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Review: Joseph Donald Mascis, well known front man of Dinosaur Jr., provides a third solo instalment for Sub Pop in what you could call a trilogy of LPs for the Seattle label. It follows Tied To A Star (2014) and Several Shades Of Why (2011), and other than keys and occasional guest vocals, this record is proudly his own show. Still wistful and Americana at its finest, the warmth in Mascis vocal are a highlight on this LP and they come through bright yet forlorn on album opener "See You At The Movies", and sombrely so on "Web So Dense" too. And by the time you make your way to "Everything She Said" you may just feel like you've listened to new age Pearl Jam session without the dangerous amounts of whiskey.
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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.
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Review: When it comes to music, the coming together of Sub Pop and Mudhoney's first release in five years doesn't get anymore Seattle than this. Earlier this year the legendary west coast band released the live album LiE, proving their roots are still firmly grounded in causing a racket, while the lyrical sense written into tracks on this album still brandish the band's light sense of dark humour. At first glance, Digital Garbage comes across as a record that takes a deal of its angst out on the clergy, with tracks like "Please Mr Gunman" intoning: 'please don't be an inconsiderate prick, we'd rather die in church" to "21st Century Pharisees" wailing lyrics: "sanctimonious pieces of shit." Mudhoney as always, still keeping it bitter, still keeping it sweet.
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Review: Iron & Wine, aka Samuel Beam (not to be confused with Father John Misty) is an crooning America folk singer-songwriter who's earned the right to sport the beard he does. The music here is a collection of songs that couldn't quite make it in time to find a place on his Grammy nominated album Beast Epic from last year, so they are neatly encapsulated in this heart-nourishing follow up. It's a nice strum through folky pastures that at points reach a bluesey coastline (maybe hi-fiving Donavon Frankenreiter along the way) in search of that warm campfire, somewhere nearby.
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Review: San Diego post-hardcore veterans Hot Snakes return with 'Jericho Sirens', fourteen years after their last record 'Audit In Progress' and following a 2011 reunion tour. Slightly longer in the tooth but markedly reinvigorated, this comeback is an explosive powerhouse of an album - all blistering and thundering backings, coupled with Rick Froberg's acerbic commentary. The songwriting is ferocious, exhilarating and intelligent, and after working on various other projects (Drive Like Jehu, Rocket From The Crypt, Pitchfork et al) the Hot Snakes lineup is sounding stronger than ever. Accompanying this comeback, Sub-Pop also plan to reissue their back-catalogue, but if this return is anything to go by, hopefully there will be plenty more new music to come in the future.
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Review: With track titles such as "Death Up Close", "Something On Your Mind" and "Shuffling Stoned", it's not going to surprise anyone to learn that Shannon Lay's beautiful long form is a reflective, introverted and tender accomplishment. A place where acoustic guitars regularly lull us into dream-like states of consciousness, the fact you also get a truly stunning voice packing opiate qualities adds to the feeling of escaping into a fantasy. It's not all buttercups and rainbows, mind. And nor should it be. This, after all, is Lay, the guitarist from scuzz-loving LA garage punk quartet Feels, not to mention a solo artist whose last release arrived via a label someone set up especially for her. Those looking for grit will find themselves coming up short, as efforts like "November" prove, this one's vulnerable, thoughtful, heartfelt and comes with more than a wistful longing.
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Review: When bands hit album four, two things can happen - or three. Some suffer from a crisis of creativity, opting to regurgitate or, worse still, stagnate. Others opt for reinvention, with as many getting it right as going well off-piste, alienating faithful fans in the process. The lucky ones, meanwhile, hit the nail on the head with their most accomplished and complete work to date. Consider Frankie Cosmos among the lucky ones, then, not that luck had much to do with it. Recorded in their New York hometown, everything about the record feels comfortable in that there's nothing forced, and yet it engages and grabs from the off. Lilting, lo-fi rock 'n' roll odes to love, life and the genre itself, anyone who's ever wondered what Cate Le Bon might sound like having a pancake breakfast with The Orielles should grab a seat at this table.
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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.
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Review: It's business time. Alongside Seinfeld, Curb Your Enthusiasm or The Simpsons, references or refrain for New Zealand comedy act Flight of the Conchords are never far off. And with the pair garnering even more notoriety with their cameo songwriting appearing in shows like Rick and Morty, it's no surprise to hear they've delivered a special. Recorded live in London, and released in deluxe triple vinyl form via legendary Seattle label Sub Pop, if you can survive the raucous laughter between the punchlines across the night's setlist than you'll appreciate classics like "Inner City Pressure", "Mutha'uckas - Hurt Feelings" and "Bowie" that much more, and with live adlib commentary between the scenes too, "The Most Beautiful Girl (In The Room)" curtails this mega release with a most classic closer and encore! Happy Birthday.
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Hologram
New World
Grains Of Salt
The Joke Of Life
Little Friend
Rose-Colored Sky
The Problem
Crystal Ball
Meet Me At La Palma
Miles & Miles
Review: You pretty much know what to expect from Tacocat at this point - no nonsense indie-punk stylings and humorous, direct lyrical narratives, as well as their uplifting take on post punk, with clear inspiration from bands such as The Pretenders and Blondie. There's much to enjoy throughout, from the new wave, synth-driven stylings of album highlight "Grains Of Salt", the power pop of "The Joke Of Life" and "Rose-Colored Sky", concluding with some respite in "Miles & Miles". The socially conscious lyrics in places will no doubt provide some optimism, too. This Mess Is A Place is a triumphant album that will provide sing-a-longs and fun in great helpings.
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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.
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Review: Psychedelic serenades worthy of our attention can be tricky to track down in the here and now, yet it takes little time to work out that the work of Morgan Delt, a bedroom auteur with as much warped songcraft to offer as excursions into the wilderness. 'Phase Zero' maps out an interstellar constellation between the '60s world of The Byrds, the '70s bedlam of Jean-Pierre Massiera and the contemporary slant of recent Flaming Lips, yet at all times it boasts a widescreen sweep and wide-eyed wonderment to match its sonic playfulness and melodic sleight-of-hand, resulting in a gem for the third-eye and both ears alike.
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Mind Is Probably
Own The Road
Want To, Bad
Pier Pressure
Nice Night
Every Night You've Got To Save Me
Money Counter
Territory
Soul
Subway Phone
out of stock $7.74
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