Artists from the labels’ rosters are covering their favorite Sub Pop/Hardly Art songs.

Sub Pop and Hardly Art are, together, very excited to announce Got You Covered (a cover song series)! Got You Covered will feature Hardly Art and Sub Pop artists covering their favorite songs from the labels’ catalogs. Beginning today, Monday, July 6th at 6 pm PT (and every weekday evening this week), artists like Yuno, Chad VanGaalen, Lala Lala, Whitmer Thomas, and Jenn Champion will offer their takes on songs by Beach House, The Vaselines, Chastity Belt, and Nirvana.

The first installment of Got You Covered, Yuno’s excellent and sweetly affecting rendition of the Beach House song “Zebra,” is available to see/hear right now here.

Second in the series, here now is Jenn Champion’s take on Nirvana’s “Dive.”

Number three from the Big Baby himself: comedian / musician / world-famous actor Whitmer Thomas covers his friends Chastity Belt’s anthemic hit “Different Now” over here.

Please join us here in our appreciation of multi-talented weirdo Chad VanGaalen covering The Vaselines “Jesus Wants Me for a Sunbeam.”

Polish singer and producer Perfect Son covers Chad VanGaalen’s “Molten Light” from beloved (and recently repressed to vinyl!) album ’Soft Airplane’ here.

Here’s Lala Lala’s lovely rendition of Beach House’s “Space Song.”

Prepare to be mesmerized here by Morgan Delt covering another mellifluous Beach House classic, “PPP.”

Rounding out this week’s collection of ‘Got You Covered’ tunes, here’s Alicia aka Bully absolutely shredding a cover of Sub Pop alum Orville Peck’s hit song ‘Turn to Hate.”

Stream Like So Much Desire everywhere, here now -> smarturl.it/FlockofDimes_LSMD

Sub Pop has signed Flock of Dimes, the solo outlet for songwriter/multi-instrumentalist Jenn Wasner, to release her music throughout the world. We are also announcing today the release of Like So Much Desire, her excellent five-song effort and label debut (and first new Flock of Dimes material since 2016’s If You See Me, Say Yes), which is available now through all DSPs. 
 
Like So Much Desire, the new EP from Jenn Wasner’s Flock of Dimes, is about the inseparable nature of desire and grief. It’s a collection of songs about finding peace amidst personal hardships, an offering of both comfort and personal reflection, reaching out across the unknown in search of connection. Moving and strikingly intimate, Like So Much Desire is Wasner’s most personal work yet.

Also of note: Flock of Dimes has scheduled a live concert stream via NoonChorus on Tuesday, June 30th at 7 pm ET.

Flock of Dimes
Like So Much Desire
Tracklisting:
1. Spring in Water
2. Like So Much Desire
3. Again (For the First Time)
4. When the Body Does Not
5. Thank You Friends and Strangers

Like So Much Desire, which includes standouts like the slow-burn title track, “Spring In Winter” and “Again (For the First Time),” was written and produced by Wasner, mixed by Ari Picker and mastered by Ryan Pickett.

The EP’s title track is a masterclass in slow burn, a song that deals directly with how you have to lose to gain, an acoustic beginning growing into a tangle of whirring gadgetry. The subdued, mellow prettiness of “Again (For the First Time)” offers reassurance, the sonic equivalent of leaning on someone’s shoulder. The piano-based “Spring in Winter” sounds near-hymnal, warmed by strings, dealing with the fleeting beauty of North Carolina’s unexpected springtime popping up in the cold, while “Thank You Friends and Strangers” opens on chirping birds and outside sounds – the sounds of nature and normalcy. Like So Much Desire blends all of these worlds seamlessly.

In many ways, Like So Much Desire feels like postcards sent from a strange new world. And fittingly, the work came together at a distance. The bulk of the songs were recorded by Wasner in her home in isolation, with other pieces coming from across the country; drummer JT Bates recorded his parts from Minneapolis, while the subtly-cinematic, swelling strings came via New York’s Paul Wiancko, Michi Wiancko, and Ayane Kozasa. The final product balances sparseness and fullness. Strange, glitchy synths flit in and out, an echo of distant playfulness, but the main instrument is the depth of Wasner’s voice and how she uses space around it.

As a multi-instrumentalist and vocalist, Wasner has been a longtime omnipresent force in modern music. As half of beloved duo Wye Oak she’s worked with everyone from Metropolis Ensemble to the Brooklyn Youth Chorus, and more recently she’s been a member of both Bon Iver and Sylvan Esso. But for all her collaborative expertise, it’s Wasner’s solo work as Flock of Dimes that is most salient, her songwriting at the forefront, strange, beautiful, and dazzling at the same time.
 
For Wasner, the making of this EP had to do with rediscovering the powerful, healing connection of making music, the peace it offers, the way it makes it possible to bridge a gap – and as such, Like So Much Desire strives to offer comfort during upheaval and uncertainty. Both sorrow and joy all at once, it looks at halves of a whole, the broken-up spectrum of human experience distilled into just five tracks.

Now is the perfect time to follow Flock of Dimes in all the places:  

Spotify | Apple Music | Bandcamp | Instagram | Facebook | Twitter | flockofdimes.com

Photo Credits:
Clarke and The Himselfs by Julian LaVergne
Guerilla Toss by Vanessa Castro

Listen here: Clarke and the Himselfs - Guerilla Toss

Subscribe to Single Club Vol. 5 right here.

Clarke and the Himselfs and Guerilla Toss’s contributions to the Sub Pop Singles Club Vol. 5 are available now for the first time at all DSPs.

NYC (via Boston) band Guerilla Toss present “Human Girl” and “Own Zone,” two new, exclusive tracks that perfectly capture the exuberant, danceable fusion of post-punk, funk, and experimental rock that Guerilla Toss have been serving up since 2012.

LA’s Clarke and the Himselfs has been releasing compelling, catchy, heart-warming rock and roll since starting as a solo project in Boise in 2011. “Mary Rae Says” and “Crystal Blue” are new, exclusive tracks produced by Don Bolles (Germs, 45 Grave), who also contributed drums, bass, and vocals to “Crystal Blue.”

Both singles will also be released as limited-edition 7”s only available to Sub Pop Singles Club Vol. 5 subscribers. The series will also include singles by Father John Misty, Moor Mother, Ohmme, Julia Jacklin, Sumac, TEKE::TEKE,  Redd Kross, and more. Subscribe to Single Club Vol. 5 right here.

Melbourne-based band Rolling Blackouts Coastal Fever will release their highly-anticipated second album, Sideways to New Italy, this Friday,  June 5th via Sub Pop. Today, they release the album’s fourth single, “Cameo,” which follows “Falling Thunder,” “She’s There,” and “Cars in Space.” ‘Cameo’ begins with open guitar strums and Fran Keaney’s lone voice, before building to a swirling roar, showcasing a band at the peak of their powers both instrumentally and lyrically.

“This is a love song. It’s about reaching through time portals,” says Keaney. “The lyrics were pieced together over about a year like a little puzzle. I found the first pieces in Rushworth, and the last pieces in Darwin.”

Sideways to New Italy is available for preorder from Sub Pop. Preorders of the LP through megamart.subpop.com and select independent retailers in North America, the U.K., and Europe, will receive the limited Loser edition (while supplies last).

Yes indeed, you read that headline right. Bully will release SUGAREGG, her third album, worldwide on August 21st through Sub Pop. The 12-track effort was produced and mixed by John Congleton and Bully’s Alicia Bognanno, with additional production and mixing by Graham Walsh, recorded at Pachyderm Studios in Cannon Falls, Minnesota, and Palace Sound in Toronto, Ontario, and mastered by Heba Kadry. You can now watch the official video for the cathartic lead single  “Where to Start” right here. The visual is directed by Alan Del Rio Ortiz and Bognanno.

Rolling Stone had this to say of the single, “’Where to Start’ boasts Bully’s characteristic high-energy snarl, as growling guitars lead into Bognanno’s raspy-throated condemnation: “I don’t know where to start/I don’t know where to start with you.” Decidedly more jangly guitars then usher us all the way into the guts of the song — a mixture of sweet and sour, soft and frustrated (see video premiere June 11th, 2020).”

Preorders of SUGAREGG are now available from Sub Pop. LP preorders through megamart.subpop.com and select independent retailers in North America will receive the limited Loser edition on a translucent blue w/white “smoke” colored vinyl. Meanwhile, preorders in the U.K. and Europe through select independent retailers will receive the Loser edition on transparent red vinyl. There will also be a new t-shirt design available.

Bully
SUGAREGG
 
Tracklisting:
1. Add It On
2. Every Tradition
3. Where to Start
4. Prism
5. You
6. Let You
7. Like Fire
8. Stuck in Your Head
9. Come Down
10. Not Ashamed
11. Hours and Hours
12. What I Wanted
 
About Bully’s SUGAREGG
A very old saying goes that no one saves us but ourselves. Recognizing and breaking free from the patterns impeding our forward progress can be transformative — just ask Bully’s Alicia Bognanno. Indeed, the third Bully album, SUGAREGG, may not ever have come to fruition had Bognanno not navigated every kind of upheaval imaginable and completely overhauled her working process along the way.
 
“There was change that needed to happen and it happened on this record,” she says. “Derailing my ego and insecurities allowed me to give these songs the attention they deserved.”
 
SUGAREGG roars from the speakers and jumpstarts both heart and mind. Like My Bloody Valentine after three double espressos, opener “Add It On” zooms heavenward within seconds, epitomizing Bognanno’s newfound clarity of purpose, while the bass-driven melodies and propulsive beats of “Where to Start” and “Let You” are the musical equivalents of the sun piercing through a perpetually cloudy sky.
 
On songs like the strident “Every Tradition” and “Not Ashamed,” Bognanno doesn’t shy away from addressing “how I feel as a human holds up against what society expects or assumes of me as a woman, and what it feels like to naturally challenge those expectations.”
 
But amongst the more dense topics, there’s also a lightheartedness that was lacking on Bully’s last album, 2017’s Losing. Pointing to “Where to Start,” “You” and “Let You,” Bognanno says “there are more songs about erratic, dysfunctional love in an upbeat way, like, ‘I’m going down and that’s the only way I want to go because the momentary joy is worth it.’”

[Photo Credit: Angelina Castillo]
 
The artist admits that finding the proper treatment for bipolar 2 disorder radically altered her mindset, freeing her from a cycle of paranoia and insecurity about her work. “Being able to finally navigate that opened the door for me to write about it,” she says, pointing to the sweet, swirly “Like Fire” and slower, more contemplative songs such as “Prism” and “Come Down” as having been born of this new headspace. Even small changes like listening to music instead of the news first thing in the morning “made me want to write and bring that pleasure to other people.”
 
An unexpected foray into the film world also helped set the table for Sugaregg when Bognanno was asked to write songs for the 2019 movie Her Smell, starring Elisabeth Moss as the frontwoman of the fictional rock band Something She. “It got me motivated to play music again after the last album,” she says. “I loved reading the script and trying to think, what music would the character write? People asked if I’d play those songs with Bully but the whole point was for them to not be Bully songs. It was nice to get my head out of my own ass for a second and work on a project for someone else,” she says with a laugh.
 
A highly accomplished engineer who ran the boards herself on the first two Bully albums, Bognanno was ready to be free “from the weight of feeling like I had to prove to the world I was capable of engineering a record, and wanted to be content knowing for myself what I can do without needing the approval of others to validate that.”
 
So for SUGAREGG, she yielded recording and mixing responsibilities to outside collaborators for the first time and trekked to the remote Pachyderm Studios in Cannon Falls, Minn., an unexpected return to her home state. Behind the console was John Congleton, a Grammy-winner who has worked with everyone from St. Vincent and Sleater-Kinney to The War on Drugs and Modest Mouse. “Naturally, I still had reservations, but John was sensitive to where I was coming from,” Bognanno says. “He was very respectful that I’d never worked with a producer before.”
 
The studio’s rich history (classics such as Nirvana’s In Utero, PJ Harvey’s Rid of Me and Superchunk’s Foolish were recorded there) and woodsy setting quickly put Bognanno’s mind at ease. Being able to bring her dog Mezzi along for the trip didn’t hurt either. “I had never tracked a record in the summer, so waking up and going outside with her before we started each day was a great way to refresh,” she says.
 
SUGAREGG features additional contributions from longtime touring drummer Wesley Mitchell and bassist Zach Dawes, renowned for his work on recent albums by Sharon Van Etten and Lana Del Rey. Dawes and Bognanno met at Pachyderm to work on parts just two days before tracking, “but it ended up being so much less stressful than I had expected and I loved it,” she says. “Zach wanted to be there to help and make my vision happen.”
 
With 14 songs on tape, Bognanno and friends left Pachyderm thinking SUGAREGG was done. But once back home in Nashville, she realized there was more to be written, and spent the next five months doing exactly that. Moving to Palace Studios in Toronto with Graham Walsh (Alvvays, METZ, !!!), Bognanno and Mitchell recorded “Where to Start” and “Let You,” which proved to be two of the new album’s key tracks.
 
Ultimately, SUGAREGG is a testament that profound change can yield profound results — in this case, the most expressive and powerful music of Bognanno’s career. “This is me longing to see the bigger picture, motivated and eager for contentment in the best way,” she says. “I hope the happy go lucky / fuck-it-all attitude shines through some of these songs because I really did feel like I was reentering a place I hadn’t been to in a while and was excited to be back there.”

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