Sub Pop US Vinyl & CDs

Review: There's no rock frontman quite like Greg Dulli, and even in middle age his melancholy and morally ambiguous loverman persona appears to be maturing like the proverbial fine wine. Moreover, the blend of soulful heart-on-sleeve balldeering and gritty rock-outs finds new vistas and moments of intensity on 'In Spades' - lurking somewhere between the testosterone bluster of Springsteen and the slinky grooves of Motown, yet with the addition of noisy electronic grooves, as on the opener 'Birdland,' only bolstering their arsenal. It's a treat to have this louche rogue back.

Review: Amen Dunes' Death Jokes represents a departure from Damon McMahon's previous work, as he delves into electronic music while critiquing American culture's glorification of violence and coercion. Inspired by his experiences and the societal shifts of recent years, McMahon embraces new artistic avenues, incorporating piano and electronic elements into his music. The album's genesis traces back to McMahon's decision to become a beginner again, immersing himself in piano and electronic music. This newfound experimentation, coupled with a thematic shift towards critiquing societal norms, gives rise to an album that feels both raw and prophetic. Songs like 'Round the World' and 'I Don't Mind' seem to anticipate the pandemic's effects, offering haunting reflections on the world's uncertainties. McMahon's collaborations with musicians like Sam Wilkes, Christoffer Berg, and Kwake Bass add depth to the album's sonic landscape. Death Jokes is a collage of samples, incorporating voices, music, and sounds from various sources, including YouTube and historical recordings. Through these diverse elements, McMahon constructs a narrative that examines America's culture of violence and individualism. Yet amidst the darkness, there are glimpses of hope and forgiveness. Tracks like 'Mary Anne' and 'Purple Land' explore themes of innocence, forgiveness, and the passage of time. The album culminates in gospel-infused songs that mourn societal divisions while yearning for spiritual connection. In its entirety, Death Jokes serves as an essay on the complexities of life and society, offering both critique and introspection. Through his music, McMahon challenges listeners to confront uncomfortable truths while holding onto hope for a better future.

Review: Beach House gets in on this year's Record Store Day hype with The Become EP, which is a collection of five songs from the Once Twice Melody sessions. Say the band, "We didn't think they fit in the world of OTM, but later realized they all fit in a little world of their own.' As such they are presented here with their own scuzzy and spacious sound and special capturing of live playing spirit. The tunes are outliers for where the band is generally headed right now but still offer plenty of fans old and new to enjoy.

Review: The Bug Club's third LP, On The Intricate Inner Workings Of The System, released via Sub Pop, continues the band's prolific streak. Hailing from the hit factory of Caldicot, South Wales, The Bug Club has unleashed ten singles, two albums, two EPs and more since 2021, all while performing 200+ gigs annually. This album delivers their signature garage rock with a blend of Modern Lovers and Nuggets influences. Tracks like 'War Movies' and 'Quality Pints' showcase fast-paced punk energy with humorous, surreal takes on everyday life. 'War Movies' features a distorted chug and a solo by Sam Willmett that would make any aspiring guitarist reconsider their ambitions. Melody remains central, as seen in the meta 'Pop Single,' echoing Ray Davies's self-awareness. The hilariously titled 'Lonsdale Slipons' and 'We Don't Care About That' continue their tradition of playful commentary. The lo-fi 'Better Than Good' highlights their knack for combining Violent Femmes basslines with Sterling Morrison-inspired solos. Their inventive releases, such as Launching Moondream One and Pure Particles, have cemented their reputation for fun, irreverent music. Despite lineup changes, their creativity and unique approach have continued to thrive.

Review: Imagine a world where the pioneers of hip-hop and electro reign supreme, their sounds echoing through the neon-lit streets of a futuristic metropolis. This is the world that Clipping creates, their music a heady blend of gritty beats, razor-sharp rhymes and dystopian soundscapes. 'Dominator' and 'Change the Channel' set the tone with their raw energy and infectious hooks, while 'Run It' and 'Go' showcase the group's lyrical dexterity and knack for crafting intricate rhymes that weave tales of technology, alienation and social unrest. Collaborations with Aesop Rock, Nels Cline and Cartel Madras add further depth and dimension to the album's sonic tapestry, each artist bringing their unique flavour to the mix. Tracks like 'Simple Degradation' and 'Mood Organ' delve into the darker corners of this dystopian world, exploring the anxieties and uncertainties of a future dominated by technology. It's not for the faint of heart, but it is a thrilling ride through a world of futuristic sounds and thought-provoking lyrics.

Review: Fresh from releasing a swathe of conceptual full-lengths, Los Angeles threesome Clipping have returned to their hip-hop roots via a mixtape style album reflective of their hip-hop roots. Of course, this is not hip-hop in the classical sense. According to the accompany sleeve notes, Dead Channel Sky is a collection of cuts focused on the present, dually inspired by the histories of cyberpunk and hip-hop. In practice, that means fast-flowing and lyrically dextrous rhymes, of course, but also beats that variously sample, chop up or reference everything from 90s rave classics, the rock-rave big beat antics of the Prodigy and Nine Inch Nails stail industrial grit, to TB-303-laden acid house, the dark and doomy trip-hop of Mezzanine-era Massive Attack, drum and bass and experimental electronica.

Review: Experimental hip-hop supertroupe Clipping returns with a new collaborative single with Cooling Prongs (Christopher Fleeger) for a noise-infused remake of J-Kwon's 2004 hi 'Tipsy' on the A-side, followed by a harrowing ambient noise track by the latter artist on the B. Diggs and co.'s obverse is a raucous industrial cover version, revelling in the in-the-club braggadocio of the original, yet diverting its repetitious crunk towards metallic clanks and rapid snaps. Prongs' 'Midnight' is a surreal, deep-fried coda to counterpart the A's heat, providing it the utmost ample dark contrast.

Review: After turning his hand to big band jazz on his previous album, Father John Misty (John Tilman to friends and family) returns to more familiar sonic territory on this sixth set. The Sanskrit title apparently translates to "great cremation ground", offering a hint to the weighty and philosophical themes behind some of the singer-songwriter's lyrics this time around. In many ways, it is a classic Father John Misty album: all sweeping strings, Americana-tinged folk-rock, grandiose 1970s pop-rock productions, funky-as-hell nods to Rare Earth ('She Cleans Up') effortlessly emotive vocals and White Album-era Beatles excellence.

Review: Straight out of Mile High City, this garage / indie rock group from Denver were around during the heady days of the Seattle scene and the grunge scene when it was all kicking off and ought to have been one of the biggest bands in the world. They were the first non-Seattle band to sign to Sub Pop, a label who adored them for their thunderous riffs and explosive live shows. Before signing to Sub Pop, they released this album - their debut studio LP, which is a succinct blast to listen to full of raw MC5-esque energy. It's not changing the wheel - or even trying to - but there's something hugely fun in being ill concerned with the idea of originality and just competing with the greatest rock n' roll bands of all time and coming out sounding on par.

Review: Like Someone I Know features reinterpretations of Margo Guryan's timeless songs by a diverse lineup of artists, including TOPS, Clairo, Empress Of, and Margo Price. Guryan, a talented singer-songwriter and pianist, released her only album, Take a Picture, in 1968, which, despite initial obscurity, has become a cornerstone of the sunshine-pop genre. Her compositions reflect a sophisticated understanding of love and uncertainty, showcasing a delicate yet powerful songwriting style. Guryan's artistry gained renewed recognition in recent years, particularly after her haunting track 'Why Do I Cry' went viral on TikTok shortly before her passing in 2021. This tribute album celebrates her influence, allowing modern musicians to explore her work while maintaining the essence of her original sound. Tracks like McDoom's atmospheric take on 'Thoughts' and Frankie Cosmos' playful rendition of 'Take a Picture' highlight Guryan's remarkable craftsmanship and emotional depth. By donating a portion of proceeds to affordable reproductive health services, this compilation not only honours Guryan's legacy but also reaffirms the lasting impact of her music, proving that her work continues to resonate across generations.

Review: Light Verse is the seventh studio album by the American singer and songwriter Iron & Wine. The album was announced on February seventh 2024, simultaneously with the release of the lead single 'You Never Know' which showcases Sam Ervin Beam's great songwriting and arrangement skill, with his blend of folk and pop music has been compared to greats like Simon & Garfunkel, Nick Drake and Neil Young. Sam has been loyal to the Sub Pop label since first being signed there over 20 years ago. This (Loser Edition) comes on transparent yellow vinyl and will hit stores in late April.

Review: Kyle Thomas is the name of the singer-songwriter who records and performs as King Tuff. During the pandemic lockdowns he had something of a realisation about who he was and what he wanted to be and then "set out to write a love letter to those cherished moments of inspiration and to the small town that formed him," namely Brattleboro, Vermont. This is that love letter and it is an album of musical magic with uplifting and spiritual joy found in every hook and verse. There are gorgeous orchestral tones, tender moments of violin and cello and plenty of thoughtful sax lines on a gem of a record.

Review: La Luz's News of the Universe emerges as a stunning example to resilience and creativity amidst adversity. Born from guitarist Shana Cleveland's battle with breast cancer, the album traverses themes of life, death, and transformation with haunting beauty. The band's sonic palette, led by Cleveland's ethereal vocals and anchored by urgent rhythms, paints a vivid portrait of chaos and ecstasy. Produced entirely by women, the album embodies a fierce femininity, embracing vulnerability and triumph in equal measure. With lush chamber pop melodies and searing guitar solos, News of the Universe shows La Luz's pioneering spirit and unwavering commitment to artistic authenticity. It's a record that boldly defies expectations, delivering a sonic journey that is both devastating and euphoric - a true triumph in the face of adversity.

Review: In January 2023, amidst Dorset's snow-laden silence, Emily Cross found herself in an unlikely setting: a former coffin-maker's workshop serving as her end-of-life doula workspace. Here, Loma sought rebirth after disbanding post-Don't Shy Away. International separation during the pandemic stalled their creative process until Cross suggested a regroup in the UK. Using minimal gear and a padded coffin as a vocal booth, they transformed whitewashed rooms into a studio, even using a nearby chapel's ruin as a reverb chamber. The resulting album, How Will I Live Without A Body?, resonates with English countryside hues and Laurie Anderson-inspired AI poetry, reflecting on partnership, loss, and the transformative journey of reconnecting.

Review: Minnesota couple Low have been around the block, lets say roughly 25 times, and it's been the Seattle-based Sub Pop label that's really become home to their music after several drops for the ambient-laced Kranky. I mean, hey, some have even called their music 'dinner party epochal'. Static and noise and other more experimental techniques in production provide a livid colour to this album, take in "Dancing in Blood" for example, with its industrial and subdued goth influences, or the pumping white noise and distortion of album opener "Quorum". Further down the tracklist is "Fly", a naturally melancholic number but far from depressive, with this track in particular hitting a sweet spot in the same way Massive Attack's "Teardrop" does. Very cool LP.

Review: Summer is drawing to a close, so what better time to avail ourselves of the eleventh record by these masters of melancholia. Low's back catalogue has proven them to be a band possessed of a consistency to match their emotional heft, and Ones & Sixes is no exception quality-wise - the band dispenses indelible and satisfyingly chilly ditties which balance out exquisite harmonies, fetching songcraft and understated charm, whilst also offering curveballs redolent of a band whose less-is-more aesthetic doesn't preclude an experimental slant - the electronic textures around the album's edge and the surprisingly poppy 'What Part Of Me' being cases in point.

Review: What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots and records done with his various other bands (primarily Dinosaur Jr. but also The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), then, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. The finest set of solo tunes J has yet penned, this is a playful and soft compendium of indie songs revelling in disbelief, uncertainty and community.

Review: Fearsome garage rock / grunge punk foursome Mudhoney, active since the late 1980s, juxtapose their latest record Plastic Eternity - which laments the plight of humanity - with a complementary reissue of their breakout debut record, which documents the relatively carefree mode that defined them from their early days onwards. The indie quad squad - made up of vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters - are best known for their crusted sludge-punk sound, and this reissue is a working reminder of this fact, one that landed them squarely in deathless annals of grunge history; many of the tracks on Mudhoney, especially the Blue Cheer cover 'Magnolia Caboose Babyshit', are considered pioneering of the later mainstream sound. The record is sickeningly fast, shreddy and road-hardened, but a closer listen, especially to the mixes thereon, hears it also house an early stirring of the purply/neon sonic haze that would also go on to define the indie pop music emergent shortly after that time.

Review: Mudhoney's 'Plastic Eternity' hears a dejectedly fitting 'Loser Edition' fly into our faces, once more hammering home the band's fervent commitment to battling climate change through grunge. The irony of this statement is immense - the band say it themselves; 'the world is filling up with (grunge), humanity remains addicted to pollution despite the planet getting hotter by the minute'. But that's the entire point. This band has been around for over 30 years and their distinctive West Coast grunge sound might be new to some, but we're sure newcomers will be sold on it - it's got raucous clangers, anti-fash love songs, and even dog-friendly protest tunes all in the mix.

Review: Taking its name from the band's two favourite guitar effects pedals - the Univox Super-Fuzz and the Electro-Harmonix Big Muff, both credited with producing a 'dirty sound' - it's safe to say Mudhoney came up with one of the finest double entendre titles with their 1988 debut EP. Arriving through the seminal Sub Pop, the record would fail to grab the attention of the masses, or the nascent grunge underground bubbling beneath the streets of their native Seattle at the time, but now we know just how wrong people can be. Skip forward to today, and Mudhoney's first spawn is recognised as one of the seminal outings in the early Pacific Northwestern alternative guitar scene that would go on to dominate the world, albeit for a relatively brief time. Praised for being "sexy, smart, humorous and hard", hearing the tracks today affords an opportunity to draw direct lines between the heavy rock that came before, and what was being born.

Review: Shabazz Palaces made more fine moves with their classic album Black Up offering up a luxury take on hip-hop "like rich velvet hijabs or gold threaded abayas." Produced by Knife Knights.plcrs at Gunbeat Serenade Studio in Outplace Palacelands, the album originally arrived in 2011 and now gets reissued on red and black smoked vinyl in a lovely spot-varnished sleeve. It's a mix of dubby hip-hop, conscious lyrics and electronic styles with a heavyweight sound that remains ahead of its time with cuts like 'An Echo From The Hosts That Profess Infinitum' a firm favourite with ambient influences and glitchy, experimental textures.

Review: Shabazz Palaces's Exotic Birds of Prey is a new seven-song mini-album that comes via Sub Pop and follows the huge success of Robed in Rareness back in October 2023. It is a rather enchaining listen that draws on many different rap eras and blends them into one new sound helmed by vocalist and producer Ismael Butler. Shabazz Palaces redefines hip-hop across decades here with the album blending the past, present, and future with warped sounds and fine collaborations from the likes of Stas THEE Boss and Japreme Magnetic who help to enrich this sonic journey. This special Loser Edition comes on creamy white vinyl.

Review: Slift's Ilion is a towering work of doom rock, a steamrolling record that starts at the highest peak and never lets up. If that sounds overwhelming, trust that this Toulouse trio have you in good hands. Their third full-length feels massive and oceanic, merging the furious intensity of metal and the wigged-out guitar heroics of psych rock with post-rock's epic sense of scale. Ilion is the kind of music where you listen to it and think to yourself, "This came from only three people?" It sure did, and Slits utter ferocity goes far beyond the mood of a tempest in a teacup. It reaches outwards for miles and creates new zeniths within unforeseen horizons of rock.

Review: Alan Sparhawk's White Roses, My God offers a deeply personal exploration of grief and creativity. The album reflects the impact of the passing of Sparhawk's wife, Mimi Parker, from cancer in 2022. Known for his role in Low, Sparhawk's latest work showcases his willingness to dive into new sonic landscapes. Each track is crafted solely by Sparhawk, who used a range of new tools and techniques to build this intimate record. The album's experimental nature echoes influences from artists like Childish Gambino and 100 Gecs, with hints of Neil Young's Trans in its approach. On tracks like 'Feel Something,' Sparhawk employs a vocoder to challenge conventional emotional expression, creating a raw and engaging sound. Despite its innovative edges, White Roses, My God maintains a connection to Sparhawk's previous work while pushing boundaries. This record invites listeners into a new chapter of his musical journey, blending heartfelt lyrics with experimental beats.

Review: Stella Chronopoulou began writing her fifth album in 2019 during a ferry ride to Anafi. Seeking solace after personal turmoil, she composed a melody that evolved into a rootsy, atmospheric track. While much of her career was in English, this album marks her first songs in Greek, including 'Omorfo Mou' which was written on the boat, and a cover of Greek New Wave's 'Ta Vimata.' The album was recorded with collaborators like Rafael Cohen and is a 27-minute meditation on love, desire and time with gentle rhythms and warm instrumentation. It represents ?tella's sound by capturing both nostalgia and confident self-assurance.

Review: Supersuckers' The Smoke Of Hell is the kind of raw, unfiltered chaos that still feels untouchable decades later. Their only truly great album? Maybeibut what a record to hang your hat on. Released on Sub Pop, it's packed with scorching wah-wah pedal solos and breakneck, feelgood rock energy. 'Coat Tail Rider' kicks things off, a neck-tingling blast of slamming, wah-drenched riffs that set the tone for this wildly underrated gem. Fast, furious, and full of slick licks, it's a short, relentless masterpiece that's criminally overlooked.

Review: Velocity Girl's UltraCopacetic offers a revelatory reimagining of their 1993 debut Copacetic. Originally recorded with Bob Weston, the album's initial release left the band dissatisfied, feeling it lacked the lushness and clarity they envisioned. Fast forward to 2023, and the band has revisited the project with a fresh remix by Archie Moore, enhancing the album's original pop and shoegaze elements. The new mixes bring Sarah Shannon's soaring vocals, chiming guitars, and powerful rhythms into sharper focus, creating a cohesive and vibrant soundscape that aligns with the band's original 1992 vision. UltraCopacetic not only revises the original album but also includes expanded material from the era, such as tracks from various singles and a complete 1993 John Peel session. This reissue captures the energy and ambition Velocity Girl aimed for, offering fans a definitive version of their early work.

Review: Washed Out's fifth album, Notes from a Quiet Life, marks a bold departure for Ernest Greene, the creative force behind the project. With an immersive blend of funk, soul, hip-hop, beats and breaks, this album transcends genres, offering a captivating journey through lush, sun-baked electronic pop. Greene's move back to the countryside has deeply influenced his artistic vision, evident in the album's introspective tone and organic soundscapes. Named after the pastoral poem Endymion, his former horse farm, the album reflects Greene's embrace of the wonders of reality and his desire for artistic exploration. Notes from a Quiet Life shows Greene's evolution as an artist, with self-production emphasising his distinct creative voice. Collaborations with visionary artists like Paul Trillo demonstrate Greene's commitment to pushing boundaries and incorporating new technologies. Drawing inspiration from sculpture icons like Donald Judd and Cy Twombly, Greene's album embodies a purity of vision rarely seen in modern music. Each track explores his dedication to craft and his determination. Notes from a Quiet Life is a masterful work that solidifies Washed Out's position as a pioneer in chillwave and electronic music.

Review: Suki Waterhouse's double-LP, Memoir of a Sparklemuffin, showcases her evolution as a versatile artist. Released by Sub Pop, the album captures her journey through a kaleidoscope of styles, from folky Americana to nineties alternative and indie pop. Waterhouse's emotive vocals and evocative storytelling paint vivid pictures of longing, fearlessness, and elation. Recorded during the last months of her pregnancy, Waterhouse transformed her living room into a home studio, collaborating with top musicians. Executive producer Eli Hirsch, alongside Jonathan Rado, Brad Cook, Greg Gonzalez, Rick Nowels, and Natalie Findlay and Jules Apollinaire of Ttrruuces, contributed to the album's rich sound. The album's 18 tracks revolve around the Sparklemuffin spider, symbolising metamorphosis. Singles like 'OMG,' 'Faded,' and 'My Fun' drew listeners in, while tracks like 'Supersad' and 'To Get You' explore themes of resilience and love. 'Blackout Drunk' and 'Gateway Drug' showcase Waterhouse's ability to blend catchy melodies with deep emotion. 'Model, Actress, Whatever' reflects her multifaceted identity.

Review: Natalie Mering's Weyes Blood project is 12 years deep now, and she follows up on 2019's Titanic Rising with this, her fourth studio album. Her sound evolves in kind over this time from the DIY roots of her appearances on Not Not Fun et al, and now she strikes the figure of an eternal songstress joining the dots from classic 70s composition and production through to the aching, head-fogged reflection of the modern condition. Lead single 'It's Not Just Me, It's Everybody' nails the mood of malaise, but the beauty of her songwriting leads and saves us from slipping into despair. Why not commit to the concept and cop this, the limited Loser Edition of And In The Darkness, Hearts Aglow.

Review: Like a slightly in-tune Nico from her collab with The Velvet Underground, Natalie Mering's vocals have a unique quality to them that shouldn't go unheard. There's an undeniable country music beauty to the notes and instrumentation in both tracks "A Lot's Gonna Change" and "Andromeda", with Mering hitting those high notes more like Father John Misty and Roy Orbison than Dolly Parton. It's here that it becomes obvious why she is such a trusted collaborator with Ariel Pink. Her album as Weyes Blood, "Titanic Rising", dips and dives through a sequence of emotions that from the halfway point soars like a bird in "Everyday" and the Enya-like "Movies" before making its own crescendo down again on "Picture Me Better" and "Nearer to Thee", closing the album with nostalgia-inducing tales.