on the street. They take everything from us and never say thank you." Language is the sound of Bryndon Cook eloquently occupying his space without apology, envisioning a world where the crimson qualities of sensitivity and softness aren’t shamed, they are celebrated as magic.

LP UPC

LABEL CONTACT Ghostly International 61 Greenpoint Ave. #506 Brooklyn, NY 11222 dado@ghostly.com www.ghostly.com

LPC1 UPC

Exclusively distributed by Secretly Distribution / Phone: (812) 335-1572 / Fax: (888) 678-0167 US domestic sales contact: Shelly Westerhausen / shelly@secretlydistribution.com International sales contact: Lauren Brown / lauren.brown@secretlydistribution.com

CD UPC

Ma r c h16, 2018

CAROLINE SAYS NO FOOL LIKE AN OLD FOOL

ABOUT THIS RECORD No Fool Like An Old Fool is the sophomore LP from Austin via Alabama musician, Caroline Sallee, aka Caroline Says. Moving beyond the surf-folk foundations of her debut, on No Fool... Sallee loosens her earthly tether, allowing her songs to float to ever higher altitudes on clouds of loops, immaculate melodies, and hypnotic harmonies, as she sings about aging, the daily grind, and hometown stymie. Moving to Austin in 2013 gave her a new perspective on her hometown of Huntsville, Alabama, which informed the overall vibe of the album. “I think leaving my fairly small hometown and then going back to visit it inspired the feeling I went for on this album. I observed that so many people I knew were content doing basically nothing. Or that they were scared to try to do anything or leave town, like they felt stuck there.”

TRACK LIST

The first few notes of the Daniel Rossen-esque opener “First Song” dutifully establish the surreal and slightly tragic tone of longing maintained throughout the album. The curiously upturning melodies ride out on a rich ambient texture before “Sweet Home Alabama” cuts the fog with a crackling 60's soul loop that's charming and catchy enough to induce a cathartic laugh from the listener. The brightness fades with the frosty and propulsive “A Good Thief Steals Clean,” which features lyrics inspired by the 1971 film Panic in Needle Park, and the idea of being in love with a heroin addict. “I tend to write from the perspectives of characters in dark situations, even though my songs may sound bright,” Sallee notes of her alluring juxtaposition of sunny production and grim lyrics. She employs this dynamic again on “Rip Off,” a frenetically percussive song with lyrics inspired by an NPR story about a young Iraqi man who was killed in an ISIS bombing just before moving to NYC to become a professional dancer. Inspired by Terrence Malick's Badlands and Bruce Springsteen's "Nebraska," the song “Black Hole" features multi-voice harmonies sung from the perspective of 50's spree killer Charles Starkweather. Finding time to record while working three jobs was no easy task, and her living situation didn't make it any easier. Sallee explains "I lived in a disgusting mildewed basement apartment that was like living in a gross cave. My landlords were a crazy old couple that lived above me, and it was like living inside of a drum. I could hear their footsteps, and their dog’s footsteps, and a lot of the time it just sounded like they were throwing things on their floor. It was so hard to find a perfectly quiet time to record. I recorded all my loud stuff (amped guitar, drums) during the day, and had to do quieter stuff like vocals late at night." The hurdles she navigated to record naturally led to ad hoc recording techniques, and endless sonic experimentation, often leading to her use of the computer as an instrument. She remarks “I did a lot of recording in a state of exhaustion from working so much. I was so worn down that these songs were able to just come through.” No Fool Like An Old Fool is a fine soundtrack for this kind of liminal state, honest in its weariness, glad to be done with the day, carrying itself into tomorrow with a bleary-eyed sense of wonder and hope for the future. A tireless worker, and a wellspring of creativity, whatever Caroline Says, we will be listening.

01 First Song