The Helio Sequence is out now on CD/LP/DL worldwide and can be purcahsed in fine record stores near you as well as online retailers such as Sub Pop Mega Mart,
iTunes, Amazon and Bandcamp. Worth noting, however, is that while supplies last, customers who purchase the LP version
of the album from megamart.subpop.com will receive the limited “Loser Edition” on yellow-colored vinyl.
Additionally, The Helio Sequence’s US tour will resume on June 3rd in Boise, ID at Neurolux and will run through October 1st in Spokane, WA at INB Performing Arts Center. The Helio Sequence will be direct support for Death Cab For Cutie on Sep. 30th & Oct. 1st . Get the complete list of tour dates below.
What people are saying about The Helio Sequence:
“The Helio Sequence has created a euphoric, career-defining album.” [9.2 / 10] - PASTE
“…The duo’s latest is an ambitious, smart, and memorable collection of crisply produced clean-channel rock that shows all the newcomers how it’s done.” [8/10] - FLOOD
“”Stoic Resemblance” matches harmonious psychedelic chorus with a brisk krautrock pulse.” - Stereogum
“”Stoic Resemblance” is among the most pop-friendly things the duo have put to tape. Of course, “pop-friendly” to The Helio Sequence takes the shape of more direct song structures and vocal hooks. Naturally, it’s all filtered through their signature kaleidoscopic filter, hitting a chord somewhere between gauzy and taut. At a tight three minutes, “Stoic Resemblance” shows The Helio Sequence at their most spontaneous and their most playful, which is not only a surprise turn from the studio-intense direction that’s long defined them with surprisingly fun results.” [Song of the Day] - KEXP
“It’s a hit of catchy goodness with a funky bassline with a chorus of “oh na na nas.” It’s a bonafide jam.” [“Stoic Resemblance”] - KCRW
“A rager by comparison, rhythmically reminiscent of Beck…It’s great to find the Helio Sequence upping their game, and being a little less stoic.” [“Stoic Resemblance”] - Buzzbands
Jun. 03 - Boise, ID - Neurolux
Jun. 04 - Salt Lake City, UT - Urban Lounge
Jun. 05 - Denver, CO- Larimer Lounge
Jun. 06 - Kansas City, MO - The Record Bar
Jun. 08 - Dallas, TX - Club Dada
Jun 09 - Austin, TX - RED 7
Jun. 10 - Houston, TX - Fitzgerald’s
Jun. 11 - New Orleans, LA - Gassa Gassa
Jun. 12 - Birmingham, AL - The Saturn
Jun. 13 - Atlanta, GA - Drunken Unicorn
Jun. 14 - Carrboro, NC - Cat’s Cradle
Jun. 16 - Washington DC - Black Cat
Jun. 17 - Brooklyn, NY - Rough Trade
Jun. 18 - New York, NY - Mercury Lounge
Jun. 19 - Philadelphia, PA - Boot & Saddle
Jun. 20 - Allston, MA - Brighton Music Hall
Jun. 21 - Hamden, CT - Outerspace Ballroom
Jun. 23 - Cleveland, OH - Beachland Tavern
Jun. 24 - Columbus, OH - The Basement
Jun. 25 - Chicago, IL - The Empty Bottle
Jun. 26 - Madison, WI - The Frequency
Jun. 27- St. Paul, MN - Turf Club
Jun. 28th - Omaha, NE - Slowdown
Jul. 09 - Vancouver, BC - Venue
July 11 - Seattle, WA - The Neptune
Jul. 14 - San Francisco, CA - The Independent
Jul. 15 - Los Angeles, CA - The Roxy
Jul. 16 - Phoenix, AZ - The Crescent
Jul. 17 - San Diego, CA - The Casbah
Jul. 18 - Visalia, CA - Cellar Door
Aug. 23 - Portland, OR- MusicFestNW
Sep. 30 - Missoula, MT - Adams Event Center*
Oct. 01 - Spokane, WA - INB Performing Arts Center*
* w/ Death Cab For Cutie
For presale & general ticket information, please visit http://www.bandsintown.com/TheHelioSequence
No Fly List: Notes from Sub Pop’s Airport Store, May 2015
What I Haven’t Learned After One Year at the Airport Store
After reading the general manager’s write-up of the airport store on our 1 year anniversary, I was naturally revolted by all of the praise and felt compelled to undercut any inflated expectations about our humble retail operation. Despite the label’s best efforts to indoctrinate me in all-things Sub Pop, and foster excellent customer-service skills amongst the retail staff, I still feel like I’m mostly fumbling my way around. So, without further ado, here are some things I still haven’t mastered after working for a year at the Sub Pop Airport store*:
I. What is SUB POP?
II. What does SUB POP stand for?
III. Is that VINYL back there?
My best answers:
I. Sub Pop is a record label that started in 1988, in Seattle, Washington. Fast forward 26 years, and many illicit ingested substances later, they got the harebrained idea to open a store in the Seattle-Tacoma International Airport.
II. Sub Pop is an initialism for Superior Unique Bro-fessionals Pursuing Overwhelming Profits.
III. No, those are wall calendars. All for the year 2015, but reusable in 2026!
*Let me reiterate that I’m speaking entirely about myself here. The rest of my colleagues are professionals who routinely show their expertise in the store, and I hope you interact with any one of them during your next visit.
WE ARE NO LONGER ACCEPTING RESUMES FOR THE DIGITAL COMMUNICATIONS COORDINATOR POSITION.
Sub Pop Records: Digital Communications Coordinator
Sub Pop Records is currently looking for a new Digital Communications Coordinator, working here in the label’s Seattle headquarters. This is an important role within the company with responsibility for maintaining and growing our social media presence and managing direct-to-fan communications. This person will work closely with marketing and sales staff and the Director of the Digital Communications department.
Our ideal candidate for our growing Digital Communications department is an enthusiastic, creative and skilled social media manager and content producer who has a solid understanding of social media marketing and online communities, the artists and music represented by Sub Pop and how best to serve them and their fans in this digital environment. This person must have excellent written and overall communication skills and an appreciation for how to continue to develop and expand the Sub Pop voice within each unique social platform. A thorough understanding of social media campaigns and a drive for creating and sharing engaging content and recognizing new opportunities is essential. The ability to work well as a member of the Digital Communications and larger marketing and sales teams, representing the priorities of each is crucial as well.
The closing date to apply for this position is Monday, May 25th.
Social Media and direct-to-fan communications
Communication & Reporting
Social media and direct-to-fan communications
Melbourne’s Deaf Wish will release Pain, their first full-length album for Sub Pop, on CD/LP/DL worldwide August 7th.
The album, featuring the highlights “Eyes Closed,” “On,” “Calypso,” and
the title track, was recorded & produced by the band at Reservoir,
Victoria, mixed by Mikey Young and mastered by April Golden at Golden
Mastering. Pain is the follow up to their label debut, the 4-song St. Vincent’s 7” single, released last October.
You can now listen to “Eyes Closed” via Stereogum, who say the track: ““Eyes Closed” initiates with the sound of off-white noise, a fragile rumble that opens the track’s seams and makes room for it to grow into something much more sinister. The song is an exploration of various tiers of dreaming consciousness: “I’m not awake, I’ve got my eyes closed/ I’m sleepwalking, with my eyes closed.”…There’s a certain sense of spontaneity to this debut single, suggesting that Deaf Wish formulate their songs in short, sharp moments of inspiration (see song premiere May 12th).”
Pain is now available for preorder from Sub Pop Mega Mart, iTunes, Amazon, and Bandcamp. LP preorders from megamart.subpop.com will receive the limited Loser edition on clear, black marbled vinyl (while supplies last). There will also be a new T-shirt design, available individually and as part of a bundle with purchase of the new record.
About Deaf Wish:
When Deaf Wish found themselves in a room together for the very first time, they agreed on a guiding philosophy: “Let’s not make anything that’s going to last. If we’re together for just two shows, then that’s what it is.”
They’ve deviated some.
Over the course of eight years, the Melbourne foursome—bassist Nick Pratt, drummer Daniel Twomey and guitarists Sarah Hardiman and Jensen Tjhung, with each member contributing vocals—have instead amassed one of rock’s most exhilarating bodies of work, a concise run of wooly seven-inches and white-knuckle LPs whose legendary live translation has been most accurately described as “unhinged.” All this despite their being scattered across multiple continents, with no way of getting to know one another outside of intermittent touring. “We didn’t really know what this band was,” Tjhung says. “We had something, but it wasn’t clear—we had to figure out what that was.”
This year marks the arrival of Pain, the first they’ve written since coming together again semi-permanently in Melbourne, and their appropriately titled first full-length for Sub Pop. (Last October’s St. Vincent EP was their proper Sub Pop debut.) It is a miraculously dissonant, wonderfully immediate display of Deaf Wish at their mightiest, alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they’ve ever had before, they’re found themselves confronted with ideal (yet foreign) conditions. Two-minute freakouts like “Eyes Closed” share airspace with the meditate squall of “On” and the guitar-born majesty of “Calypso.” Everything was captured in three takes or less, in a bleak, nondescript studio on the lifeless outskirts of Melbourne.
“It’s a simple thing,” Tjhung says of their approach. “Simple takes the worry out of it. If we try to step it up and go sideways, it just doesn’t seem to work. But we’ve grown up and been through some shit. To get to this point you have to bust through a few walls. It’s easy to be new, and I think, in the end, this is what it is. When you put these people in the room, it’s Deaf Wish (read bio at Sub Pop).”