![]() There’s something intentional about putting on a tape that is lost with streaming.” I’m drawn to the physicality it brings back to releasing music. “I love designing art for the format,” Tabbia says. It’s always eye-catching, and often crafted by Tabbia himself. That joyful spirit comes across in Already Dead’s artwork, which is sometimes full of vivid colors, sometimes evocative of bygone eras, and sometimes as simple as a single object. There’s a lot of fun to be had in the catalog too: take the frantic improvisations of Nancy Bigfoot, the goofball hardcore of Rat Punch, or the weirdo pop of BBJR + SLW. The calisthenic post-punk of Complainer, crackling static of Dere Moans, and wistful songcraft of Jackson VanHorn have little in common stylistically, but they each bear a distinct vision that values creativity over commerce. What unites everything on Already Dead is the uncompromising nature of the music. “As a listener I’m always all over the map, and with the label I’ve never wanted to be pigeon-holed to one genre or style of music.” ![]() “The label was definitely experimental/lo-fi leaning when it started, but even then we were releasing noise, bedroom pop, electronica, free jazz, folk,” he says. Running Already Dead himself for the past decade, Tabbia supports an impressive array of sounds and styles. Joshua Tabbia, who co-founded the imprint with Sean Hartman in Michigan, has since lived in Illinois, New York, Georgia, and California, all while maintaining a schedule that has produced upwards of 50 releases a year. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackĮntering its 13th year and nearing its 400th release, Already Dead Tapes has traversed a lot of territory-literally.
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