Sacred Bones Rock & Indie 122 Items

Reissue of the original album in its entirety, plus three additional rare tracks taken from Moon Duo's wild early days. Reflecting on the album in March 2020, the band shared the following statement: "We made this record in a rehearsal space in San Francisco in late 2009. It was kind of a classic band space, shared by a rangy assortment of musicians over months and years, behind one of several similar doors in a dark red hall. A windowless room lit by string lights and an odd assortment of lamps, the walls a palimpsest of posters and gig fliers. There was a grimy, burn-pocked rug, cluttered gear in various stages of use and abandonment, and the air seemed to hang in a permanent film of smoke residue and stale beer. We recorded to a 4-track tape machine over the course of a few nights - we'd just start the beats, hit 'record' and let fly. We had a vague sense of coalescence, or fomentation, like a glimpse of a thing in outline which you can't yet see, but neither of us knew at the time that this was the record that would mark the beginning of our life as a touring band and would initiate our connections to so many (now long-time) friends, familiars and collaborators. Ten years feels like both a lifetime and the blink of an eye - measurable but impossible to quantify. These four tracks, and the others that join them here, are a snapshot of our earliest incarnation: flying blind, but high on the freedom of experimentation and filled with hope for things to come. 'Escape' was originally released on Woodsist in 2010. 'A Little Way Different' taken from the Welcome Home: Diggin' the Universe comp on Woodsist. 'Catch As Catch Can' and 'Set It On Fire' taken from a 2010 7-inch on Agitated Records.

Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022. All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press European compilation; Ginger Quail, an obscure New Orleans punk band from the late 90s; and so on. Regardless of their standing in the civilian world, all of these bands and songs have had a strong imprint on Thou - much more so than "sludge" or metal in general or "the swamp" of New Orleans. New Noise Magazine described some of the tracks saying "They've got a Black Sabbath `Sweet Leaf' cover that they've dirtied up to the point where it sounds like a High on Fire original, a blackend-sludge version of Born Against's `Well Fed Fuck,' a bewitched version of Pearl Jam's `Spin the Black Circle,' and an appropriately gross and desperate cover of Shellac's `Prayer to God.' It's as good or better than their Nirvana album imho." And while the mentioned tracks will be on the vinyl version sans "Sweet Leaf" it will have a different track list from 2020's digital release including a cover of the Yeah Yeah Yeah's iconic track "Maps". This collection includes artwork from former New Orleans -now Mexico City artist Rachel Speck from her Tropical Goth imprint.

Këkht Aräkh is the Ukrainian project founded in 2018 by Dmitry Marchenko. The debut album Night & Love was initially released on the Finnish label Livor Mortis in 2019 and it's now seeing a worldwide reissue via Brooklyn label Sacred Bones.Dmitry's intent to experiment with standard black metal canons previously seen at play in Through the Branches to Eternity EP (2018) solidify further on Night & Love, he mentions "back then I had an idea of combining Darkthrone's Transilvanian Hunger type of black metal with early Internazionale or Croatian Amor vibe."Described as ambient or atmospheric black metal, this debut presents Këkht Aräkh's signature dichotomy of harsh traditional early Norwegian black metal and the more ethereal and delicate melodies. On the other hand the lyrics are romantic and melancholic, clearly influenced by a stark Gothic imagery, and serve as an extra layer of mystery to the already suggestive body of work. The album beings with a soft acoustic intro in "As the Night Falls_" before descending into the raw and raucous "Elegy for the Memory of Me" and "Den Venstre Hånd På Den Hoyre", both songs that are drenched in the more traditional black metal style of raspy, high-pitched vocals, dense, tremolo- picked riffs and fast paced drums. It is however songs like "Night" and "Love" that really set this album apart. "Night" is a softly spoken word ambient track that with a beautiful piano synth work that permeates throughout it aids in the romantic delivery and conjuring of imagery of the night. "Love" is a spellbinding and melancholic song, equal in its romanticism but one that displays a deeper sorrow and tenderness supported by calming field recordings of trickling water.The intertwining of black metal, dark folk and ambient repeats itself, culminating in a quietly hummed outro "...And Never

On Fast Idol, LA-based Black Marble reaches back through time to connect with the forgotten bedroom kids of the analogue era, the halcyon days of icy hooks and warbly synths. Harmonies are piped in across the expanse of space, and lyrics capture conversations that seem to come from another room, repeat an accusation overheard, or speak as if in sleep of interpersonal struggles distilled down to one subconscious phrase. At the same time, percussive elements feel forward and cut through the mix with toms counting off the measures like a lost tribe broadcasting through the bass and tops of a basement club soundsystem. Melodies roll with the fizz and charm of Jacno and phrases repeated are electric torchlight ballads sung after hours in William Gibson's San Francisco. `Somewhere' opens in sombre herald, before dropping into a fast freeway tempo; the glassy synths and crisp beats cut through the anxious moods on `Bodies' and `Try' sits in a lineage with cult bands like Asylum Party. `The Garden' is a journey through a post-apocalyptic cityscape, earthed by the pulse of a drum machine whereas `Ship To Shore' could be a lost Oppenheimer Analysis B-side, and the album's closer `Brighter and Bigger' catches a sentiment like The Dadacomputer has learned to feel emotions. He captures the loneliness of Ray Bradbury's atomic-era sci-fi and the apocalyptic but revolutionary spirit of Godard's Sympathy for the Devil, as in `Preoccupation', the beating heart of the album, which conjures ambivalent scenes of an empty world and the comfort to be found in a shared humanity. Emerging from the early 2000s New York synth scene, Black Marble carried on the tradition of early synthwave pioneers like Martin Dupont and Modern Art who repurposed synths once reserved for expensive studios and stadium rock superstars. Seeking to channel this spirit, Black Marble recalls the gauzy tape wow and flutter of The Membranes and the warbling VCO of Futurisk, carrying on a sound that seeks to channel the future while imprinting residue of the past.

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we've had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We've also released career-defining albums by newer artists like Zola Jesus, Spellling, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists. Our fifteenth anniversary as a label will be honored with several events and an exciting vinyl repress collection but the crown jewel of this year's celebration is the compilation Todo Muere that features beloved artists from our roster covering their favorite songs that we have released over the years. The compilation features innovative pairings, like punk stalwarts Institute covering art pop sensation Spellling, and matches made in heaven like Marissa Nadler's gorgeously eerie cover of David Lynch's already eerie song "Cold Wind Blowin." Some songs are sister renditions with their own imaginative touch like Constant Smiles' cover of Jenny Hval while others, like the Zola Jesus song performed by Thou, Mizmor and Emma Ruth Rundle take on entirely different genres. And while each song on the comp stands on its own as a testament to the many song writing and song performance talents housed on the Sacred Bones roster, the compilation as a whole was sequenced as a cohesive whole deserving prime placement on any record shelf.

Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the Covid-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

The earth rotates, seasons change_there is but one long day_Time is a beguiling, indistinct entity_sometimes standing still, sometimes bending back upon itself with premonitions or memories of the future. Growing out of a pen pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, Gloria de Oliveira and Dean Hurley passed thoughts and music back and forth that would eventually form their collaborative album, Oceans of Time. The result is an aural tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond stars.The duo's partnership is an effortless merge, yet it's the steady presence of de Oliveira's vocals that endows the record with its sense of potency. Throughout the album, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, her lyric and melody are purposely aimed in order to illuminate the truths deep within oneself_a process that ties us all to the universal. The Danish philosopher Soren Kierkegaard, a professed influence, wrote about the truth as something that was inherently subjective, less about the concrete reality of what is believed and more about how it is experienced by the believer.Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic landscape of each track on the album, lending a layered ether that envelops, frames and holds de Oliveira's vocals. With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dreampop of 4AD acts like Cocteau Twins and Lush. The album feels especially attuned to the connections between the physical and transcendental realms, and the best dreampop has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly_

At first listen, The Practice of Love, Jenny Hval's seventh full-length album, unspools with an almost deceptive ease. Across eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-'90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016's Blood Bitch, The Practice of Love is almost subversive in its gentleness_a deep dive into what it means to grow older, to question one's relationship to the earth and one's self, and to hold a magnifying glass over the notion of what intimacy can mean. As Hval describes it, the album charts its own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness_or lack thereof_hangs suspended in the architecture of every song. It is,an album about "seeing things from above_almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground."Prompted by an urge to find a different kind of language to express what she was feeling, the songs on Love unfurl like an interior dialogue involving several voices. Friends and collaborators Vivian Wang, Laura Jean Englert, and Felicia Atkinson surface on various tracks, via contributed vocals or through bits of recorded conversation, which further posits the record itself as a kind of ongoing discourse. "The last thing I wrote, which was my new book, had quite an angry voice," says Hval, "The voice of an angry teenager, furious at the hierarchies. Perhaps this album rediscovers that same voice 20 years later. Not so angry anymore, but still feeling apart from the mainstream, trying to find their place and their community. With that voice, I wanted to push my writing practice fu...

What if the antihero in your favorite film or book had no chance to repent, reconcile, or redeem himself? There's no victim to rescue. There's no evil to thwart. There's no tyranny to turnover. Instead of saving the day against his better judgment, he just walks a Sisyphean circle of existential malaise doomed to repeat yesterday's vices without the promise of a better tomorrow. Rather than tell this story on the screen or on the page, Uniform tell it on their fourth full-length album, Shame. The trio - Michael Berdan (vocals), Ben Greenberg (guitar, production), and Mike Sharp (drums) - strain struggle through an industrialized mill of grating guitars, warped electronics, war-torn percussion, and demonically catchy vocalizations. Born in 2013, Uniform bulldozed a path to the forefront of underground music. Following Perfect World (2015) and Wake in Fright (2017), the group's third offering, The Long Walk (2018), represented a critical high watermark. In addition to touring with the likes of Deafheaven and Boris, they joined forces with The Body for a pair of collaborative albums Mental Wounds Not Healing (2018) and Everything That Dies Someday Comes Back (2019) - as well as the live release, Live at the End of the World (2020). This record marks the debut of Mike Sharp on drums, adding a natural fire to the engine. His presence grinds down their metallic industrial edge with a live percussive maelstrom. Once again, Greenberg assumed production duties behind the board at Strange Weather. Building on the approach from their last LP, the band perfected the powerful hybrid of digital and analog, electronic and acoustic, synthetic and actual that has become their hallmark. In another first, Mixing duties were not handled by Greenberg, but rather handed off to the inimitable Randall Dunn at his studio Circular Ruin.

Indigo Sparke's majestic second full-length album Hysteria is a sweeping work, one that possesses a rare, reflective power. On it, she examines love, loss, her history, and the emotional upheaval surrounding those sensations: her words tell the stories, and the sounds act them out. It's a diary built for big stages. Hysteria arrives just a year after her striking, minimalist debut, Echo. Here, though, Sparke offers an expansive body of work_it's a complex collection that expands her sound and outlook. Work on Hysteria began at the start of the Covid-19 pandemic, while Sparke was stranded in quarantine in her native Australia. After moving back to New York in the spring of 2021, Sparke finished writing the album's 14 songs and decamped upstate with producer Aaron Dessner (The National, Taylor Swift). "Originally we were going to co-write, but after he heard my demos he said, `There's so much in here already,'" Sparke recalls on how Dessner, who also contributes instrumentation along with guitarist Shahzad Izmaily and drummer Matt Barrick (The Walkmen, Muzz), got involved in bringing Hysteria to life. Centering Sparke's powerful vocals throughout, Hysteria is packed with big guitars and layered instrumentation that practically acts as the album's lungs, giving every note breath. From the pulsing immediacy of "Infinite Honey" to the soaring "God Is a Woman's Name" and "Hold On"'s towering chorus, this is music that sounds huge even as it zooms in on the trials and turmoils of one's inner life. You can hear Sparke reflecting on reconciliation, grief, hope, and the passage of time on the perpetually building "Pressure in My Chest" and the airy, Joni Mitchell-esque title track, which finds her embracing a gorgeous upper register over gently strummed guitar. "Set Your Fire on Me" builds and bursts not unlike Angel Olsen's own raw folk-rock expressionism_and then there's the stark opener and first single "Blue," which acts as a cosmic road map for Sparke's own journey in life. Sparke observes while reflecting on Hysteria's thematic bent "these songs are about being at the axis point of love - right at the edge of hysteria - and how that transformed me."

Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For Signals, his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet."I had an instant connection to Jesse's art," Davies explains. "One of the main concepts for this album was working with the feeling of uncertainty. Jesse's art illustrates that perfectly with his disruptive shapes. At first, they are foreign to the landscapes they live in, but over time we become used to them, we adjust. The foreign objects force us to evolve, to accept and live with the uncertainty they create."Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. "Musically, I wanted to capture that same contrast - melodies evolving out of drones, haunting beds of tension with beautiful shimmering melodies laid above. What were once conflicting emotions became harmonious."As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself.While the results indeed feel cinematic, Davies is liberated by the absence of a film to score: "While scoring a movie, I serve the director's vision and focus on telling a specific story. When working on an album, I'm fre...

Their latest album!

A Never-Before-Heard Full-Length Recorded By Legendary Nyc Musician Alan Vega (Suicide) In The Mid '90s With His Frequent Collaborator Liz Lamere. The Tapes Were Uncovered By Lamere And Jared Artaud (The Vacant Lots), Who Mixed And Produced Them To Create The Record. Mutator Is The First Release In The Alan Vega Vault Series On Sacred Bones, Collecting Rare And Unreleased Archival Recordings. Riyl: Suicide, The Fall, Wire, Nine Inch Nails.Alan Vega's Name Is Synonymous With Unfettered, Tireless Creativity. Beginning In The Late 1950s, When He Was A Fine Art Student At Brooklyn College, Through His Years Playing In Suicide, And All The Way Up Until His Death In 2016, Vega Was Constantly Creating. That Proces...

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you'll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb's 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he'd already finished another album. Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. "I need it," he says, "I've tried working without it. On one acting job, I intentionally didn't bring a guitar to try and do it without music... but that didn't last long. I need to create something - it could be a drawing, it could be a song - because otherwise I feel like I'm wasting time. Which is something I do plenty of on my own!" With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different. Gadzooks Vol. 1 is unlike anything you've heard before - comparisons range from Skip Spence's fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon's black moods on The White Album and Frank Zappa's caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. "It's like when you're swimming in the pool," he smiles, "and you're doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it's just a reaction from the place where we were before." Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. "I'm trying to write something very simple," he says, "And it gets really abstract because I don't know any other way."

Don't let the prestigious acting career fool you, Caleb Landry Jones is a bonafide musical maverick. And on his forthcoming release Gadzooks Vol. 2 he places himself in a lineage of outsider artists, many with only a thin thread tethering them to this reality, who are capable of reaching into the cosmic realms of imagination and bringing back a musical masterpiece. And while most artists don't save some of the best music of their career for an album with `Vol. 2' in the title, Jones is an artist for whom chronology is a slippery substance. The album was recorded with Nic Jodoin in the famed Valentine Recording Studios simultaneous with the mixing of his debut album The Mother Stone. The team invited a slew of heavy hitting musicians to the studio to contribute to the magic. The resulting album sounds a bit like pink elephants in cowboy hats making asmr... at least for the first 20 seconds before it seamlessly changes entirely. One of Jones's greatest musical gifts is his ability to cover a vast energetic and sonic landscape, with a wide array of instrumentation and vocal stylings over a wholly unique song structure, in a way that feels cohesive and euphoric. And while all his records have an ecstatic quality Gadzooks Vol 2. is perhaps his most soothing and sublime collection to date. Each song has at least a dozen ear worming hooks, all so satisfying you feel a deep longing as they fade until you realize they are being woven into yet another groove-laden, toe-tapping peak. A continual mic drop on an orgasmic wonder wheel.

Caleb Landry Jones is a continual creator. The Texan-born star found fame as an actor - you'll recognise him from key roles in X-Men: First Class, Three Billboards Outside Ebbing, Missouri, amongst others - but music is perhaps his first love, and his source of greatest comfort. A chance encounter with famed auteur Jim Jarmusch brought him into the orbit of Sacred Bones, and the stalwart independent released Caleb's 2020 debut album The Mother Stone. Psychedelic in a defiantly non-retro way, this indulgent, freewheeling trip won critical acclaim, but masked a secret - he'd already finished another album. Filming alongside Tom Hanks in dystopian themed Finch, Caleb found himself writing during those long evenings after the shoot in locations across New Mexico, idling away his hours by focusing on creativity. "I need it," he says, "I've tried working without it. On one acting job, I intentionally didn't bring a guitar to try and do it without music... but that didn't last long. I need to create something - it could be a drawing, it could be a song - because otherwise I feel like I'm wasting time. Which is something I do plenty of on my own!" With his creative faculties burning, Caleb knew he had to get straight back into the studio when filming stopped. Linking with the same cast who formed The Mother Stone, he resumed his partnership with producer Nic Jodoin, based out of the elegant Valentine Recording Studio in Los Angeles. A studio steeped in history - everyone from Bing Crosby to Frank Zappa worked there - he interrupted mixing sessions for his own debut album in order to focus on something different. Gadzooks Vol. 1 is unlike anything you've heard before - comparisons range from Skip Spence's fractured masterpiece Oar through to skewed troubadour Robyn Hitchcock, via John Lennon's black moods on The White Album and Frank Zappa's caustic surrealism. Recording to tape, Caleb would hack away at each take, re-assembling the songs like Escher diagrams. "It's like when you're swimming in the pool," he smiles, "and you're doing a bit of butterfly, and then that gets old after a while. So then you start doing breaststroke, and then that gets old after a while. I think it's just a reaction from the place where we were before." Part of a flood-tide of creativity - as its title suggests, a second half to this album is already on the horizon - Gadzooks Vol. 1 is thrilling, shocking, and wonderfully entertaining. Each song starts and finishes in entirely unique places, often totally divorced from each other. "I'm trying to write something very simple," he says, "And it gets really abstract because I don't know any other way."

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial_and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems.From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level.Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values.And while Molchat Doma's broadened aural spectrum adds a syne...

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial_and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems.From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level.Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values.And while Molchat Doma's broadened aural spectrum adds a syne...

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial_and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems.From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level.Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values.And while Molchat Doma's broadened aural spectrum adds a syne...

When ? ???? ????? ?????, the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time. Molchat Doma (translated as "Houses Are Silent"), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.