This 3LP/2CD set collects the entire studio-recorded output of the U-Men, remastered, plus 5 unreleased songs, with 16 pages of photos, liner notes and interviews w/ the band. Executive produced by Jack Endino.
Yes, you read it and even we can’t quite believe it’s true. So let us calmly reassure you that YES … IT’S FUCKING TRUE. Sub Pop Records will release U-Men, the self-titled anthology from the legendary Seattle band, worldwide on Friday, November 3rd, 2017.
This comprehensive remastered collection features the track you just pressed ‘play’ on, “Dig It a Hole”.
U-Men is now available for preorder from Sub Pop right hereand is available in the following formats:
3xLP box set housed in a cardboard slipcase with printed inner sleeves + 16-page booklet
2xCD digipack with custom dust sleeves + 16-page booklet
Volume 1 1. Blight 2. Flowers DGIH 3. Shoot ‘em Down 4. Gila 5. Trouble Under Water 6. Mystery Pain 7. Last Lunch
Volume 2 1. Clubs 2. The Fumes 3. Cow Rock 4. Green Trumpet 5. A Year and a Day 6. Ten After One 7. They! 8. U-Men Stomp 9. Solid Action 10. Dig It a Hole
Volume 3 1. Whistlin’ Pete 2. 2 X 4 3. A Three Year Old Could Do That 4. Juice Party 5. Flea Circus 6. Too Good to Be Food 7. Willie Dong Hurts Dogs 8. Papa Doesn’t Love His Children Anymore 9. Pay the Bubba 10. Freezebomb 11. That’s Wild About Jack 12. Bad Little Woman 13. Selfish
[Photo Credit: Cam Garrett]
More on the U-Men from Mudhoney’s Mark Arm: The U-Men are one of the best bands I’ve ever seen. They were hypnotic, frenetic, powerful and compelling. It was impossible to resist getting sucked into their weird, darkly absurd world. They effortlessly blended The Sonics, Link Wray, Pere Ubu, and Captain Beefheart. Their shows were loose-limbed, drunken dance parties and no two shows were alike. The U-Men were avant garage explorers and, most importantly, they fucking rocked. I was lucky enough to live in their hometown and I saw them every chance I could.
From 1983 to 1987, the U-Men were the undisputed kings of the Seattle Underground. No one else came close. They ruled a bleak backwater landscape populated by maybe 200 people. They were the only band that could unify the disparate sub-subcultures and get all 200 of those people to fill a room. Anglophilic, dress-dark Goths; neo-psych MDA acolytes; skate punks who shit in bathtubs at parties; Mod vigilantes who tormented the homeless with pellet guns; college kids who thought college kids were lame; Industrial Artistes; some random guy with a moustache; and eccentrics who insisted that they couldn’t be pigeonholed: all coalesced around the U-Men.
Sub Pop co-founder, Bruce Pavitt released the first record by the U-Men, a 4-song 12” EP on Bombshelter Records. By the time they had recorded songs for another record, Bruce was too broke to release it on his proto-Sub Pop label, so he hooked them up with Gerard Cosloy at Homestead Records. This was a big deal. Homestead had a heavy rep at the time with recent releases by Foetus, Nick Cave, Sonic Youth, and Big Black. I was sure that the release of their second 12”, Stop Spinning, would propel the U-Men into the ranks of those Homestead acts and the worldwide underground would get hip to Seattle’s finest.
The U-Men bought a pink school bus and made a couple of valiant attempts at touring. Touring was tough in those days. You’d arrive in town and learn that the show you thought you had fell through. Communication was difficult and long-distance phone calls were expensive. The band stayed in Austin for a month just to play two shows. They became fast friends with Poison 13, Butthole Surfers, Scratch Acid, The Hickoids, and Tales of Terror. Without any income they starved. Starvation and stress amplified fractures within the band and soon bassist Jim Tillman was out. That was the end of the classic line-up of the U-Men.
They remained a very good band, but with Jim they were a great band and they never quite recovered. They recorded two fantastic singles, but something was missing live. They must have sensed it because they played fewer and fewer shows. They recorded their one full-length album, Step on a Bug, for Black Label which was run out of Fallout Records. They became increasingly disenchanted with the direction the Seattle underground was heading and called it quits in 1989. The U-Men had nothing to do with Grunge. They were their own unique thing. I loved them and I still miss them.
I remember thinking at the time that most of their recordings were a little soft and didn’t capture the power of the band live. Now, thirty years later, their records sound great to me and we are lucky that they exist. I’m stoked that Sub Pop compiled these long out-of-print records and scrounged up some unreleased songs so that everyone has a chance to take a trip back to old weird Seattle.
The U-Men were… Tom Price – Guitar John Bigley – Vocals Charlie Ryan – Drums Jim Tillman – Bass (1982-86) And Robin Buchan – Bass (1980-82) Tom Hazelmyer – Bass (1987) Tony Ransom – Bass (1987-89)
Bully are back with a new album, more powerful and hard hitting than ever. Losing will be released October 20th worldwide on Sub Pop.
Off the back of the first single “Feel The Same” which had critics and fans alike raving about its intensity, the band are offering another glimpse into the new album releasing the new song “Running.” Alicia Bognano explains the meaning behind the song telling us, “Overall, Running is about shamelessly keeping yourself distracted or making up excuses to avoid processing certain emotions.”
Losing has all the hallmarks of an iconic album and on the band’s sophomore release, they’ve landed harshly in the adult world, and are facing the brutality of life. New York Magazine tipped the album in the Fall Music Preview writing “Alicia Bognanno has the loveliest snarl this side of Nirvana’s Live at Reading. That it’s in a pop-punk setting, with lyrics reckoning with adulthood, only strengthens its power.”
Bully will be hitting the road this fall, all dates are listed the below, along with a newly announced run of 2018 dates.
Losing is available for pre-order now from Sub Pop Records and from Bully’s webstore. LP pre-orders of the album from Sub Pop and select independent retailers will receive the limited Loser Edition on clear vinyl with black swirls (while supplies last).
Losing was engineered and mixed by lead-singer Alicia Bognanno in Chicago at Electrical Audio.
Father John Misty has collaborated with British musician and producer The Haxan Cloak for a remix of “Things It Would Have Been Helpful To Know Before the Revolution,” from Pure Comedy. The rework strips the song of its lush instrumentation and glib tone.
The “…Revolution” remix follows the gorgeous, stop-motion video [watch here] directed by Chris Hopewell (Radiohead’s “Burn the Witch,” Run The Jewels’ “Don’t Get Captured”). The song‘s apocalyptic themes and subtle humor are captured brilliantly throughout. The “…Revolution” video was constructed and filmed in three weeks at Jacknife Studios in Bristol, UK. Additionally, puppets and props from “…Revolution” were recently auctioned off and the proceeds will be donated to the Environmental Defense Fund.
Father John Misty’s previously announced international tour schedule in support of Pure Comedy resumes this weekend with performances at End of the Road Festival on September 2nd and Electric Picnic on September 3rd. Father John Misty has also scheduled an interview and performance on Late Night With Seth Meyers on September 12th.
Sep. 02 - Dorset, UK - End of the Road Festival Sep. 03 - Stradbally, IE - Electric Picnic [SOLD OUT] Sep. 13 - Boston, MA - Blue Hills Pavilion ** Sep. 14 - Port Chester, NY - Capitol Theatre ** Sep. 15 - Philadelphia, PA - Skyline Stage at the Mann ** Sep. 18 - Toronto, ON - Massey Hall * [SOLD OUT] Sep. 19 - Royal Oak, MI - Royal Oak Music Theatre * Sep. 20 - Chicago, IL - Auditorium Theatre * Sep. 22 - St. Louis, MO - Peabody Opera House * Sep. 23 - Columbus, OH - Palace Theatre * Sep. 25 - Asheville, NC - Thomas Wolfe Auditorium * Sep. 26 - Nashville, TN - Ryman Auditorium * [SOLD OUT] Sep. 27 - Atlanta, GA - The Tabernacle * Sep. 29 - Austin, TX - Bass Concert Hall * [SOLD OUT] Sep. 30 - Dallas, TX - Bomb Factory * Oct. 01 - Houston, TX - White Oak Music Hall * Oct. 02 - Austin, TX - Bass Concert Hall * Oct. 04 - Phoenix, AZ - Orpheum Theatre * Oct. 05 - San Diego, CA - The Observatory North Park * Oct. 06 - San Diego, CA - The Observatory North Park * [SOLD OUT] Oct. 07 - Berkeley, CA - Greek Theatre ** Oct. 11 - Santa Barbara, CA - Arlington Theatre * Oct. 12 - Las Vegas, NV - Brooklyn Bowl * Oct. 13 - Los Angeles, CA - Greek Theatre * Oct. 14 - Pomona, CA - Fox Theater Pomona * Nov. 01 - Edinburgh, UK - Usher Hall * Nov. 02 - Glasgow, UK - O2 Academy * Nov. 05 - Manchester, UK - O2 Apollo * [SOLD OUT] Nov. 07 - London,UK - Hammersmith Eventim Apollo * [SOLD OUT] Nov. 08 - London, UK - Hammersmith Eventim Apollo * Nov. 09 - Brighton, UK - Brighton Dome * Nov. 11 - Paris, FR - Le Trianon * Nov. 12 - Brussels, BE - Ancienne Belgique * Nov. 13 - Utrecht, NL - TivoliVredenburg * Nov. 14 - Berlin, DE - Huxley’s * Nov. 16 - Milan, IT - Fabrique * Nov. 18 - Barcelona, ES - Razzmatazz * Nov. 19 - Madrid, ES - La Riviera * Nov. 20 - Lisbon, PT - Coliseu dos Recreios *