Фирма Sub Pop

Artist: His Electro Blue Voice Label: Sub Pop

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

LP includes a download code. "Daughn Gibson is quite unlike anyone you will ever have heard" - THE GUARDIAN For those new to DAUGHN GIBSON, the first name rhymes with the Vaughn's Robert and Stevie Ray. He was born in the village of Nazareth, Pennsylvania, (ironic given the title of his debut album "All Hell") and currently resides in the sleepy college town of Carlisle, Pennsylvania,, where he frequents local watering holes like The Cave and Alibis. He's 6'5", hovers at 200 pounds and has a head of jet black hair thicker than a porcupine. He played drums in PEARLS & BRASS for a number of years, touring the US to small but enthusiastic crowds. For some time in between, Daughn was a trucker, but he's also been packing boxes in an un-airconditioned warehouse, climbing up commercial broadcast towers with untested levels of radiation, working the register at an adult bookstore, doing sound at dive bars and collecting unemployment checks to earn a living. Daughn's been around. Daughn Gibson's second album "Me Moan" is his Sub Pop debut. The album kicks-off with the lead track "The Sound Of Law" and features highlights "Kissing On The Blacktop", "Mad Ocean", "You Don't Fade", and "The Pisgee Nest". "Me Moan" was produced by Daughn Gibson and Benjamin Balcom and recorded at MINBAL in Chicago and mastered by Greg Calbi at Sterling Sound. "Me Moan" follows 2012's breakthrough debut, "All Hell", released on Matthew K of PISSED JEANS' label White Denim. At once both foreign and familiar, Daughn's music is immediately striking, through the use of dusty thrift store records and baptized them as fierce, future Americana. His songs as frequently tender as they are prurient, as hopeful as they are brimming with despair. He treats the past with respectful reverence while still appreciating what is happening at the forefront of electronic production. The follow up and Sub Pop debut "Me Moan" has taken "All Hell"'s willful lead, grabbed the rule book, laughed in its face and driven it to the tip. The woozy baritone remains intact but what surrounds it is utterly unique. Like SCOTT WALKER's 1-4 sharing a drink with WAYLON JENNINGS, neon lit and glowing with the hazily blue-ish light of a computer screen. Daughn was also going through a big FLEETWOOD MAC phase during the album's gestation, endlessly submerged in "Mirage" and "Tango In The Night", resulting in a record that bubbles with melodic invention, taking in the classics and re-tooling them to create an entirely new musical landscape. He also has a penchant for the likes of DEMDIKE STARE and is smitten with all things hip hop. Daughn really likes to get around. While the roots of sample-based music remain, these songs and every piece of music on them is performed live, lushly detailed and richly orchestrated. While taking in everything from live drums, pedal steel and horns, to house strings, organs and even bagpipes, it never feels over stuffed, with every instrument or melody in its rightful place. Elsewhere, guitarists John Baizley (BARONESS) and Jim Elkington (BROKEBACK) provide stunning performances. "Me Moan" takes the listener on a journey as seen through Daughn's eyes, with stories and characters that are distinctively Noir-ish. Daughn is a uniquely American and modern artist who throw's his romantic soul into his work, free of compromise, possessed by a singular vision. Style: Singer/Songwriter

"Daughn Gibson is quite unlike anyone you will ever have heard" - THE GUARDIAN For those new to DAUGHN GIBSON, the first name rhymes with the Vaughn's Robert and Stevie Ray. He was born in the village of Nazareth, Pennsylvania, (ironic given the title of his debut album "All Hell") and currently resides in the sleepy college town of Carlisle, Pennsylvania,, where he frequents local watering holes like The Cave and Alibis. He's 6'5", hovers at 200 pounds and has a head of jet black hair thicker than a porcupine. He played drums in PEARLS & BRASS for a number of years, touring the US to small but enthusiastic crowds. For some time in between, Daughn was a trucker, but he's also been packing boxes in an un-airconditioned warehouse, climbing up commercial broadcast towers with untested levels of radiation, working the register at an adult bookstore, doing sound at dive bars and collecting unemployment checks to earn a living. Daughn's been around. Daughn Gibson's second album "Me Moan" is his Sub Pop debut. The album kicks-off with the lead track "The Sound Of Law" and features highlights "Kissing On The Blacktop", "Mad Ocean", "You Don't Fade", and "The Pisgee Nest". "Me Moan" was produced by Daughn Gibson and Benjamin Balcom and recorded at MINBAL in Chicago and mastered by Greg Calbi at Sterling Sound. "Me Moan" follows 2012's breakthrough debut, "All Hell", released on Matthew K of PISSED JEANS' label White Denim. At once both foreign and familiar, Daughn's music is immediately striking, through the use of dusty thrift store records and baptized them as fierce, future Americana. His songs as frequently tender as they are prurient, as hopeful as they are brimming with despair. He treats the past with respectful reverence while still appreciating what is happening at the forefront of electronic production. The follow up and Sub Pop debut "Me Moan" has taken "All Hell"'s willful lead, grabbed the rule book, laughed in its face and driven it to the tip. The woozy baritone remains intact but what surrounds it is utterly unique. Like SCOTT WALKER's 1-4 sharing a drink with WAYLON JENNINGS, neon lit and glowing with the hazily blue-ish light of a computer screen. Daughn was also going through a big FLEETWOOD MAC phase during the album's gestation, endlessly submerged in "Mirage" and "Tango In The Night", resulting in a record that bubbles with melodic invention, taking in the classics and re-tooling them to create an entirely new musical landscape. He also has a penchant for the likes of DEMDIKE STARE and is smitten with all things hip hop. Daughn really likes to get around. While the roots of sample-based music remain, these songs and every piece of music on them is performed live, lushly detailed and richly orchestrated. While taking in everything from live drums, pedal steel and horns, to house strings, organs and even bagpipes, it never feels over stuffed, with every instrument or melody in its rightful place. Elsewhere, guitarists John Baizley (BARONESS) and Jim Elkington (BROKEBACK) provide stunning performances. "Me Moan" takes the listener on a journey as seen through Daughn's eyes, with stories and characters that are distinctively Noir-ish. Daughn is a uniquely American and modern artist who throw's his romantic soul into his work, free of compromise, possessed by a singular vision. Style: Singer/Songwriter

Vinyl includes mp3 coupon. 45 RPM double LP. The notion that there is nothing new under the sun can be both a blessing and a curse to musicians. On the one hand, it absolves artists from any nagging sense that they have to reinvent the wheel with every new project. On the other, it makes innovation seem like a fool's errand. Seattle songwriter Chris Cheveyo embraces this blessing, but, with his compatriots in ROSE WINDOWS, he also defies the curse. The band follows Western traditions in their instrumentation, using the basic tools employed in past decades of American and British rock music. Elements of THE BAND's folk-infused rock, THE DOORS' organ-driven psychedelia, and BLACK SABBATH's blues-based dirges can be heard in ROSE WINDOW's debut album "The Sun Dogs". But the septet's curiosity goes much further than a few well-chosen classic rock records. The band devoured Persian, Indian, and Eastern European music, and incorporated the revelations learned into ROSE WINDOWS' sound. "The Sun Dogs" challenges the assumption that all creative territories have been mapped out and charted. While Rose Windows aren't interested in making music of the future, one reviewer was wise enough to note "a sound like this would not be possible in any other time." ROSE WINDOWS began in late 2010 in a house in Seattle's Central District, where Cheveyo found himself tiring of the limited palette of his prior heavy, post-rock project. Starting with a few rough demos by Cheveyo alone, ROSE WINDOWS took shape as the band amassed members from their circle of musician friends. ROSE WINDOWS began playing out, fluidly sharing the stage with underground art-metal bands one night and popular indie Americana acts the next. In November of 2011, the band began working on "The Sun Dogs" with local producer Randall Dunn (SUNNO))), BORIS, EARTH, MASTER MUSICIANS OF BUKKAKE). Dunn's penchant for musical anthropology proved the perfect match for the band, with their mutual curiosity and artistic ambition broadening the scope of the album. Dynamics were expanded. Boundaries were pushed. CD, Album

Artist: Rose Windows Label: Sub Pop

On "Carl", St. Paul's CONDOMINIUM churn out three tracks of their trademark blend of hardcore punk and mutated, art-damaged heaviness. This is CONDOMINIUM's sixth vinyl release, after four long-sold out 7"s and the "Warm Home" LP, all of which made the underground rock cognoscenti drool all over their Flipper shirts. All three tracks are new and exclusive to this release. Style: Punk/Hardcore

On THE BAPTIST GENERALS' sophomore album, the word "heart" repeats eight times. The Denton, TX band, known for its haunting, claustrophobic take on drunken folk, needed ten full years to bare its hearts - one of which is in the album title, "Jackleg Devotional to the Heart", a name that songwriter Chris Flemmons conjured shortly after he recorded, and then trashed, the album's first attempt in 2005. Flemmons goes so far as to call this his "love album," and it's an apt description - though love through THE BAPTIST GENERALS' eyes is plenty complicated. Jackleg's hearts don't resemble valentines. The band's vibraphones, guitarrons and ambient feedback combine like a mess of ventricles, aortas and veins - not to mention, from the sound of it, all of the blood spilled while Jackleg lurched for years toward an eventual finish line. Call it a love record, then. It's the kind of love Flemmons had to figure out in the ten years since THE BAPTIST GENERALS' critically-acclaimed 2003 full-length debut "No Silver/No Gold", a period in which he admits he's fallen in love with a wild spectrum of music - the Ethiopiques series, saxophonist Archie Shepp, film scorer Meredith Willson, and plenty more. That wide spectrum only befits Jackleg's repeated need to buck genre; in fact, the 2005 version of the album hit the trash heap because "it sounded like any other indie rock-type band," Flemmons admits. Co-produced by Stuart Sikes (LORETTA LYNN, CAT POWER, THE WALKMEN, MODEST MOUSE, THE WHITE STRIPES) and the band's Jason Reimer, "Jackleg Devotional to the Heart" sounds like exactly no one else Style: Indie Rock