Search Results for:

SUB POP

“Sanity, a visage of my wealth
Lost but always found before the idols that I’ve knelt
Strategy, the only way to cry
Keep it do or die and always think in terms of I
Reverie, some legend futures past
Revelry, instead for it renders hella fast
Capitol, a sound that’s on the rise
It’s slaking unrealized until essence has been razed
Sepulcher, a stage enlived by ghosts
Floating off with bags of the blood encrusted dough.”

- “They Come In Gold” (from “The Phasing Shift” suite)

Herein bumps and soars 'Lese Majesty', the new sonic action of Shabazz Palaces. Honed and primal, chromed and primo. A unique and glorified offering into our ever-uniforming musical soundscape. 'Lese Majesty' is a beatific war cry, born of a spell, acknowledging that sophistication and the instinctual are not at odds; Indeed an undoing of the lie of their disparate natures.

'Lese Majesty' is not a launching pad for the group’s fan base increasing propaganda. It is a series of astral suites, recorded happenings, shared. A dare to dive deep into Shabazz Palaces sounds, vibrations unfettered. A dope-hex thrown from the compartments that have artificially contained us all and hindered our sublime collusion.

These reveries were sent to Palaceer Lazaro and Fly Guy ‘Dai in the year of gun beat battles in excess; In a succession of days, whilst walking in dreams and in varied transcendental states….(every minute of every day is filled with observation and composition. In action). Songs are committed and gathered by robots at Protect and Exalt Labs, a Black Space in Seattle, Washington.

TRACK LISTING

Dawn In Luxor
Forerunner Foray
They Come In Gold
Solemn Swears
Harem Aria
Noetic Noiromantics
The Ballad Of Lt. Maj. Winnings
Soundview
Ishmael...
Down 155th In The MCM Snorkel
Divine Of Form
#CAKE
Colluding Oligarchs
Suspicion Of A Shape
Mindglitch Keytar TM Theme
Motion Sickness
New Black Wave
Sonic Mythmap For The Trip Back

Lee Bains III & The Glory Fires

Dereconstructed

    Hailing from Birmingham, Alabama, Lee Bains III & The Glory Fires make music for the foundry worker that writes fiction in his spare time and the college English professor that changes her own oil. The band are rough enough to put the amps on ten and soak a club in their own sweat, sharp enough to discuss the finer points of labor relations and international politics.

    On ‘Dereconstructed’, the band’s second album and their first for Sub Pop, Lee and co. rip through ten striking songs of urgent, Southern-by-way-of-punk rock; or, in the words of Sub Pop boss man Jonathan Poneman, “authentic gulf-coast choogle.” While The Glory Fires have a sound that is unmistakably rooted in the 70s rock canon (think Bob Seger System, The Faces, classic Southern boogie), Dereconstructed is distinctly of the present. The guitars are coated with thick, blown-out distortion, revealing the band’s distinctly modern, punk leanings. Lee’s literary, politically charged lyrics bring to mind Ronnie Van Zant under the tutelage of Noam Chomsky.

    The Glory Fires’ explosive live show has ripped up clubs, basements and theatres of the United States and Europe for the past few years and their debut album, ‘There Is A Bomb In Gilead’, was released in 2012 on Alive Natural- Sound Records.

    ‘Dereconstructed’ was recorded by renowned rock ‘n’ roll outsider Tim Kerr (Big Boys, Poison 13, The Monkeywrench) and mixed by Jeremy Ferguson at Battletapes in Nashville.

    The Afghan Whigs

    Do To The Beast

      ‘Do To The Beast’ is the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing angst and obsessions.

      The new album is both a homecoming - it marks their return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base - and a glimpse into the future of one of the most acclaimed bands of the past twenty five years.

      ‘Do To The Beast’ is an appropriately feral title for one of the most intense, cathartic records of Dulli’s entire career. It adds fresh twists to The Afghan Whigs canon: there’s the film noir storytelling of ‘Black Love’, the exuberance of ‘1965’, the brutal introspection of ‘Gentlemen’. However, the album exudes a galvanized musical spirit and rhythmic heft that suggest transcendence and hope amidst the bloodletting.

      Recorded in LA, New Orleans, Cincinnati, and Joshua Tree - a virtual map of the band’s past and present homes, the album features Whigs co-founders Greg Dulli and John Curley, along with the core band of guitarists Dave Rosser and Jon Skibic, multi-instrumentalist Rick Nelson and drummer Cully Symington. Also featured are soul iconoclast Van Hunt, Mark McGuire (Emeralds), Johnny ‘Natural’ Nagera (Usher’s musical director), Alain Johannes (Queens Of The Stone Age, Arctic Monkeys), Clay Tarver (Bullet LaVolta, Chavez), Dave Catching (QOTSA, Eagles of Death Metal), among others.

      STAFF COMMENTS

      Laura says: Greg Dulli and co return in fine style with this swaggering blend of rock'n'roll angst, classic r'n'b and soul. A dark and uncompromising tour de force.

      Soundgarden

      Screaming Life / Fopp

        From the depths of the Sub Pop archives comes a reissue of Soundgarden’s thunderous opening salvo, ‘Screaming Life’, plus bonus tracks from the ‘Fopp EP’ and ‘Sub Pop 200’ compilation.

        This reissue marks the first time these tracks will be available digitally, and their first appearance on vinyl since the original, late 80s pressings (notwithstanding a longgone, late 90s repress of ‘Screaming Life’).

        All tracks have been remastered by Seattle studio wizard and producer of the original ‘Screaming Life’ and ‘Sub Pop 200’ sessions, Jack Endino, who had this to say about it: “Ah, ‘Screaming Life’, Soundgarden's debut, and one of the first real records I made for anyone outside my own band. Soon after opening Reciprocal Recording in July 1986, there I was with Soundgarden, trying to make the most of our eight tracks. Somehow, we found room for all of Matt Cameron’s ‘bonus tubs’, Hiro’s primordial Fender bass, and a whopping four tracks to share between Kim Thayil's mad guitar psychedelia and Chris Cornell's still-expanding voice. ‘Nothing To Say’ was the song that made us all look at each other and go ‘uh, holy crap, how did we do this?’”

        Stuff started happening. A&M came calling. SST agreed to put out their next record. But Soundgarden were not finished with Sub Pop. They contributed ‘Sub Pop Rock City’, about Seattle’s then-rising ‘grunge’ scene, to the ‘Sub Pop 200’ comp, and they threw everyone a curveball with Steve Fisk-produced Ohio Players and Green River covers on the ‘Fopp EP’.

        The glorious vistas of a major label future awaited them. To quote Kim from an old interview, “It was karma, it was dogma, it was dog breath.”

        Obits are a four-piece band who currently live in Brooklyn, NY, and whose music is probably considered an occupant of the rock music genre, specifically in the areas of garage, punk, surf, surf-punk, and garage-punk.

        On this new album, ‘Bed & Bugs’, they’ve also covered a song (‘Besetchet’) from Volume 23 of the excellent ‘Ethiopiques’ series. So much for tidy categorization. · This is the third full length album by Obits, following their 2011 album ‘Moody, Standard And Poor’, which itself followed their 2009 album ‘I Blame You’.

        ‘Bed & Bugs’ was recorded by Nikhil Ranade, Eli Janney and Geoff Sanoff.

        The discerning listener may well note more than a passing similarity to such bands as Hot Snakes, Edsel, Drive Like Jehu, Girls Against Boys, Pitchfork, and possibly Television or the Wipers. This is un-coincidental - with the exception of those last two, Obits share members with all of those bands.

        TRACK LISTING

        Taste The Diff
        Spun Out
        It’s Sick
        This Must Be Done
        Pet Trust
        Besetchet
        Operation Bikini
        Malpractice
        This Girl’s Opinion
        Receptor
        I’m Closing In
        Machines
        Double Jeopardy (For The Third Time)

        His Electro Blue Voice

        Ruthless Sperm

        Ruthless Sperm. What’s in a name? A whole hell of a lot, actually. Sperm can ruin everything. Persistent little shits that fight their way to the prize. If just one soldier gets ahold of its egg of choice, things will break apart, bubble and mutate. A microscopic violence that leads to thirty plus pounds of sludge and flesh. Still, beauty tends to be the outcome after all this splashy mess and most parties find a happy, rewarding ending. Most parties. To the unfortunate others, the outcome can be more terrifying than anything dreamed up in a Polanski flick.

        Italy’s His Electro Blue Voice follows a similar path to creation. Once the choice is made, it’s guaranteed the trip will be violent and unrelenting. Only the band doesn’t tell you up front which crooked path is gonna lead you to the finish line (at first, they may not even know). But whether it’s slathered in a thick glaze of neo-gothic guitar, an unexpected electronic pulse or leveled under a death trip full of panic inducing terror shrieks, His Electro Blue Voice have become masters at building soundscapes that leave brave listeners spent, soiled and with nothing positive on their mind.

        On Ruthless Sperm – His Electro Blue Voice’s debut full-length, after a string of collectible singles/EPs and an appearance on the Sub Pop 1000 compilation – they set their trajectories on a Kraut-driven rhythm; a haunting, cinematic wash or a mechanically-sound industrial thump. Thirty-plus minutes of shock-horror blasts, blaring cyber-synth attacks and that gloriously-repetitive Stoogeoid-meets-Killing Joke throb. The end result is a platter that’s as direct as it is deadly. Yet for all the bombast and bummer, His Electro Blue Voice still bring forth euphoric hooks and shards of shoegaze, if only to leave them strewn about within the mechanical wreckage. You can almost hear the sounds of the early 4AD roster in the grooves, left teetering between warped indie sensibility and creepy-crawl madness. Crazy sounding, but damned if it doesn’t stick in your head.

        Ruthless Sperm by His Electro Blue Voice: subtle as a construction site and precise like a leather gloved killer. This is the apocalypse. This is end times. Thankfully we get a decent soundtrack to go with it.

        TRACK LISTING

        Death Climb
        Spit Dirt
        Sea Bug
        Tumor
        The Path
        Born Tired
        Red Earth

        No Age

        An Object

          With An Object, their fourth full-length album, No Age has forgone the straight and narrow route, landing in a strange and unexpected place, feet planted in fresh, fertile soil. This new LP finds drummer/vocalist Dean Spunt exploding from behind his kit, landing percussive blows with amplified contact mics, 4-string bass guitars, and prepared speakers, as well as traditional forms of lumber and metal. Meanwhile, guitarist Randy Randall corrals his previously lush, spastic, sprawling arrangements into taught, refined, rats’ nests. Lyrically Spunt challenges space, fracturing ideological forms and complacency, creating a striking new perspective that reveals thematic preoccupations with structural ruptures and temporal limits.

          As the title An Object suggests, these eleven tracks are meant to be grasped, not simply heard. Whether in the fine grit of Randall’s sandpaper guitar scrapes on “Defector/ed,” or Spunt’s percussive stomp and crack on “Circling with Dizzy” and “An Impression,” these are songs that pivot on the sheer materiality of music-making, incorporating the process every step of the way. Still, this is hardly a work of avant garde noise music. These songs are hummable, political, recognizably rooted in underground rock, and informed by an understanding of sound as a material to be shaped, handled, and worked over. It is an aesthetic in which the relationships between guitar, percussion, and vocals—as well as those between rhythm and melody—become relationships between things.

          These relationships are built into An Object at every level. In collaboration with friend and Grammy-nominated designer Brian Roettinger (5 EP‘s, Nouns, Losing Feeling, Everything In Between), the band prepared and assembled the physical packaging of An Object, including jackets, inserts, and labels, fusing the roles of manufacturer, artist, and musician into one. It is this sense of the total work of art that underlines An Object as the culmination of two years of touring, writing, and performing, finding No Age moving into new terrain at the height of their powers.

          An Object was recorded by longtime No Age collaborator Facundo Bermudez and No Age at Gaucho’s Electronics in Los Angeles.

          The name is Daughn Gibson - rhymes with Jaughn, or Raughn.

          He first entered the daydreams of the general public in 2012 with his acclaimed debut, All Hell. Armed with modern technology and a pile of thrift-store records, Daughn shook the ghosts out of scratchy Christian folk records and baptized them as fierce Americana with his booming baritone voice.

          It's on Daughn's second album and Sub Pop debut, Me Moan, that he truly reveals himself to the world. If All Hell was a gritty black-and-white movie, Me Moan is a widescreen IMAX 3D extravaganza. While the roots of All Hell’s sample-based music remain, these songs are performed live, lushly detailed and richly orchestrated. Live drums, guitars (by John Baizley of Baroness and Jim Elkington of Brokeback), pedal steel, horns, house strings, bagpipes and organs appear on this record,

          Like Cormac McCarthy or Robert Altman, Daughn Gibson is a uniquely American artist who throws his soul into his work, free of compromise, possessed by unique vision and so damn intense that he constantly teeters on spontaneous combustion. It's not out of line to consider Me Moan as his Blood Meridian; his Nashville. All that's left is for you to let Daughn in.

          TRACK LISTING

          The Sound Of Law
          Phantom Rider
          Mad Ocean
          The Pisgee Nest
          You Don't Fade
          Franco
          Won't You Climb
          The Right Signs
          Kissin On The Blacktop
          All My Days Off
          Into The Sea

          When Jaill nonchalantly stepped into the room with 2010’s ‘That’s How We Burn’, the group had already turned out a small catalogue of selfrecorded and self-released albums and EPs.

          SPIN said of ‘That’s How We Burn’, “What elevates their [Sub Pop] debut beyond your average tweepunk rager is the gentle psych dabblings: extra delay on a guitar solo, an errant ‘ooh-ahh-ooh,’ a dubby Panda Bear flourish, and the swirling noise that murmurs through the background.”

          Recorded throughout 2011 in Kircher’s crummy, poorly lit basement, with minimal gear and a control room of thrift store afghans, and mixed at NY’s Rare Book Room by Nicolas Vernhes.

          Milwaukee-based psych-pop three-piece confronting a malfunctioning universe with an inventive, lean 11-song album.

          STAFF COMMENTS

          Ryan says: Jaill have stuck with their jangly 90's anti-anthems since their last release but this time round, it all feels more confident and honed. Each track is a winner in it's own right!

          TRACK LISTING

          1. Waste A Lot Of Things
          2. Everyone's A Bitch
          3. Perfect Ten
          4. Horrible Things (Make Pretty Songs)
          5. I'm Home
          6. House With Haunting
          7. Madness
          8. Million Times
          9. Ten Teardrops
          10. While You Reload
          11. Stone Froze Mascot

          The fifth album from Greg (Afghan Whigs / Gutter Twins) Dulli’s Twilight Singers collective, and the group’s first in five years.

          The Twilight Singers’ previous release, the acclaimed confessional opus "Powder Burns", came out in 2006.

          "Dynamite Steps" is clearly the next chapter, a whole new level of catharsis and progress, evocatively cramming all the highs and lows of the maverick singer-songwriter’s past half-decade into unexpected sonic trapdoors.

          'Shot on location' at various locales significant to Dulli’s life, you can hear the sense of place emanating up from the grooves of "Dynamite Steps". Here, the weary nighttime decadence of New Orleans rubs up against the oppressive sunshine of Los Angeles and the desolation of Joshua Tree’s desert vistas.

          "Dynamite Steps" explores the thin line between life and death, mortality and immortality, resignation and celebration—that mythical moment when your life flashes before your eyes, drawn out here over the course of eleven songs.

          The album’s forty-three minutes prove an unflinching odyssey through the dark side, but one that’s ultimately redemptive in its scope and power.

          Various guests contribute to the new album, including: Ani DiFranco, Joseph Arthur, Petra Haden, Carina Round, Nick McCabe (The Verve) and Mark Lanegan.

          The Vaselines

          Sex With An X

            Formed in Glasgow in 1987, The Vaselines released two singles and one album and then split up in 1989 (the same week their album was released). They might have faded into obscurity but for the intervention of a certain band from Seattle.

            Nirvana covered three Vaselines songs, helping to fuel a growing after-the-fact appreciation of their seedy, two-and-a-half chord garage pop manifesto.

            "Sex With An X" was recorded outside Manchester at the Analogue Catalogue studio in Mossley with Julie McLarnon engineering, and produced by Jamie Watson (who also produced that first album Dum Dum). The Vaselines ca. 2010 is Eugene and Frances with guest musicians Stevie Jackson and Bob Kildea from Belle & Sebastian on guitar and bass, and Michael McGaughrin from the 1990s on drums.

            Dum Dum Girls

            I Will Be

              Dum Dum Girls churn out blissful pop that falls somewhere between The Ramones and The Ronettes.

              Their debut album ‘I Will Be’ was recorded at home by Dee Dee and mixed with the help of Richard Gottehrer (Strangeloves, Voidoids, Blondie, The Go-Gos, The Raveonettes).

              A decidedly medium-fi record, at just under thirty minutes and with eleven songs, it’s a concise tribute to love, fun and the classic pop form of the ‘60s girl groups and early punk rockers.

              Flight Of The Conchords

              I Told You I Was Freaky

                While Flight Of The Conchords first hammered out their reputation from behind the relative safety of acoustic guitars, blithely billed as a 'folk comedy' act, nowadays their musical style runs rampant, unchecked. Judging from the range displayed on their sophomore album "I Told You I Was Freaky", Flight Of The Conchords have yet to unearth a genre which can withstand their artistry. Unflinching in their lyrical stance, sophisticated with their arrangements, crafting melodies which always lodge firmly in the frontal lobe: Flight Of The Conchords have here created 13 best-selling ringtones, humbly masquerading as songs. Their rhymes are fearless, their thesauruses dog-eared. Only cool, confident specimens of manhood such as these could drop three-dollar vocabulary busters like 'dungarees' and 'pantaloons' while still mesmerizing the ladies with their undulating "Sugalumps". Vivid imagery? Check: The ardent "Angels" should spur listeners to think twice the next time they consider catching a snowflake on their tongues. Better still, the amorous odyssey of the album's zenith, "We're Both In Love With A Sexy Lady", unfolds before the listener's very ears in real time; Flight Of The Conchords are making history.

                Mudhoney

                Every Good Boy Deserves Fudge - Remastered Edition

                  One of three albums from Mudhoney, all lovingly remastered and pressed on coloured vinyl, sounding as fresh as they did on release. Aside from a brief re-release of "Superfuzz Bigmuff" in 2000, none of these albums have been available on vinyl since the early 1990s. Each is remastered from the original tapes, as the original masters have been lost. "Superfuzz Bigmuff" and "Mudhoney" include posters and improved graphics. The "Every Good Boy Deserves Fudge" LP sleeve featurea the two paintings that accompanied the original CD and vinyl covers.

                  Band Of Horses

                  Cease To Begin

                    Band Of Horses 2006 debut, "Everything All The Time" was a big favourite here at Piccadilly and so naturally we're very excited about this follow up. For a lot of reasons, "Cease to Begin" is the perfect title for this record. Not only do the songs themselves weave this theme through the record, but stopping and starting anew is also a reflection of the past year and a half for Band Of Horses. Though they worked with producer Phil Ek again, as they did on "Everything All The Time", much has changed between the fairly recent then and now. There have been band members who have come and gone, including Mat Brooke, who left the band to pursue other interests and his own band. For core members Ben Bridwell, Rob Hampton and Creighton Barrett, there has been a move from Seattle, WA to Mt. Pleasant, SC, a relocation that had been planned for some time so that they could all be closer to their families. And, close friends and family have come and gone-some far too early. Necessarily shot through with these experiences, the songs on "Cease To Begin" are strikingly beautiful, if less elliptical and more straightforward, with more sophisticated arrangements than the last record. It certainly doesn't disappoint.

                    TRACK LISTING

                    Is There A Ghost
                    Ode To LRC
                    No One’s Gonna Love You
                    Detlef Schrempf
                    The General Specific
                    Lamb On The Lam (In The City)
                    Islands On The Coast
                    Marry Song
                    Cigarettes, Wedding Bands
                    Window Blues

                    Iron & Wine

                    Our Endless Numbered Days

                      "Our Endless Numbered Days" is the second full-length album from Iron and Wine and it was recorded both at Sam's Miami home and in Chicago's Engine Studios with Brian Deck. On it, Sam is aided and abetted by regular touring and recording conspirators: his sister Sara Beam, Patrick McKinney, Jeff McGriff, EJ Holowicki, and Jonathan Bradley. No grand gestures here, instead the record is filled with tiny moments, little windows into our shared mortality in a way that serves to sharpen the hunger for love and connection over time rather than dull or defeat it. Listening to "Our Endless Numbered Days" makes plain Sam's deft touch with words and melody; one that allows him to turn out stories about love, loss, faith, or the lack of it that are at once personal and universal, set to music that is sweetly haunting and timeless.

                      Hot Hot Heat

                      No Not Now

                        Ace angular, new wave / punk, taken from their "Make Up The Breakdown" album.

                        Iron & Wine

                        The Creek Drank The Cradle

                          Iron And Wine the recorded word of one Samuel Beam, Miami, Florida; is one of those one-guy-and-his-tapedeck affairs. "The Creek Drank the Cradle" is filled with hushed, restrained vocals, affecting lyrics from a naturalist's perspective, exploring relationships and the hope born from them, all of which come across as though whispered to you personally, accompanied by guitar, banjo, slide guitar. Taken as a whole, "The Creek Drank The Cradle", Iron and Wine's debut CD, is an ode to an older South; a part of America that is defined by 'traditional values', pastoral imagery and arcane manners. Or maybe that's just what we want to hear.

                          The Catheters

                          Static Delusions And Stone Still Days

                            The Catheters bring real energy back to a genre all too often plagued by bands simply going through the motions. For fans of The Dwarves, Dead Boys, Murder City Devils & The Germs...

                            The Catheters

                            3000 Ways

                              Currently creating a bit of a fuss Stateside, this Seattle band merge Mudhoney, The Stooges and Sabbath with good old punk rock!

                              Radio Birdman

                              The Essential (1974-1978)

                                A long overdue retrospective from the kings of Antipodean Punk Rock & Roll.

                                Various Artists

                                Is It....Dead?

                                  Compilation of hardcore, thrash, grind and metal from the North West of the USA.


                                  Just In

                                  39 NEW ITEMS

                                  Latest Pre-Sales

                                  209 NEW ITEMS

                                  Great times tonight. Thank you so much for everything. https://t.co/DogirddxF6 @bellaunion @nightanddaycafe https://t.co/3GTWECaRdx
                                  Wed 28th - 9:36
                                  The debut album by Napoli's finest - back in stock at last!! Nu Guinea 'Nuova Napoli' https://t.co/Ze3b3RS0z9 https://t.co/zrm1dyvv49
                                  Wed 28th - 1:54
                                  The @Elbow @ofclmusicboxco are looking great 🙌 We have have some available exclusively instore on Thursday 29th Sep… https://t.co/zso3Rxqnrt
                                  Tue 27th - 2:04
                                  E-newsletter —
                                  Sign up
                                  Back to top