As you are one of our preferred clients, we have gone to the small trouble of assembling the following information for you:

Lisa, our resident antiquarian, offers the following tidbit with regard to the colors and types of vinyl used in the manufacture of musical recordings:

“it might be worth mentioning, in regard to colored vinyl, that it’s not always completely consistent, and that sometimes there are variations in coloring. Sometimes they even used leftover colored vinyl that was lying around the plant, so it’s possible that there are odd copies of odd singles on completely different colors.”

Wisdom well worth consideration. It would be an inexcuseable lapse on our part, to omit the following cautionary words:

“On rare occasions the enthusiastic collector may obtain a well-made counterfeit rather than an authentic Sub Pop recording. As it can be difficult and expensive to verify the origin of a recording solely on the basis of its materials, we recommend that those who are especially concerned with veracity endeavor to obtain proper documentation with their purchases, including original mailing notices, packaging, invoices, and receipts-of-sale.”

Unfortunately, the smaller shopkeepers or merchants in the bazaar are most unlikely to provide such paperwork, and the only recommendation that we can in good conscience make to our more refined and historiographically assiduous clientele is that they eliminate the uncertainties of the reseller and buy direct from Sub Pop.

While we’re unable to give you blanket permission to use any ol’ song you want from our catalog, you may incorporate any of the songs that are freely available as MP3s on the media section of this website into your podcasts. HOWEVER, we do reserve the right to change our mind about the availability of any song for any reason at any time. Fickle, no?

No.

About 25.

No.

No.

No.

No, they are independent engineers and producers.

He was cremated.

NO! We just got a new office you dingus. Our new humble abode is much less humble than our previous humble abode and is likely to sustain Sub Pop World Headquarters for quite some time, I mean for christs sakes, we’ve got an air hockey table and a mountain of sparks, what else could you ask for in an office? Now you can send your trash to:

Sub Pop HQ
2013 4th Ave. 3rd Floor
Seattle, Wa 98121

Ummm… What do you mean by crazy, that is a bit of a vague term wouldn’t you say? If you are truly concerned about the dimensions of our T-shirts, check www.americanapparel.net for sizing questions. S, M, L, and XL are all style 2001 and XS is style 2102, size large. Crazy.

Not ever in a million years. Here’s some info about its demise and how you can buy the leftovers:

http://www.subpop.com/singlesclub

First off, that is not a question. A better phrasing would read: May I intern for Sub Pop Records? But grammatical concerns aside, we DO accept interns. Interning is FUN and it Keeps Kids off the STREETS!

Sub Pop loves, loves, loves its interns and we do our best to provide a fun and educationally rewarding experience in a nurturing environment with minimal insults and/or off-color comments.

What’s that you say? YOU’D like to intern here at Sub Pop? Well, here’s almost everything you need to know and maybe a few things you don’t:

You do not need to know a ton about the music biz to intern here. It would be entirely appropriate to have an interest in independent music/labels, smaller press and/or music magazines, college radio, and a bit of knowledge regarding what Sub Pop is all about. (Trust me, we do NOT need you to be some sort of a bizarro historian, as that is actually more irritating than useful.) Our ideal intern would know how to count, use a computer, and maybe even have a writing skill or two. Prior experience is not required but it doesn’t hurt either. After all, learning something new is kinda what this whole interning thing is all about.

We all know resumes are pretty ridiculous and packed full of lies and other useless information, but we still want one from you, and we want a good one at that. We are mainly looking for people who are still in college and need to complete an internship as part of their course load, usually in Communications. Why? Because students have a set time-frame for completing an internship (no messy break-ups!), and there is a responsibility for finishing a commitment (no flakers!). Plus, they are usually better looking. In actuality, we often accept interns who are not in school, but these are usually exceptional candidates who are active in the local music community or who have otherwise proven themselves as passionate, trustworthy, and reliable. We want someone who will actually benefit from their time spent here stuffing envelopes, not someone who is just trying to fulfill a requirement. Also, please make sure to indicate which department most interests you so we have a better idea of what you are looking to do. This is important, so don’t brush it off. (Just to make this easier I’ll let you know that the only possible choices are publicity, radio, international, sales, and new media.)

Our internships last about 3 months, or one quarter/semester, and it is VERY IMPORTANT that you understand before you start that INTERNING RARELY, IF EVER, LEADS TO A PERMANENT JOB HERE AT SUB POP. (IT?S BETTER TO JUST THINK NEVER.) Your time here is about learning new skills and having something new for your resume, not about permanent employment. We are always looking for interns, but keep in mind that we rarely have more than 4 or 5 at a time and that we usually use more interns during the spring and summer months. It is best to try to set up an internship anywhere from 1-3 months ahead of time, but please don?t email or call every day to see if we?ve made a decision?it?s super annoying and it will most likely make your resume end up in the trash somehow. (That?s a life lesson, people?write that one down.)

Interning is somewhat of a thankless job that is historically tied to fetching coffee for the head honchos, but I want you to know that we already have someone who gets us our coffee and her name is Sasha. Most of your time interning will be spent helping out with mailings (ie. stuffing envelopes), finding and scanning press clippings, making one-sheets and/or press updates, counting buttons/stickers, making CDRs, and updating databases and project reports. Glamorous? No. Mildly interesting? Yes!

Still interested? Send your resume to sasham@subpop.com.

One day, maybe. We’ve talked for years about doing on “odds n ends” record which should include those singles. There is no release date for this collection currently set. If you want the original singles, I’d check (like w/ any older, rare record) the 2nd hand stores in your town and in other towns that you happen to be in. Both singles were on the “one day I stopped breathing” label, run by the band, but only the “thief steal me a peach” 7” has Jeremy on it. Both are good, and both
have great liner notes.

But of course, we ship anywhere in the world (that our legal restrictions allow). If your country is not located in the drop down menu, simply check the closest country and send an email to info@subpop.com with your correct address and order number.

Well, how much are you willing to pay? If you already have it, and want to sell it, how much is someone else willing to pay? It’s all about economics, my friend, supply and demand, y’see.

The “Love buzz” single is worth a ton of pretty green because only 1000 were made and the band became quite popular a couple years after it was released. If the single were to be repressed, it would lower the price on all of them because there would be more out there, and it would be far less special. (The original version would still garner a much higher price, though). One thing you have to realize is that a good number of people want a good deal of the records that Sub Pop has put out over the years, even the new ones.

For example, there was a very limited pressing of the Spiritualized single and (bam!) it sold out in just a little bit and sells for much more than the $3.75 we were selling it for originally. There was an obvious demand for that single, and just a limited quanitity.

Another example: if we suddenly decided to take “Bleach” or some other very popular record off the market, then whatever copies that are out there would increase in value because the demand would be greater than the supply.

Counter example: wanna buy a single by The Legend?

In our digital press kits, which are very easy to find elsewhere on the site I may note. Use your eyes!

Show some initiative, dammit! When we were kids, we made our own t-shirts with magic markers and kitchen midden. And we could only do it by candle-light because no one could afford to pay for sunlight back then, let me tell you… Alternately, maybe we do. If it’s listed here, please buy it. If not, we don’t have it.

radio@subpop.com

If we were out of business do you think that we would be spending all this money keeping a website up and answering your questions?

Nope, get a job.

You are hereby granted official Sub-Pop permission to use unaltered Sub-Pop owned material from the Sub Pop web emporium.

Here’s the deal: We generally don’t mind when people use material from our site, except music and videos¹. You’ve already done half the work by trying to find out if it’s OK, and from here we only ask that you give credit where credit is due, and mention somewhere near the pictures/text that you got the material from us and that we gave you permission to use it.

Shrinking an image is OK, but cutting, cropping, or defacing our stuff will make us unhappy.

Bear in mind that some of the material on the Sub Pop site is not owned by Sub Pop, and it is your job to figure out who owns stuff and get permission from the various third parties.

1. music and video’s can only be obtained for use through contractual agreements. You may make requests for use by emailing andrews@subpop.com

If you?d like to send us a copy of your band?s demo, you can. We don?t listen to demos every day, but periodically we go through a bunch of them. Please don?t call or email to follow up?if we want to reach you, we will. It is extremely rare that a band gets signed on the strengths of a demo alone so our best advice to you is to keep playing out, build a fan base, tour, and get your name out there?these are the things that will bring label representatives to your shows and this is what will help you get a record deal. Good luck!

Here’s everything you wish you never knew about licensing and Sub Pop… Have fun!

Film Festivals/Student/Non-Commercial Music Licensing and You-A Practical Guide for Practical People.

So, you’ve made a movie and you really, really want to use a Sub Pop artist in the soundtrack but you have no idea where to begin. You’ve come to the right place. Here—the beginning. Let’s get started:

A. Licensing music for use in your film is going to be a LOT trickier than you thought. How do I know? It’s my job.

B. WE WILL NOT GRANT ANY LICENSES FOR THE FOLLOWING ARTISTS: The Postal Service, The Shins, or Nirvana. There are far too many requests to be able to process any of these. Really, it’s no joke. Are you still here? Okay, we’ll continue.

C. A sync license for a Sub Pop artist will run you $500, half of which goes to Publishing, the other half of which goes to Sub Pop. If you do not want to pay money to use the music then why are you here anyway? Trust me, people, this is cheap. AND, you like this band, right? So now all of the sudden you’re going to try to take food off their tables by trying to bargain with me?! It ain’t gonna happen. Just so we’re very clear here: this is a festivals, student film or non-commercial license only. Any “for profit” uses of the film are not authorized under the $500 license. That, my friend, is an entirely different lecture.

D. There is a 6-8 week processing time for all licenses. The reason that these licenses cost money in the first place is that people (lawyers, even!) have to draw up contracts and do all that lawyer-y stuff that lawyers do and it takes time, which equals money, etc., and so forth. It’s starting to really come together now, right? If you are still interested, email me at laceys@subpop.com.

E. Even after all those financial and temporal hoops have been cleared, your license is still not ready to roll until it has been cleared with the Publisher and that may or may not happen. This means that there is no guarantee that your license request will be granted.

So, in summary, to acquire a license for a Sub Pop artist, excluding The Postal Service, The Shins, or Nirvana, which you aren’t going to get, you will need $500 and at least 6-8 weeks. We do not have the time or patience to bargain with you, so if this doesn’t suit your needs you might want to consider your back-up plan. What, you don’t have a back-up plan? You’re never going to make it in this business.

Here’s a quote from one of our executive suit-wearing, brief-totin’, cigar-smokin’ honchos:

“We do not do sheet music. That is covered by publishers, not us. So you can check on the records to see if a publisher is listed. Or you could try your local store that sells sheet music & they may be able to help out (I am sure they have catalogs of that stuff, like there are record catalogs). Lyrics – maybe something on the web site or in the records themselves.”

I’d add the following: Fan web sites are more likely to contain lyrics, but they might not be the lyrics that the band had in mind. Tab is harder to come by, naturally. Sound it out, pal. Train your ear. You don’t get to be a good guitar player by following tab. And if you need Nirvana lyrics/tab for weddings or a bar mitzvahs or something, then all
I can do is pity you and laugh at your ancestors.