SECRETS OF SOUND
An underground force with a penchant for the bespoke, Secrets of Sound is the brainchild of Australian graphic artist Kane Banner. Now operating out of Portugal, Secrets of Sound curates thematic compilations that straddle the line between art and sonic exploration. The series, "Exotic Origins," pushes the boundaries of genre music with carefully crafted releases that immerse listeners in vivid worlds.
Secrets of Sound’s first vinyl compilation, The Last Resort: Balearic at the End of Time, serves as both a tribute to and evolution of the Balearic sound, setting the sun on a paradise lost in time. The follow-up, Cosmosis: Journeys into the Infinite, dives into the edges of space and imagination, featuring standout contributions from underground luminaries like Johnny Jewel of ItaliansDoItBetter, Dean Hurley, RAMZI, Legowelt, and Lord of the Isles. Always innovating, Secrets of Sound enhances its releases with exclusive digital content, keeping its collectors engaged and inspired. A noir Giallo comp from the label is due for release next year.
Blending Banner's artistic vision with the contributions of underground producers, Secrets of Sound seamlessly blends the craft of music and design.
Bad Lieutenant Interview w/Label Head Kane Banner
What sparked the idea of a record label focused on thematic releases? How did the Secrets of Sound project begin?
The idea came from the Osborne books in the library in the early 80s that were different themed mysteries, there was a ghost one, vampires, ufos etc, I like the idea of an anthology, a larger body of work that like a gestalt is greater than its parts. I like the idea of someone being into one genre but then checking out the next release that will be totally different and introducing them to new genres. I guess it began when I was paid back some money I was owed over covid and quickly was put to use before I blew it on bath salts and beyblades.
You’re an Aussie ex-pat. Has your experience with the local culture and environment of Portugal influenced your approach to running the label?
It's only influenced me in that now I have a newfound appreciation for Australia Post, Portugal has pages of online paperwork, seizure by customs, 27 percent tax on top and beyond slow sending times, my test pressings were torn apart and coffee spilled on them, getting anything done here is extremely challenging. Luckily Juno offered distribution so it made my job a bit easier. I'd love to do a separate compilation outside of the EO series that is Portuguese artists, There are some great street jazz performers around Castillo St George that would make a great project too.
Your compilations feature a stellar lineup of underground talent. Johnny Jewel. RAMZI. Legowelt. And many others. How do you go about discovering and connecting with these artists to bring your vision to life?
I have done artwork for a lot of them and some tracks are sort of through that, also if you get one bigger name, that's sort of how you attract the rest, sort of like the Costanza "hot girl theory" you just need to be seen with one and they think that's your standard. Patience is also key, some take 14 emails before you even get a reply so persistence is key, they can only say no, so you may as well swing for the rafters. Its also important to put people on there that are not known to give them a platform and an opportunity to be showcased.
You’re a graphic artist as well as a label director. How does your visual aesthetic inform the identity of Secrets of Sound, and how do you balance these two creative roles?
It informs it in the sense its like a reverse soundtrack job, I am storyboarding a score, rather than making music for a film. It was a deliberate move to make the sleeves look like a text book or something that was utilitarian, almost like a manual of the subject matter, a guide to the listening experience. I also know exactly who and what I want and how it should sound, the ideas and album names have been with me for years. There isn't really a "feeling out " process, it's just a matter of executing the images in my head as best as I can. I get concepts, colours and names in my head all at once, creatively I always see things completed and have to scramble to assemble it before it's lost in the ether.
Vinyl seems to be an integral part of the label’s ethos. Why does vinyl resonate with music consumers today, and how do you approach the design of your records to elevate that experience?
I like the idea of having something tactile, something you can hold, I told myself if I was going to do vinyl it would be based on the idea of the insert card from collecting trading cards as a kid. I'd do a base colour and then randomly insert a rarer colourway to make it a "lucky dip". There are also QR codes on the label that lead to a secret track that you can only get from purchasing the vinyl, It also ships with a themed incense stick and sticker. Gimmickry only works if the music is good, otherwise it's sort of trying to just draw your attention away from the actual product. I just wanted to make it a fully crammed dynamic experience and have a memorable point of difference. I'll never make a black record, there's already a billion of those.
What’s next for SOS?
Next is a dark Italo compilation with some amazing artists, Simple Symmetry, Prefuse 73, Emil Amos, Umberto and more, then a New Age comp with Steve Roach etc, then an erotica one, library music, ancient Egypt, Japanese Environmental music then a few sequels. After ten volumes hopefully a re-press and boxed set. Aside from this a very cool trilogy of comps from the selections of J.A.Z called "Forbidden Fruit" which will be a long but very rewarding process. I'd also like to do some edits if I have time. Stay tuned!
Only 3 Cosmosis records left on bandcamp, so pick up it up while its still available!
