Artist Biography

Someone Still Loves You Boris Yeltsin has never been the type of band to write and record only when it's time to release a new album. Prolific writers with a penchant for recording, the group's constant devotion to the art of songwriting has equipped them with a myriad of material spanning the entire length of their 10 years together.

And now, with three full-length releases to their credit, the members of SSLYBY feel it's time to properly unveil a portion of the songs from their extensive catalog.

As such, during the summer of 2012 the band went through their archive of over 100 songs to choose the ones that would best encapsulate their career.

The result is Tape Club -- a carefully curated 26-song collection that stands as the culmination of a decade's worth of writing and recording above and beyond what could be included on their previous records.

The album's title is a direct reference to a subscription service the band started in late 2005 to raise money for tour while copies of their debut Broom (which they had just self-released) were quickly selling out. In exchange for signing up, fans were treated to cassette home recordings of unreleased songs packaged in handmade covers.

And although this release is on a much grander scale, that in no way means it was crafted with any less care.

Because for SSLYBY, Tape Club is the ultimate thank-you to fans and a perfect hello to new listeners.

And even more than that, the record is an opportunity to document the story of the band aurally -- beginning with lo-fi home recordings (of the type found on their self-recorded debut Broom) and ending with more polished studio tracks (like those found on the Chris Walla-produced Let It Sway).

For those unfamiliar with SSLYBY, Tape Club serves as an introduction to the evolution of the band's musical vision, while at the same time providing surprises for even the most ardent of fans.

"Yellow Missing Signs," for example, is a track that finds the group exploring new musical and lyrical territory -- telling the events of an actual, still unsolved crime that took place in the band's hometown of Springfield, MO over an entirely keyboard-driven melody.

Other noteworthy additions include the high-energy, organ-based "Cardinal Rules" and "Sweet Owl," a track that finds SSLYBY experimenting with woodwind instrumentation. As well, several demos of familiar tunes are included -- such as "What'll We Do" (from Broom) and "Back in the Saddle" (from Let It Sway), both of which actually bear little resemblance to the studio versions in their charmingly stripped-down nature.

Getting to this point has been a decade-long journey for SSLYBY. And, as such, listening to Tape Club is essential for understanding where they've been and where they're going next.