On May 7th, 2021, Sub Pop will release Tallahassee; Archive Series Volume no. 5, the lost-in-time debut album from Iron & Wine. A collection of songs recorded over a two-year (1998-99) window during which Iron & Wine’s Sam Beam attended Florida State University’s College of Motion Picture Arts. Three years later, Iron & Wine would issue The Creek Drank the Cradle and begin a run of records widely praised as being part of a new blueprint in the singer-songwriter genre.
Tallahassee doesn’t attempt to re-write history but instead aims to document the very first steps in Beam’s journey to becoming one of America’s most original and distinctive artists.
The eleven-song collection was culled from a number of recordings that had been (mostly) forgotten by Beam himself but had been preserved by former roommate and one-time Iron & Wine member, EJ Holowicki. Holowicki, whom went on to work as a sound designer at Skywalker Sound, was a catalyst in making sure Beam documented these songs while the two were roommates in a house on St. Augustine St. near campus. In addition to serving as both engineer and bassist, Holowicki also worked as an archival producer in preparing the tracks for official release.
Tallahassee, with its sparse instrumental canvas and live-in one-room takes, is very much akin to early Iron & Wine releases, TheCreek Drank the Cradle, The Sea & The Rhythm, and In the Reins. From the wandering country-esque tempo of “Calm on the Valley” to the more mid-tempo Harvest-era vibe of “This Solemn Day”, the seeds of the portrait of an artist as a young man are all present. While still in its formative stages, the lyrical imagery and intimate musical nature that has become a trademark of the Iron & Wine “sound” is present and represented throughout Tallahassee.
Early music file-sharers have long claimed ownership of a number of early Iron & Wine recordings, many that still have yet to be officially released. While this record will not quite correct all the wrongs of the early days of the internet, it will fill in many of the blanks for long-time fans.
Tallahassee is part of the official Iron and Wine Archive Series. It will be released on LP/CD/CS/DSPs and is now available for preorder from Sub Pop. LP preorders from megamart.subpop.com, Iron & Wine’s official website, select independent retailers in North America, the U.K. and EU will receive the limited Loser edition on yellow-splattered vinyl (while supplies last).
Iron & Wine Archive Series Volume No.5: Tallahassee
Tracklisting: 1. Why Hate the Winter 2. This Solemn Day 3. Loaning Me Secrets 4. John’s Glass Eye 5. Calm on the Valley 6. Ex-Lover Lucy Jones 7. Elizabeth 8. Show Him the Ground 9. Straight and Tall 10. Cold Town 11. Valentine
On April 30th, 2021, Sub Pop will release Indian Yard, the debut record from Sitka, Alaska project Ya Tseen. Indian Yard is an intense illumination of feeling and interconnectedness. Following the group’s debut offerings, “Close the Distance”, and “Knives” (feat. John Baldwin Gourley of Portugal. The Man), comes their latest single “Synthetic Gods.” Hinging on verses from Shabazz Palaces and Stas THEE Boss, “Synthetic Gods” is sonically seductive, a tense reflection on crisis that summons the pressure needed to ensure Indigenous sovereignty and power to the people.
Ya Tseen’s Nicholas Galanin is one of the most vital voices in contemporary art. His work spans sculpture, video, installation, photography, jewelry, and music; advocating for Indigenous sovereignty, racial, social, and environmental justice, for present, and future generations. For Galanin, memory and land are inevitably entwined. His most recent installation for Desert X 2021, on view through May 16, 2021, entitled Never Forget has garnered international media acclaim including from outlets such as The New York Times, TheLos Angeles Times, The Desert Sun, Galerie Magazine, and Time Out. The 45-foot letters of Never Forget reference the Hollywood sign, which initially spelled out HOLLYWOODLAND and was erected to promote a whites-only development. Its timing coincided with a development in Palm Springs that also connected to the film industry: Studio contracts limited actors’ travel, contributing to the city’s rise as a playground and refuge of the stars. Meanwhile, the white settler mythology of America as the land of the free, home of the brave was promoted in the West, and the landscape was cinematized through the same lens. Never Forget asks settler landowners to participate in the work by transferring land titles and management to local Indigenous communities. The work is a call to action and a reminder that land acknowledgments become only performative when they do not explicitly support the land back movement. Not only does the work transmit a shockwave of historical correction, but also promises to do so globally through social media. In connection with this installation, Galanin has organized a Go Fund Me account to benefit the Native American Land Conservancy (NALC.) You can contribute here.
The North American deluxe edition on clear vinyl is now available for preorder. The deluxe packaging will include a 24-page hardcover LP-sized book with covers featuring a sci-fi landscape populated by a toddler-wearing artist Merritt Johnson’s sculpture Mindset, a VR headset woven from sweetgrass. The interior art was designed by Galanin. This deluxe edition will be available while supplies last.
Tracklisting: 1. Knives (feat. Portugal. The Man) 2. Light the Torch 3. Born into Rain (feat. rum.gold and tunia) 4. At Tugáni 5. Get Yourself Together 6. Close the Distance 7. We Just Sit and Smile Here in Silence 8. A Feeling Undefined (feat. Nick Hakim and Iska Dhaaf) 9. Synthetic Gods (feat. Shabazz Palaces and Stas THEE Boss) 10. Gently to the Sun (feat. Tay Sean) 11. Back in That Time (feat. Qacung)
On June 11th, 2021, Sub Pop will reissue The Shins Oh, Inverted World (20th Anniversary Remaster), the group’s much-beloved debut, for its 20th birthday.
Oh, Inverted World is the earth-shattering, indie-rock-redefining 2001 album from The Shins, and is presented here in its finest form. The classic tunes get new life with mastering by Bob Ludwig, under band leader James Mercer’s watchful eye. The new front cover of this edition of Oh, Inverted World features an ‘inverted’ color scheme, on a die-cut jacket, and includes a booklet filled with vintage photos, handwritten lyrics, liner notes, and more.
20 lucky fans who purchase the LP will receive the “Golden Ticket” edition of the album, which includes a 7”x7” classic photo of the band signed by Mercer, hidden in 10 Loser Edition and 10 standard black vinyl copies.
The music on Oh, Inverted World is obviously essential, and this remastering truly makes this the album 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 for those who fell in love with it in the first place.
Mercer says of Oh, Inverted World, “This record gave me the life that I never really dreamed I would have. It opened me up to the whole world and gave me validation. It’s also something that stands as a bit of a pinnacle for our band. You release that first record and it’s so well embraced, but you’re always trying to get that magic back, I think. We’ve done well, certainly, but the fervor that happened around Oh, Inverted World we never quite reached again. It’s a special moment when you’re a new band and you’ve got what was apparently kind of a new sound. This record symbolized a very special moment in my life, a watershed moment for sure.”
The Oh, Inverted World (20th Anniversary Remaster) is now available to pre-order through Sub Pop. LP pre-orders from megamart.subpop.com, The Shins merch store, select independent retailers in North America, the U.K., EU, Australia and New Zealand will receive the limited Loser edition on light blue with white marble vinyl (while supplies last).
The Shins Oh, Inverted World (20th Anniversary Remaster)
Tracklisting: 1. Caring Is Creepy 2. One by One All Day 3. Weird Divide 4. Know Your Onion! 5. Girl Inform Me 6. New Slang 7. The Celibate Life 8. Girl on the Wing 9. Your Algebra 10. Pressed in a Book 11. The Past and Pending
Beginning on July 31st in Columbus, OH, Bully will embark on a 10 date North American run with shows in, Nashville, Atlanta, St. Louis, Chicago, and Seattle, ending on September 11th at the Bootleg Theater in Los Angeles. These dates are in support of the band’s critically acclaimed 2020 release, SUGAREGG.
To celebrate their impending tour dates, you can now watch a full-band performance of the lead single “Where to Start” filmed at Drkmttr in Nashville, TN. SUGAREGG was one of the best-reviewed albums of 2020, receiving accolades from the likes of The New York Times, The New Yorker, The Guardian, Pitchfork, Rolling Stone, CLASH, DIY, Alternative Press, Nashville Scene, Spin, Stereogum (“Album of the Week”), and Bandcamp (“Album of the Day”).
At radio, SUGAREGG peaked at #1 on the NACC 200 college radio for three weeks. The album also reached #1 on the SubModern commercial specialty chart. Support at radio is coming from many big stations including Sirius’s “ALT NATION” and “XMU,” Music Choice, The Current and GO 96.3 in Minneapolis, KEXP in Seattle, Radio Milwaukee, and many more!
SUGAREGG 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.
SUGAREGG is available worldwide from Sub Pop.
Tour Dates: Jul. 31 - Columbus, OH - Skully’s Music Diner Aug. 14 - Nashville, TN - Mercy Lounge Aug. 20 - Birmingham, AL - Saturn Aug. 21 - Atlanta, GA - The EARL Aug. 26 - St Louis, MO - Off Broadway Aug. 28 - Chicago, IL - Empty Bottle Aug. 30 - Milwaukee, WI - Back Room at Colectivo Aug. 31 - Minneapolis, MN - Fine Line Music Hall Sep. 04 - Seattle, WA - Neumos Sep. 11 - Los Angeles, CA - Bootleg Theatre
What people are saying about SUGAREGG: “Bognanno may be continuing a great tradition, but it provides a framework for catharsis that is deeply personal and candour that feels truly progressive.” ★★★★ - The Guardian
“SUGAREGG is confident and assured.” ★★★★ -NME
“The record flows, hitting knee-skinning highs like “Stuck in Your Head” (“I just wanted to pick up the tempo!” Bognanno sing-songs as the band counts off), barn-burners like “You” (about, it seems, an absent parent) and the hauntingly discordant “Hours and Hours.” Whatever the subject matter, whatever the tempo, each track finds Bognanno full-throated, wild and free…their most self-assured album yet.” ★★★½ -RollingStone
“SUGAREGG shows a musician at the top of their game, unafraid to take themselves a little less seriously than before.” ★★★★½ -The Forty Five
“When push comes to shove, SUGAREGG goes far to ease and maintain the cool in encountering happy sentiments and combine them with a fuck-it-all attitude. It is the blistering irresistibility of what is achieved at that point, which makes this record striking and inescapable.”[8/10] -CLASH
“This is joyous bubblegum grunge…Alicia Bognanno’s voice is as mesmeric and feral as ever, and her band sound simply, effortlessly, gigantic…you’re going to be rotting your teeth on SUGAREGG for weeks.” ★★★★ - NARC
“It’s a product full of joy, not maddening, but genuinely uplifting and encouraging. It’s also the best thing Bognanno has written. As the public is becoming increasingly accustomed to performances composed of lies and consistent sleight of hand, it’s rewarding to see someone go in the opposite direction and peel back the layers, revealing a freer and more transparent artistic self. It clearly hasn’t been easy, but on this basis, it certainly seems worth it.” - The Line Of Best Fit
“The most explosive collection of songs from Bognanno’s discography.” - Under the Radar
“…The songs on SUGAREGG feel like the singer, songwriter, guitarist, engineer and producer has reached a new level of comfort in her relationship with herself.” - Nashville Scene
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
Flock of Dimes’ Head of Roses, which features “Two,” “Price of Blue,” “Hard Way,” and “One More Hour,” is available today worldwude on CD/CS/DSPs and on LP April 30th, 2021. The album was produced by Nick Sanborn (Sylvan Esso) and Wasner at Betty’s in Chapel Hill, NC, engineered by Bella Blasko with additional engineering by Sanborn, mixed by Ari Picker and Blasko, and mastered by Huntley Miller. The album features appearances from guitarist Meg Duffy, Bon Iver’s Matt McCaughan, Wye Oak’s Andy Stack, and Landlady’s Adam Schatz. Head of Roses follows the release of Like So Much Desire, her acclaimed digital EP released June 2020 on Sub Pop.
Head of Roses, and singles “Two” and “Price of Blue,” have seen praise from outlets like The Guardian, who say, “Her solo album out in April is superb. This sweetly shuffling [“Two”] is so rich in charm.” Uncut offers this, “An album that is as deeply introspective as it is creatively bold and ambitious (8/10).” The New York Times had this to say, ‘Can I be one? Can we be two?’ Jenn Wasner asks on her stirring new single…‘Two’ is driven by an irregular beat, as if to mirror the hesitant questioning of its lyrics. Even when she’s being somber or ruminative, Wasner has a touch of gallows humor, as when she muses memorably, ‘We’re all just wearing bodies like a costume til we die.’” Stereogum says, “Between the restrained LIke So Much Desire EP last year and the bubbly, infectious ‘Two,’ the lead single from her forthcoming album Head of Roses, it’s become clear that Flock Of Dimes has room for whatever songs Wasner wants to write and whatever stories she wants to tell. So that brings us to “Price of Blue,” a breakup reckoning that finds Wasner tapping into the autumnal, reflective rock sound that’s always been such a mesmerizing side of her songwriting.” Meanwhile, PASTE calls “Price of Blue” a “six-minute masterpiece of psychedelic guitar riffs and haunting vocal…,” and Guitar World raves, “Jenn Wasner is a bewitching guitarist… Head of Roses will find Wasner elevating her already otherworldly playing to new heights.”
Flock of Dimes’ Head of Roses, which features “Two,” “Price of Blue,” “Hard Way,” and “One More Hour,” will be available on CD/CS/DSPs on April 2nd, 2021, and on LP April 30th, 2021. The album was produced by Nick Sanborn (Sylvan Esso) and Wasner at Betty’s in Chapel Hill, NC, engineered by Bella Blasko with additional engineering by Sanborn, mixed by Ari Picker and Blasko, and mastered by Huntley Miller. The album features appearances from guitarist Meg Duffy, Bon Iver’s Matt McCaughan, Wye Oak’s Andy Stack, and Landlady’s Adam Schatz. Head of Roses follows the release of Like So Much Desire, her acclaimed digital EP released June 2020 on Sub Pop.
“More than anything she’s released before, Head of Roses makes room for the multiplicity of Wasner’s artistic voice. None of the singles sound anything alike — not the springy, off-kilter pop of ‘Two’ nor the slow-burning, psych-rock of ‘Price of Blue’ — and none of them quite prepare the listener for the gorgeously subdued second half of the album, which features several of the most stirring ballads Wasner has ever recorded. The common element holding all of these disparate parts together is her luminous, jewel-toned voice.” [Feature] - New York Times
“her second full-length outing, Head of Roses, is a triumphant signifier of professional and personal growth.” ★★★★ - The Independent
“An album that is as deeply introspective as it is creatively bold and ambitious.” [8/10]- Uncut
“[Head of Roses] sees her incorporating her multifarious musical styles into a bright fusion of organic, dreamy rock and electronic pop.” [“22 albums we can’t wait to hear in April”] - The AV Club\
“Head of Roses is no less powerful for its simplicity, as its songs move from hushed to explosive and back again, becoming more than the sum of their parts in the process.” [“The 10 Albums We’re Most Excited About in April”] - PASTE
“The best material from the North Carolina artist’s prolific musical universe in years.” - SF Chronicle
“On Head Of Roses Wasner still manages to deliver an album that feels both highly individual and effective in what it tries to do. It also subtly extends the sense of musical reinvention which has been ongoing since the direction-pivoting Shriek.” ★★★★ - MusicOMH
“Wasner’s sculpting of emotive music through sound and texture rather than key is special, and Head of Roses is by far her most successful rendering of it.” - The Line of Best
“Wasner’s command of grace for herself and others ultimately becomes a source of soothing as Head of Roses unfolds. Layers push aside to reveal a core scented with forgiveness and healing. Flock of Dimes has become the vehicle for Wasner’s most personal reflections, which makes it the one to treasure most.” - Under the Radar
“An empathic singer, whose supple vocal sounds are partly obscured here by loops and electronics or resonant layers of Eno’d guitars, which take the edge off this raw and heart-sore break-up LP.” - MOJO
Flock of Dimes Head of Roses
Tracklisting: 1. 2 Heads 2. Price of Blue 3. Two 4. Hard Way 5. Walking 6. Lightning 7. One More Hour 8. No Question 9. Awake for the Sunrise 10. Head of Roses
Clipping has delivered an incredible at-home performance for NPR Music’s “Tiny Desk Meets SXSW” concert. The remote performance features, quite possibly, the tiniest desks to ever appear in the series, and includes highlights from the band’s acclaimed albums Visions of Bodies Being Burned (2020) and There Existed an Addiction to Blood (2019), along with their Wriggle EP (2016) and debut mixtape midcity (2013).
NPR Music says, “Leave it to Clipping to innovate around the central notion of the Tiny Desk; to take the series’ emphasis on close-up intimacy and transport it to new heights of, well, tininess. This is, after all, a band that contains multitudes. Producers William Hutson and Jonathan Snipes craft a bed of hip-hop, industrial music and noisy experimentalism, then set loose rapper Daveed Diggs, whose violent imagery summons ’90s horrorcore and a thousand bloody movies. The band’s last two album titles — There Existed an Addiction to Blood and Visions of Bodies Being Burned — offer up a sense of the vibe, but Diggs’ gift for rapid-fire wordplay also acts as a leavening agent (see NPR Music April 18th).”
The “Tiny Desk” concert was recorded, edited, and mixed by Clipping. It was directed and edited by Cristina Bercovitz, who also fabricated the tiny furniture for the performance. The footage was filmed by Bercovitz, Erin Bates, and Daveed Diggs, and also features additional drums by Chukwudi Hodge.
New York Times says of the performance, “The avant-hip-hop group led by the “Hamilton” star Daveed Diggs appeared in a showcase selected by NPR’s Tiny Desk Concerts, and took “tiny” as a video mandate. As Diggs rapped into a thumbnail-size microphone, his collaborators, Jonathan Snipes and William Hutson, pretended (on split screens) to play miniature versions of (among other things) a laptop, guitar pedals and a windup music box, as the music warped itself from pink noise to music-box tinkle to industrial distortion to techno beats. No simulation was involved in the tour de force that was Diggs’s breakneck, virtually nonstop rapping, with rhymes that raced from free-associative wordplay to nightmare imagery to a grimly prescient 2019 song, ‘Nothing Is Safe.’ (see March 22nd Critics Notebook)”
Clipping’s Visions of Bodies Being Burned, There Existed an Addiction to Blood and Wriggle, are available now worldwide from Sub Pop. The self-released midcity is also available at all DSPs.
What people are saying about Clipping’s Visions of Bodies Being Burned: “If Run the Jewels are the polemicist poets facing America’s racial reckoning with six-foot-high spray-painted lettering, Clipping’s members are the academics connecting the horrors of the country’s past with thumbtacks and string…There Existed an Addiction to Blood” from 2019 and Visions of Bodies Being Burned — sew the group’s socially conscious threads through the gory narratives of ’90s “horrorcore” rap artists like Brotha Lynch Hung and Ganksta N-I-P.” - New York Times
“In the group’s ambitious new horror-themed album, Visions of Bodies Being Burned’ each song plays into one of the genre’s tropes, occasionally as an expression of radical politics. Nowhere is this overlap more effective than on “Pain Everyday,” which calls on the ghosts of lynching victims to haunt the descendants of their killers.” - The New Yorker
“Clipping’s finest refinement yet of their abrasive horror-rap.” ★★★★- MOJO
“Like a mind-melting experimental audiobook, fitting as comfortably in the club as it does in the headphones.” -The Wire
“Throughout, Clipping stun and shock with their most complete work to date, and Visions of Bodies Being Burned proves the group to be as dynamic as they are devastating (9/10).” - Loud & Quiet
“This is a once-in-a-generation band reaching their peak.” ★★★★ - DIY
“Few listening experiences this year are as gripping, visceral, and vivid as Visions of Bodies Being Burned (8.5./10).”- Under the Radar
“Visions of Bodies Being Burned is an album that will cement clipping.’s reputation as one of the most exciting and visionary groups working in music today (8/10).” - CLASH
“Not many acts find the midway point between Wolf Eyes and Three 6 Mafia, but by the time Visions reaches its apex at the brutal centerpiece “Looking Like Meat,” that’s exactly what clipping. sounds like. It’s a particularly threatening chapter of horrorcore that renders even some of the more severe acts that came before almost cartoonish by comparison.” ★★★★ - All Music
“Visions of Bodies Being Burned demands you wake up to the full horror – of clipping.’s fictional world, and the real world behind it.” ★★★★ - The Forty Five
“Visions of Bodies Being Burned reveals the records to be a kind of Frankenstein’s monster — assembled from many unlike parts and reanimated through three mad scientists’ passion. The result is a long anthology of love letters to the genre: raps to match a modern Poe, beats to leave the blood curdled, and a pair of back-to-back albums bisected, but with a still-beating heart.” - SF Weekly
“Clipping. delivers a series of captivating songs that are equally unsettling (8/10).” - RIFF Magazine
“In this diptych, I love both parts of the equation equally (get it?). I’ll pick up There Existed an Addiction To Blood if I want to feel mad and emboldened in my anger, set against the injustice of the world and our tiny piece of it. But it’s Visions that I’ll pick up if I want to feel that ghostly chill or just that indescribable feeling you get when faced with real fear, with the uncanny. Guttural fear. Visceral fear of the strange world you thought was familiar to you but turns out: you were wrong.” - Heavy Blog is Heavy
“Clipping. are the best, always outdoing themselves at every pass and that’s all you need to do to succeed in this life. Bra-fucking-vo.” - Everything is Noise
Clipping Visions of Bodies Being Burned
Tracklisting: 1. Intro 2. Say the Name 3. Wytchboard (Interlude)* 4. ‘96 Neve Campbell (feat. Cam & China) 5. Something Underneath 6. Make Them Dead 7. She Bad 8. Invocation (Interlude) (with Greg Stuart)* 9. Pain Everyday (with Michael Esposito) 10. Check the Lock 11. Looking Like Meat (feat. Ho99o9) 12. Drove (Interlude)* 13. Eaten Alive (with Jeff Parker & Ted Byrnes) 14. Body for the Pile (with Sickness) 15. Enlacing 16. Secret Piece *CD/digital/cassette-only tracks