Name: Don't Shy Away
Brand: Loma

Bonus disc

Bonus disc: No

Catalogue number

SP1366

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Colour

Green

Colour details

Dark Green

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Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Limited edition

Release date

2020-10-23

Signed copies

Signed copies: No

Supplier GB

PIAS

Tax rate GB

Standard:20

UPC / Barcode

0098787136616

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Total Cap

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / green

SPCD1366

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Digipack.

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0098787136623

{"blocks": [{"data": {"text": "0098787136623"}, "type": "paragraph"}]}

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

Artist

Loma

Genre GB

Alternative / Modern

Label GB

Sub Pop

Short for "Subterranean Pop" 

The label was an outgrowth of [a=Bruce Pavitt]'s Olympia, WA based (print) fanzine, which became the well respected cassettezine of the same name. 

After his move to Seattle he ran a music column in the Seattle Rocket also called Sub Pop.

After initial forays into the record label world with a [a=Green River] 7" (not officially on Sub Pop) and the Sub Pop 100 LP, the label exploded onto the indie scene with four influential colored vinyl 7"s which included [a=Mudhoney]'s "Touch Me I'm Sick" which made the year-end top 10 playlist of nearly every music journalist in the world.

Subsequent hyping of the label in the English music press put them on the map, and grunge was born.

Label-Code is 03159; rarely found printed on releases (basically only on releases manufactured/licensed by Warner/WEA Germany)

Back In Stock

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. “At first I didn’t think it was real,” she admits. But then she heard a recording: Eno was praising Black Willow from Loma’s self-titled debut. He said he’d had it on repeat.

At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski, and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They’d capped a grueling tour with a standout performance on a packed beach at Sub Pop’s SPF 30 festival, in which Cross leapt into the crowd, and then into the sea, while the band carried on from the stage—an emotional peak that also felt like a natural ending. “It was the biggest audience we’d ever had,” she says. “We thought, why not stop here?”

Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart (and Eno’s encouraging words), the trio changed their minds and reconvened at Duszynski’s home in rural Texas, where they began to develop songs that would become Don’t Shy Away. Loma writes by consensus, and though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an ouija board and says the songs revealed themselves slowly, over many months. “Each of us is a very strong flavour,” he says, “but in Loma, nobody wears the crown, so we have to trust each other—and we end up in places none of us would have gone on our own. I think we all wanted to experience that again.” The album that emerged is gently spectacular—a vivid work whose light touch belies its timely themes of solitude, impermanence, and finding light in deep darkness. Stuck / beneath / a rock, Cross begins, as if noticing her predicament for the first time. Then she adds: I begin to see / the beauty in it. 

A series of guests contributed to the absorbing soundscapes of Don’t Shy Away, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes / Wye Oak’s Jenn Wasner, and a surprisingly bass-heavy horn section.

And then there’s Brian Eno. Loma invited him to participate in the mantra-like Homing, which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band, but his completed mix arrived via e-mail late one night, without warning, and they gathered to listen in the converted bedroom Duszynski uses as a control room. “I was a little worried,” says Cross. “What if we didn’t like it?” But it was all they’d hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno—a perfect ending to an album about finding a new home inside an old one. I am somewhere that you know, Cross sings, above a chorus of her bandmates’ blended voices. I am right behind your eyes.