Фирма Sub Pop

Record Label: Sub Pop

To play music for a long time, you have to surprise the people that love you-while also surprising yourself. Recorded in singer/guitarist James Mercer's basement studio, Phil Ek's Seattle digs, and in Oregon City with veteran engineer Joe Chiccarelli (Bec Style: Independent

Chopper

Rg To Salsa

Ilion

Adding transparent violet version to master

Новый альбом автора песен Калгари - это потрясающий психоделический урожай. Коллекция мелодий, которая избавляет от навязчивости, беспокойства о перфекционизме в пользу свежести и непосредственности - запечатлевает мир таким, каким он был встречен во время записи в одиночестве дома на протяжении многих лет.

Uppers - это громкое вступительное заявление, которое задает столько же вопросов, сколько и ответов, продолжает недавнее возрождение грязной, яростной пост-панк-музыки в Великобритании.

Change is inevitable if you're lucky, says guitarist/vocalist Alex Edkins while talking about Atlas Vending, the fourth full-length album by Toronto's METZ. Our goal is to remain in flux, to grow in a natural and gradual way. We've always been war

This 30th-anniversary edition of the '90s underground rock classic Smell the Magic includes all 9 songs from the album, remastered and available together on vinyl for the first time ever! A multitude of rock music scenes populated the expanse of Los

Kiwi Jr. is a phenomenal rock and/or punk and/or indie-rock (whichever you like more) band from Canada, made up of Jeremy Gaudet (mic, guitar), Brohan Moore (drums), Mike Walker (bass), and Brian Murphy (guitar). Cooler Returns is their second

On December 26th, 2018, Emily Cross received an excited email from a friend: Brian Eno was talking about her band on BBC radio. "At first I didn't think it was real," she admits. But then she heard a recording: Eno was praising "Black Willow" from Loma's self-titled debut. He said he'd had it on repeat. At the time, a second Loma album seemed unlikely. The band began as a serendipitous collaboration between Cross, the multi-talented musician and recording engineer Dan Duszynski, and Shearwater frontman Jonathan Meiburg, who wanted to play a supporting role after years at the microphone. They'd capped a grueling tour with a standout performance on a packed beach at Sub Pop's SPF 30 festival, in which Cross leapt into the crowd, and then into the sea, while the band carried on from the stage-an emotional peak that also felt like a natural ending. "It was the biggest audience we'd ever had," she says. "We thought, why not stop here?" Following the tour, Cross went to rural Mexico to work on visual art and a solo record, while Meiburg began a new Shearwater effort. But after a few months apart (and Eno's encouraging words), the trio changed their minds and reconvened at Duszynski's home in rural Texas, where they began to develop songs that would become Don't Shy Away. Loma writes by consensus, and though Cross is always the singer, she, Duszynski and Meiburg often trade instruments. Meiburg compares their process to using an ouija board and says the songs revealed themselves slowly, over many months. "Each of us is a very strong flavor," he says, "but in Loma, nobody wears the crown, so we have to trust each other-and we end up in places none of us would have gone on our own. I think we all wanted to experience that again." The album that emerged is gently spectacular-a vivid work whose light touch belies its timely themes of solitude, impermanence, and finding light in deep darkness. Stuck / beneath / a rock, Cross begins, as if noticing her predicament for the first time. Then she adds: I begin to see / the beauty in it. A series of guests contributed to the absorbing soundscapes of Don't Shy Away, including touring members Emily Lee (piano, violin) and Matt Schuessler (bass), Flock of Dimes/Wye Oak's Jenn Wasner, and a surprisingly bass-heavy horn section. And then there's Brian Eno. Loma invited him to participate in the mantra-like "Homing," which concludes the album and sent him stems to interact with in any way he liked. He never spoke directly with the band, but his completed mix arrived via e-mail late one night, without warning, and they gathered to listen in the converted bedroom Duszynski uses as a control room. "I was a little worried," says Cross. "What if we didn't like it?" But it was all they'd hoped for: minimal but enveloping, friendly but enigmatic, as much Loma as Eno-a perfect ending to an album about finding a new home inside an old one. I am somewhere that you know, Cross sings, above a chorus of her bandmates' blended voices. I am right behind your eyes.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

We all start from the same place and build from there, gathering references, structures, techniques, modes, nuances, etc. and, as artists, we strive to build something purposeful. Well, I Should Have_* is the culmination of hours (almost 3) of conception with the goal to bring something, in the tradition of the great vanguard jazz artists like Miles Davis, Roach, Mingus, Monk, et al, close to pure spontaneity.Jazz is the ocean_I am just one wave forming one curl, crashing once onto some remote beach somewhere in time. And that wave makes a small imperceptible change in the slope of the sand, upon which at some point in time a baby turtle will walk across, leaving his trail for just an instant, before the tide washes it clean. That's a pretty cool analogy. More to the point, I do not play piano and I made this jazz album. Some tell me, "Hey, Jon, tone it down." Some even say, "Really, Jon?" A few have said, "Get the fuck away from me or I'll fucking punch you in the face. " I know the risks in making this album. I know what it is like to do something that no one else would think to do. Most would call this reckless. I call it jazz. What you are about to experience is an aural auto da fe. I am the jazz daredevil.- Jon, New York City, July 2015Well, I Should Have_* was recorded and mixed by Mark Desimone at Soundtrack NY, except for Amy's Song (The Bum Steer), which was mixed by Loren Bouchard (Bob's Burgers, Home Movies).Jon is accompanied by Scott Kreitzer (saxophone), David Finck (bass), and Jonathan Peretz (drums). "Deal With the Devil" features Aziz Ansari and Kristen Schaal. nline

Limited-edition orange vinyl! Sub Pop proudly presents The Soundtrack Collection, the latest musical venture by Jon Benjamin, the visionary who brought you 2015's jazz-piano masterpiece Well I Should Have_ Learned How to Play Piano (and who also has a side-hustle voicing the titular roles of Bob and Archer in the TV shows Bob's Burgers and Archer). Well I Should Have_ got high praise from the tastemakers of our times, NPR's All Things Considered and a bunch of people on YouTube. The limited vinyl pressing sold out immediately, garnering outrageous prices on the collectors' market until a new (even cooler and more importantly still available!) limited-edition red, white and blue pressing appeared in July, 2020. The Soundtrack Collection finds Jon striding boldly into the rarefied worlds of classic film music, and the Moog synthesizer. We'll let the maestro himself elaborate: WHY ANOTHER ALBUM? The question must be screaming in your mind. In 2015, I started my jazz journey. Even I thought it would end, but the spirits of sound, they keep pulling at me. At times, I've danced with the demons of malaise and grappled with the warlocks of uncertainty. This collection represents a rebirth/afterbirth. A reforming of what I have done and what has been done before me. A voyage into a more futuristic soundscape, like a drunk (very drunk), crazed cosmonaut's first spacewalk. A burnt offering to the Gods of Providence-Gods that take from us mercilessly the corpuscular light of what we give, fractured through our prism of inability. My work may be an affront, but is our collective affront. My sins are unwavering but my jazz is my confession; each note a cleansing; the sound of the squeezing of an overripe peach and the juice putrid. These songs, like spumes of spite, are sufferings, profane grumbles, and they weave their thread into your soul like falcon's talons into the belly of a bunny. Every compression is an impression (not sure what this means) but I think I'm talking about compressing the keys on the keyboard. But in them all are 'sharts of hope'. I crash expectations. I throw poo in the face of my oppressors. I scream like a baby bird to the legions. I, by my own hand, mock the clouds for forming, cry ecstatic till temples crumble. I, by my own hands, shake the world. I am, like William Morris once wrote, 'the haystack in the floods.' I am, for all time, the Jazz Daredevil. -Jon Benjamin - Jazz Daredevil