Archive for the Sub Pop Category
Elastic Days was recorded at J’s own Bisquiteen studio. Mascis does almost all his own stunts, although Ken Miauri (who also appeared on Tied to a Star) plays keyboards and there are a few guest vocal spots. These include old mates Pall Jenkins (Black Heart Procession), and Mark Mulcahy (Miracle Legion, etc.), […]
After 3 albums and ten years of touring and recording, The Helio Sequence (Brandon Summers and Benjamin Weikel) have recorded their most dynamic, extraordinary work to date. Keep Your Eyes Ahead marries the Portland duo’s signature layered keyboards and impossibly big guitars with crisp songwriting and a newfound appreciation for minimalism. The finger picking […]
In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital […]
Knife Knights were born of the love of mystery. From the start of Shabazz Palaces – the groundbreaking project launched in 2009 by former-Digable Planets leader Ishmael Butler – confidentiality seemed essential: Butler wanted Shabazz Palaces to stand on its own strength, not his outsized reputation, so he adopted a […]
It was on September 23, 2008 that Blitzen Trapper, after putting out three albums on its own label, released its fourth full-length album, Furr, via Sub Pop. At that time, it was a record that captured exactly where the band’s frontman, Eric Earley, found himself, both literally and metaphorically, geographically and existentially. […]
Iron & Wine follow up their 2018 Grammy-nominated full-length Beast Epic with Weed Garden, a collection of material that began about three years ago. The six-song EP features songs that were part of the writing phase for Beast Epic, but went unfinished. They were part of a larger narrative for principal […]
There’s an inherent flaw in the perennially alternating “rock is back” and “rock is dead” arguments: they are based on the idea that rock music is a logic-based choice a person consciously chooses to make. Contrary to the critics who are looking to suss out cultural trends and movements, the […]
Purple Blue is Eric’s Trip’s third album, and it was originally released in 1996. It has been out of print on vinyl since its original, 1996 pressing.This 2018 repressing is on a Dark Purple Marble color vinyl.
Eric’s Trip was a Canadian indie rock band hailing from Moncton, New Brunswick. The band formed in 1990 when musicians Rick White and Christopher Thompson of The Forest joined Julie Doiron and Ed Vaughan (who was later replaced by Mark Gaudet of Purple Knight). White described their sound as “sappy […]
Jeremy Enigk performed with legendary indie rock band Sunny Day Real Estate from 1993 to 2000. He was their singer, songwriter, and one of their guitarists. In 1996, following Sunny Day Real Estate’s first breakup (which lasted from 1995 to 1997), Enigk released his first solo album, Return of the […]
God’s Favorite Customer reveals a bittersweetness and directness in Tillman’s songwriting, without sacrificing any of his wit or taste for the absurd. From “Mr. Tillman,” where he trains his lens on his own misadventure, to the cavernous pain of estrangement in “Please Don’t Die,” Tillman plays with perspective throughout to […]
Beach House release 7, the group’s 7th full-length record, via Bella Union in Europe and Sub Pop in the US. 7 features standouts including the Valentine’s Day single Lemon Glow along with Black Car, Drunk In LA, Dark Spring and the transcendent Dive. All of the songs on 7 began […]
When asked to describe the title track from his new record, Kyle Thomas—aka King Tuff—takes a deep breath. “It’s a song about hitting rock bottom,” he says. “I didn’t even know what I wanted to do anymore, but I still had this urge, like there was this possibility of something […]
A Love Sleeps Deep’s bones rattle with all the seismic changes of the last five years since the release of The Moondoggies’ Adios I’m a Ghost. While the Washington band got lumped in early on with the woodsy folk-rock/Americana movement that sprung up in the Pacific North- west in the […]
Swami John Reis and Rick Froberg have been making noises together since high school. In 1986 it was the post-hardcore chime of Pitchfork. In 1991 it was the sprawling, multi-faceted arrangements of Drive Like Jehu. In 1999 it was the lean, mean swagger of Hot Snakes. Reis and Froberg are […]
Given the time (the ’80s) and place (Seattle, Washington) in which their career took place, it’s not surprising that the U-Men are widely acknowledged as important but little heard precursors to the nascent grunge movement. However, a listen to the group’s music quickly reveals the flaw in this bit of […]
1992’s Congregation, The Afghan Whigs’ third album, finds the Whigs’ soul and psychedelic influences shining through, and helped define the band’s sound for years to come. Until now, Congregation was out of print on vinyl since its original pressing sold out many years ago.
Up In It is The Afghan Whigs’ second full-length and their Sub Pop debut. The 1990 album, recorded by legendary producer Jack Endino, was critically acclaimed and garnered strong college-radio airplay. Until now, it was out of print on vinyl for over 25 years.
Since releasing their self-titled debut record in 2012, which The New Yorker called, “One of the year’s best albums…a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece METZ have garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each […]
**In Stock Oct. 6 –The soaring choruses, rousing anthems, sprawling guitars and chaotic keys that make up Wolf Parade are on proud display over the course of Cry Cry Cry, the band’s thunderous first album in seven years. That unique combination of sounds and influences, spearheaded by electric co-frontmen Spencer […]
Scraps at Midnight, Mark Lanegan’s third solo album, could be considered the final installment of a trilogy of albums featuring Lanegan’s interpretation of American roots music accompanied by his troubling lyrics of loss, sin, and redemption.