Sub Pop HHV Records 299 Items

CD comes in a soft case, instead of the original crystal case. All booklets included.

Includes sticker.

There is an entire sub-genre of poetry devoted to rivers and their persistent, meditative flow. Emily Dickinson's ''My River Runs to Thee'' compares them to the cycle of life, while Alfred Tennyson's ''The Brook'' deems them eternal and Kathleen Raine's ''The River'' muses on the dream-state they evoke. For transcendent folk-pop artist Shannon Lay, the river is all of the above: It's the metaphor driving her latest album, the exquisitely uplifting August, which doubles as an aural baptism renewing her purpose for making music. ''I always picture music as this river. Everyone's throwing things into this river, it's a place you can go to and feed off of that energy,'' she says, ''and feel nourished by the fact that so many people are feeling what you're feeling. It's this beautiful exchange.'' The album's name, August, refers to the month in 2017 when Lay quit her day job and fully gave herself over to music. This was her liberation as an artist, and the album is devoted to paying that forward to her listeners. Lay may be the most chilled-out artist you'll ever meet. Despite fronting her tranquil solo act and being a guitarist/singer in the indie-rock band Feels, she never pressures herself to overachieve. Nonetheless, she regularly does: in a glowing review, Pitchfork anointed her last album, Living Water, ''captivating.'' With her life devoted to music, Lay often spends hours a day simply playing the guitar, challenging herself to become better. ''It just feels so good, doing something that is so much bigger than myself. I think so much of music is that, realizing that it's coming from something beyond and you are just the messenger'' says Lay, who took guitar lessons at age 13, which introduced her to Neil Young and The Beatles. After high school, she moved from Redondo Beach, Calif., to Hollywood and joined an indie-rock band. ''It was an energy I needed to release,'' she says. The exact type of energy may have changed, but her drive hasn't. August was mostly written in three months, during Lay's first solo tour for Living Water. ''For the most part, all of the songs were just guitar and voice,'' she says. In keeping with the humbled, contemplative nature of August, most tracks clock-in at three minutes or less. She saved indulgence for the production. ''Some songs as they were had this room to grow,'' says Lay, who recorded the album with her longtime friend, musician Ty Segall at his home studio on the East Side. ''I believe whoever you record with tends to affect the mood of music and Ty really brought this jovial sense that I hadn't really explored yet,'' she says. Also in the mix is Mikal Cronin, who played saxophone on the album's opener, ''Death Up Close.'' ''A lot of my friends who are really tough have admitted that they shed a tear when they hear my songs, and I think that really speaks to the visceral aspect of folk music,'' Lay says. ''It's this ancient form of expressing yourself.'' Think of August as a warm hug for your psyche. ''I want to create as much music as I can,'' she says, ''and leave this spot by the river where people can go sit and enjoy.''

digipak

CD comes in a soft case, instead of the original crystal case. All booklets included.

CD comes in a soft case, instead of the original crystal case.
All booklets included.

CD comes in a soft case, instead of the original crystal case.
All booklets included.

CD comes in a soft case, instead of the original crystal case.
All booklets included.

Since the band's inception in 1992, Built to Spill founder Doug Martsch intended his beloved band to be a collaborative project, an ever-evolving group of musicians making music and playing live together. "I wanted to switch the lineup for many reasons. Each time we finish a record I want the next one to sound totally different. It's fun to play with people who bring in new styles and ideas," says Martsch. "And it's nice to be in a band with people who aren't sick of me yet." Following several albums and EPs on Pacific Northwest independent labels, including the indie-rock classic, There's Nothing Wrong With Love, released on Sub Pop offshoot Up Records in 1994, Martsch signed with Warner Brothers from 1995 to 2016. He and his rotating cast of cohorts recorded six more great albums during that time - Perfect From Now On, Keep It Like a Secret, Ancient Melodies of the Future, You In Reverse, Untethered Moon, There Is No Enemy. There was also a live album, and a solo record, Now You Know. While the band's impeccable recorded catalog is the entry point, Built to Spill live is an essential force of its own: heavy, psychedelic, melodic, and visceral tunes blaring from amps that sound as if they're powered by Mack trucks. Now in 2022, Built to Spill returns with When the Wind Forgets Your Name, Martsch's unbelievably great new album (and his eighth full-length)... with a fresh new label. "I'm psyched: I've wanted to be on Sub Pop since I was a teenager. And I think I'm the first fifty year-old they've ever signed." (The rumors are true, we love quinquagenarians_) When the Wind Forgets Your Name continues expanding the Built to Spill universe in new and exciting ways. In 2018 Martsch's good fortune and keen intuition brought him together with Brazilian lo-fi punk artist and producer Le Almeida, and his long-time collaborator, Joao Casaes, both of the psychedelic jazz rock band, Orua. Martsch fell in love with their music the moment he heard it. So when he needed a new band for shows in Brazil, he asked them, and the partnership went so well Martsch, Almeida, and Casaes continued playing together throughout 2019, touring the US and Europe and ultimately recording the bass and drum tracks for When the Wind Forgets Your Name at Doug's rehearsal space in Boise. After Martsch tracked guitars and vocals, they group collaborated from afar to mix the album. What emerged is When the Wind Forgets Your Name, a complex and cohesive blend of the artists' distinct musical ideas. Alongside Built to Spill's poetic lyrics and themes, the experimentation and attention to detail produces an album full of unique, vivid, and timeless sounds, from guitar-driven rock odes to REM and Dinosaur Jr to bluesy '60s-style anthems to dub-reggae-inspired instrumentation. It may have taken us 30 years of obvious fandom and courtship, but on September 9, 2022, Sub Pop Records is unabashedly proud to finally release an excellent new album from Built to Spill: When the Wind Forgets Your Name. Sometimes persistence pays off.

carboard case

4 track EP of Demos of tracks that ended up on RBCF's 2020 album "Sideways To New Italy". Previously available exclusively at the chain of Rough Trade shops.

Smash cut to Kiwi Jr.'s third album, Chopper, overseen by trusted pilot Dan Boeckner (Wolf Parade, Handsome Furs) on storied Sub Pop Records. Turning nocturnal with necks mock turtle, our Local Kiwi Jr. takes neon flight off the digital cliff - like The Monkees starring in Blade Runner; like Michael Mann directs Encino Man. Ten songs with synth shimmer, zen gongs with yard strimmer. The signs along the highway read "less BAR, More Noir AHEAD." Ah, those late summer, Joe Strummer, Home on the Range Rover Blues. There's a melancholy to all forms of flight, and the view out the Chopper is as hazy as it gets: mission-oriented, both stealth and self-realized. This album is decidedly (yet almost secretly) anti-patio-sunscreen-Beach Boys bachelor cruise sing-a-long. Sure, these songs let a little light through the blinds, but they sting insomnia, corrupt mayors, Kennedy Curses, sex tapes, and deer rifles. Chopper is the bird's eye view of the big event - a real nighttime character of oil stain, film grain, search light, night flight. It is muscular and fragile; loud yet quiet: both an observer and somehow the observed spectacle itself. What was slack in the slacker phase, got tauter, with lacquer glaze. Slick gloss, rightened wrongs; murdered boss, promoted pawns. With Boeckner transmitting high-voltage shocks upon every reach for a familiar instrument, Kiwi Jr. expands the palette with string machine song, synthesizered oblong, and Dentyne Classic Menthol vocals from area soprano Dorothea Paas (US Girls, Badge Epoch Ensemble) like the missing piece all along. Kiwi Jr. brings the Chopper to a new space, demilitarizing the technology just like flasks, aviators, and cargo shorts. Graceful in the air above, but when the Chopper lands, there's chaos on the ground. Kiwi Jr. shout, "Look Out!" When it gets close, it'll blow the hat right off of your head. Hold onto your hats, Babies. Kiwi Jr. is Jeremy Gaudet vocals and guitar, Brian Murphy guitar, Mike Walker bass, Brohan Moore drums, and everybody played a little bit of keyboard.

Oh, Inverted World, the earth-shattering, indie-rock-redefining 2001 debut album by The Shins, is presented here in its finest form, dressed up all nice for its 20th birthday. The classic tunes get new life by way of a full remastering job under band leader James Mercer's watchful eye, the art is given a little extra zest via a die-cut jacket and a classy inner sleeve, and the package is rounded off with a big ol' booklet with vintage photos, handwritten lyrics, and more. The music, of course, is obviously essential. Aside from a friendly reminder that this is the album with the smash hit "New Slang," as heard in the hit movie Garden State, we just need to note that the remastering job truly makes this the album James Mercer always wanted it to be. Never quite satisfied with the sonics of the original, Mercer took the 20th anniversary of the album as his opportunity to finally set the (literal!) record straight. And the results sound stellar: great for new fans, and well worth the attention of those already on board! For old times' sake, here's what we had to say about this record back when it came out: Hailing from Albuquerque, NM, The Shins sprung from the ashes of Flake/Flake Music in 1997 (though those previous incarnations date back nearly a decade) - same members, different instruments, different approach. Counterpoint guitars have given way to a single guitar pitted against calculated keyboard passages; swarming indie rock machinations led to pop-based melodic endeavors (who knew?).

Archive Series Volume No. 5: Tallahassee is the lost-in-time debut album from Iron & Wine. A collection of songs recorded three years prior to his official Sub Pop debut, The Creek Drank the Cradle (2002). A period before the concept of Iron & Wine existed and principal songwriter Sam Beam was studying at Florida State University with the intent of pursuing a career in film. Tallahassee documents the very first steps on a journey that would lead to a career as one of America's most original and distinctive singer-songwriters. Creek arrived like a thief in the night with its lo-fi, hushed vocals and intimate nature, while almost inversely Tallahassee comes with a strange sense of confidence. Perhaps an almost youthful discretion that likely comes from being too young to know better and too naïve to give a shit. The recordings themselves are more polished than Creek and give a peak into what a studio version of that record might have offered up. Tallahassee was recorded over the course of 1998-1999 when Beam and future bandmate EJ Holowicki moved into a house together. Beam had not been performing publicly, however he was known for playing an original song or two in the early morning glow of a long night. Holowicki also in the film program and who would go onto a career as a sound designer at Skywalker Sound, had a mobile recording device and after some prodding convinced his friend to record these late-night meditations. Together they would record close to twenty-four songs, ideas and sketches, with EJ on bass and Sam on vocals, guitar, harmonica and drums. The recordings - all captured in the house where they lived - have a "live in the room" feel akin to say Neil Young's Harvest or Nick Drake's Five Leaves Left, rather than the homespun lo-fi 4-track home recording experiment taking place at the time. These recordings, minus one track, have never been made available and were instead left preserved on a hard drive for the last twenty years. The one track that floated out there, called "In Your Own Time" was shared without a title to childhood friend Ben Bridwell (Band of Horses) at some point. The song became known as the "Fuck Like A Dog" song and Ben shared it with more than a few folks during the golden era of mix cd's. Two of those folks were Jonathan Poneman from Sub Pop and journalist Mike McGonigal, who included it on his best songs of 2001 mix cd, passed out to friends and acquaintances. And for many that is where the Iron & Wine story begins, until now_ Tallahassee is the foreword to your favorite book that you've somehow skipped over time and time again. It's an alternative history mixed with some revisionist history told over the course of eleven songs. It's also the debut record by Iron & Wine some twenty years after the fact.

It Is The Simple Thing That Is So Hard To Do. This Is The Paradox That Musician Lael Neale Has Lived Within Throughout Her Development As An Artist. It Is The Reason She Became Enthralled With Poetry. Poems Are A Distillation. Lael Says, "This Challenge To Winnow Away What Is Unessential Is The Most Maddening And, Ultimately, Rewarding Part Of Writing A Song."Lael's New Album Acquainted With Night Is A Testament To This Poetic Devotion. Stripped Of Any Extraneous Word Or Sound, The Songs Are Lit By Lael's Crystalline Voice Which Lays On A Lush Bed Of Omnichord. The Collection Touches On Themes That Have Been Thread Into Her Work For Years: Isolation, Mortalit...

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 Album, And Their First For Sub Pop. Despite Being A Snapshot Of The Pandemic-Infused Beginnings Of This Decade, Cooler Returns Is Truly A Whole Lot Of Fun. Riyl Indie-Pop From Down Under, Things That Are Smart/Exuberant/Catchy All At Once. Buildings Burning In Every Direction; Macabre Unknowns In Your Friendly Neighbor's Basement; Undecided Voters Sharpening Their Pencils: Under Pressure We Could Call Kiwi Jr.'S Cooler Returns "Timely." But What Year Is It, Again? On Cooler Returns, Kiwi Jr. Cycle Through The Recent Zigs & Looming Zags Of The New Decade, Squinting Anew At New Year's Parties Forgotten And Under-Investigated Small Town Diner Fires, Piecing Together Low-Stakes Conspiracy Theories On What's Coming Down The Pike In 2021. Put Together Like A Thousand-Piece Puzzle, Assembled In Flow State Through The First Dull Stretch Of Quarantine, Sanitized Singer Shuffling To Sanitized Studio By Streetcar, Masked Like It's The Kind Of Work Where Getting Recognized Means Getting Killed, Cooler Returns Materializes As A Sprawling Survey From The First Few Bites Of The Terrible Twenties, An Investigative Exposé Of Recent History Buried Under The Headlines & Ancient Kings Buried Under Parking Lots. Not So Long Since Their Debut Football Money In Archaeological Time, Unending Gray Eons Later In The Dog Years Of Quaran-Time, Spiritually Antipodean Canadians Kiwi Jr Return To Disseminate This Year's Annual Report To The Shareholders, Burying The Incriminating Numbers In The Endless Appendices Of A Longform Narrative Record, A 3,000 Word Tract For Stakeholders To Pore Over. These Stories - Memories Of Augusts Past, Unrepressed & Transcribed Fast - Go Down Easier Thanks To Meaningful Changes Enacted In 2019's Kiwicares Pledge: Delivering On A Promise To Transition F...

It's Tempting To Think That You Have All The Answers, Screaming Your Gospel Every Day With Certainty And Anger. Life Isn't Quite Like That Though, And The Debut Album From London Four-Piece Tv Priest Instead Embraces The Beautiful And Terrifying Unknowns That Exist Personally, Politically, And Culturally. Posing As Many Questions As It Answers, Uppers Is A Thunderous Opening Statement That Continues The Uk's Recent Resurgence Of Grubby, Furious Post-Punk Music. It Says Something Very Different Though - Something Completely Its Own. Four Childhood Friends Who Made Music Together As Teenagers Before Drifting Apart And Then, Somewhat Inevitably, Back Together Late In 2019, Tv Priest Was Borne Out Of A Need To Create Together Once Again, And Brings With It A Wealth Of Experience And Exhaustion Picked Up In The Band's Years Of Pursuing 'Real Life' And 'Real Jobs', Something Those Teenagers Never Had. Last November, The Band - Vocalist Charlie Drinkwater, Guitarist Alex Sprogis, Bass And Keys Player Nic Smith And Drummer Ed Kelland - Played Their First Show, To A Smattering Of Friends In What They Describe As An "Industrial Freezer" In The Warehouse District Of Hackney Wick. "It Was Like The Pub In Peep Show With A Washing Machine Just In The Middle_" Charlie Laughs, Remembering How They Dodged Star Wars Memorabilia And Deep Fat Fryers While Making Their First Statement As A Band. Unsurprisingly, There Isn't A Precedent For Launching A Band During A Global Pandemic, But Among The General Sense Of Anxiety And Unease Pervading Everything At The Moment, Tv Priest's Entrance In April With The Release Of Debut Single "House Of York" - A Searing Examination Of The Monarchy Set Over Wiry Post-Punk And Fronted By A Mark E. Smith-Like Mouthpiece - Served As A Breath Of Fresh Air Among The Chaos, Its Anger And Confusion Making Some Kind Of Twisted Sense To The Nation's Fried Brains. It's The Same Continued Global Sense Of Anxiety That Will Greet The Release Of Uppers, And It's An Album That Has A Lot To Say Rig...

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.

Shabazz Palaces' Black Up, the group's Sub Pop debut, was recently hailed as one of the best albums of the decade by outlets like Pitchfork, Gorilla Vs Bear, and Variety. Pitchfork summed it up thusly: "Black Up is drowned in murky instrumentals and bombastic, introspective rhymes. The sounds flirt with jazz but also root themselves in a firm understanding of silence, or the sparse magic of simplicity. The songs teem with unexpected climaxes...From great mystery exploded an album of impossible vision." That "impossible vision" has continued to confound and engage Shabazz Palaces fans over the course of four acclaimed albums and two EPs. Each release feels like an evolution, letting the music speak for itself, while slowly revealing more about its creator. With The Don of Diamond Dreams, the group's fifth album, that spirit remains, this time embracing modernism in hip-hop and rap. Featuring 10 tracks in 43 minutes, the album features the highlights "Fast Learner (ft. Purple Tape Nate)," "Chocolate Souffle," "Bad Bitch Walking (ft. Stas THEE Boss), and "Thanking The Girls." It also features contributions from singer/keyboardist Darrius Willrich, Seattle's OCnotes (who collaborated with Shabazz leader Ishmael Butler on the Knife Knights project), Los Angeles musician Carlos Overall, and bassist Evan Flory-Barnes. The Don of Diamond Dreams was recorded throughout 2019 and produced by Shabazz Palaces at Protect and Exalt: A Black Space in Seattle, mixed and engineered by Erik Blood at Studio 4 Labs in Venice, California, and mastered by Scott Sedillo at Bernie Grundman Mastering in Los Angeles.

Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life's extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man's first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. The 17-track effort, featuring "Cloud Nein," "Future Peg," "On the Mend" "Sheela," and "Animal Attraction," was produced by Cyrus Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday's Dre Babinski on "Future Peg" and "If Only," and Rebecca Black (singer of the viral pop hit, "Friday") on "On The Mend" and "Lonely Beuys." The album follows the release of "Beached" and "Witch," Man Man's contributions to Vol. 4 of the Sub Pop Singles Club in 2019. At the end of 2015, Man Man went on an unexpected hiatus, and thus began a period of creative reinvention for Honus Honus. He worked in music supervision and on scores (The Exorcist, Superdeluxe, Do You Want to See a Dead Body?). He acted in the indie film Woe ("I played a park ranger, a nice guy in a sad movie."), So It Goes, a short musical film with Mary Elizabeth Winstead, and starred in the award-winning tour documentary Use Your Delusion. He also developed an animated series, wrote film scripts, a graphic novel, a neo-noir TV pilot, and briefly penned a music column for The Talkhouse all while continuing to work on new music, such as an unreleased kids' record, another Mister Heavenly album, a self-released Honus Honus record, and a conceptual art/noise project Mega Naturals. In the midst of this surreal exile from Man Man, Honus began piecing together what would become Dream Hunting in the Valley of the In-Between. He recruited longtime-collaborator Cyrus Ghahremani to help him produce. Written in a friend's LA guesthouse that had "an old upright piano, a thrift store lamp, and nothing else," it was an arduous, three-and-a-half-year process, "I had chord progressions that looked like chicken scratch and lyrics on pieces of paper stuck all over the walls. It looked like I was about to break the big case, catch the killer," he says, laughing. "There was a lot of self-doubt, fighting the urge to throw in the towel. It wasn't fun but it definitely forced the best album of my career out of me. Sometimes you just gotta tear it all down to rebuild things the right way. Trust the process."

The Shepherd's Dog is Iron & Wine's third full-length. It was originally released in 2007 to widespread acclaim.