News

NEWS : TUE, AUG 27, 2019 at 6:57 AM

Watch The Fantastical New Knife Knights Video For “Seven Wheel Motion” Directed by Marcy Stone Francois

“In the towers way up high in the sky do or die you should try birds-eye who’s inside…” 

- from Knife Knights “Seven Wheel Motion” 

Today, Knife Knights are sharing a hallucinatory new visual for “Seven Wheel Motion,” from 1 Time Mirage, directed by Marcy Stone Francois (Tacocat, Lisa Prank, Wimps).  

In “Seven Wheel Motion” colossal drums puncture walls of labyrinthine noise sculpted from deranged synthesizers and mutated guitars, yielding an absolute powerhouse of a track. Butler seems to rap in dialogue with himself, detailing a threatening streetscape and shaping the experience into personal realizations. 




In the “Seven Wheel Motion” visual, the song soundtracks the fantastical “Twin Queen Tryst” short film. Set in an alien landscape, a queen (played by Rhonda Faison of Shabazz Palaces “Déesse Du Sang” video) sends her royal subject (played by The Palaceer) on a quest for a magical jewel. Along the way, he encounters a mystical being (played by OCnotes) who helps the subject with his quest to return the jewel to the queen. This wild new video also features scene art by Olde Nightrifter and cinematography from Futsum Tsegai. 

Knife Knights (The Palaceer aka Ishmael Butler, Erik Blood, OCnotes and Marquetta Miller) have a scheduled performance in Seattle on Wednesday, October 16th at Earshot Jazz Festival (at the Langston Hughes Performing Arts Institute).


[Photo Credit: Justin Henning]

1 Time Mirage is out now on CD/LP/DL/CS worldwide from Sub Pop. The long-player features the highlights the aforementioned “My Dreams Never Sleep” along with “Give You Game,” “Seven Wheel Motion,” “Light Up Ahead (Time Mirage)” and “Low Key,” and was as produced by Ishmael Butler and Erik Blood at Protect and Exalt: A Black Space in Seattle.  1 Time Mirage includes guest appearances from labelmates Shabazz Palaces and Porter Ray, along with Stas THEE Boss, OCnotes, Thaddillac, El Mizell, Marquetta Miller, Gerald Turner, and Darrius Willrich.


1 Time Mirage orders through megamart.subpop.com, select independent retailers and Knife Knights shows will receive the limited Loser edition on blue vinyl (while supplies last). The album cover also features gorgeous artwork from Robert Beatty.


NEWS : FRI, AUG 23, 2019 at 7:00 AM

Shannon Lay’s Sub Pop debut August out now

Shannonlay august lp loser 02

August, the new album from songwriter Shannon Lay, is out now worldwide on LP, CD, digital, and cassette. Recorded with her longtime friend, musician Ty Segall at his home studio lay shared that “I believe whoever you record with tends to affect the mood of music and Ty really brought this jovial sense that I hadn’t really explored yet.”  “Once you get rolling with him, he just throws these ideas at the wall. And you’re like, ‘I would never have thought of that!’ I couldn’t have hoped for a better guide and energy to help create this record.”

You can purchase your copy of August today from our Mega Mart

Shannon will be playing an album release show at Pico Union Project on Aug. 24th before embarking on an 18-date North American tour opening for Mikal Cronin. This run will begin on November 8th in Portland at Mississippi Studios and end on December 1st in San Diego at the Casbah. Shannon will continue as a special guest performing with Cronin in Europe beginning on Feb. 10th - 29th. See below for a full list of shows. 
 
Aug. 24 - Los Angeles, CA - Pico Union Project ***Record Release Show
Oct. 21 - London, UK - Set 
Nov. 6 -  San Francisco, CA - Independent *
Nov. 08 - Portland, OR - Mississippi Studios*
Nov. 09 - Vancouver, BC - The Fox Cabaret*
Nov. 10 - Seattle, WA - Tractor Tavern*
Nov. 11 - Missoula, MT - Badlander *
Nov. 14 - St. Paul, MN - Turf Club*
Nov. 15 - Chicago, IL - Lincoln Hall *
Nov. 16 - Detroit, MI - Deluxx Fluxx*
Nov. 17 - Toronto, Canada - Horseshoe Tavern*
Nov. 18 - Montreal, Canada - Bar Le “Ritz” P.D.B.*
Nov. 19 - Allston, MA - Great Scott*
Nov. 20 - New York, NY  - Bowery Ballroom*
Nov. 22 - Philadelphia, PA - Underground Arts*
Nov. 23 - Washington, DC - U Street Music Hall*
Nov. 24 - Durham, NC - Motorco Music Hall*
Nov. 25 - Atlanta, GA - The Earl*
Nov. 26 - New Orleans, LA - One Eyed Jacks*
Nov. 27 - Austin, TX - Barracuda*
Nov. 30 - Tucson, AZ - Toole*
Dec. 01 - San Diego, CA - The Casbah*
Feb. 10 - Munich, DE - Milla *
Feb. 11 - Cologne, DE -  Bumann & SOHN *
Feb. 12 - Berlin, DE - Kantine am Berghain *
Feb. 13 - Aarhus, DK - TAPE *
Feb. 14 - Copenhagen, DK - Loppen *
Feb. 15 - Stockholm, SE - Nalen *    
Feb. 17 - Oslo, NO - Ingensteds * 
Feb. 18 - Gothenburg, SE - Oceanen * 
Feb. 19 - Hamburg, DE - Molotow (SkyBar) *
Feb. 20 - Amsterdam, NL - Bitterzoet *
Feb. 21 - Brussels, BE - Botanique *
Feb. 22 - Paris, FR - Petit Bain *      
Feb. 24 - Bristol, UK - The Louisiana *
Feb. 26 - Manchester, UK - Soup Kitchen *
Feb. 27 - Glasgow, UK - The Hug & Pint *
Feb. 28 - Leeds, UK - Brudenell Social Club *
Feb. 29 - Brighton, UK - The Hope & Ruin *

* w/ Mikal Cronin


NEWS : WED, AUG 21, 2019 at 6:57 AM

Watch Tacocat’s New Music Video For “Crystal Ball”

European tour starts next week.

Seattle band Tacocat set off on a European tour starting Saturday, August 24th in support of This Mess Is a Place, their new full-length album. This Mess Is a Place is their first for Sub Pop, and heralds a more pop-driven and ebullient direction in their sound. 




Today, they’ve shared a charming new claymation music video for “Crystal Ball” from director Violet Crabtree, premiered via the good music listeners at Clash Magazine. Watch it at Clash, watch it above, or watch it on the band’s YouTube channel. Then see here, a full list of upcoming overseas shows:

Aug 24 - Leeds, UK - This Must Be The Place, Belgrave Music Hall
Aug 25 - Glasgow, UK - Broadcast
Aug 27 - Manchester, UK - Gullivers
Aug 28 - Cardiff, UK - Clwb Ifor Bach
Aug 29 - London, UK - Moth Club
Aug 30 - Brighton, UK - Hope and Ruin
Aug 31 - Paris, FR - Supersonic
Sep 01 - Brussels, BE - Botanique
Sep 03 - Nijmegen, NL - Merleyn
Sep 04 - Groningen, NL - Vera
Sep 05 - Amsterdam, NL - Paradiso
Sep 06 - Eindoven, NL - Alstadt
Sep 07 - Rottderdam, NL - Rotown
Sep 09 - Nuremberg, DE - Kantine
Sep 10 - Berlin, DE - Marie Antoinette
Sep 11 - Hamburg, DE - Goldoner Saloon
Sep 13 - Copenhagen, DK - Loppen
Sep 14 - Oslo, NO - Revolver
Sep 15 - Stockholm, SE - Obaren
Oct 31 - Seattle, WA - Neumos


This Mess Is a Place can be purchased right over here


Here’s what “The People” are saying about Tacocat:

“…lyrically colorful in both description and execution.” - Stereogum

“… an ode to the absurdity of forging meaning and the bittersweet quest for stability…” - Under the Radar 

“…a buoyant reminder of the illusory nature of power and reality.”
- Paste


NEWS : TUE, AUG 20, 2019 at 6:57 AM

METZ Covers of Sparklehorse’s “Pig,” the Urinals’ “I’m a Bug,” and “M.E.” by Gary Numan Are All Available Now Through Digital Services Everywhere

Watch the Animated Video for METZ’s take on Gary Numan’s “M.E.” + Find Details of Newly Announced Fall Shows

On July 12th, Sub Pop released Automat, a collection of METZ non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band’s long out-of-print early (pre-Sub Pop) recordings. It’s a chronological trip through the lesser-known material of METZ, the widely-adored and delightfully noisy 3-piece punk band from Toronto, ON.
 
The vinyl LP format of Automat included an exclusive bonus 7” single of METZ interpretations of three diverse cover songs, a glimpse of their wide-ranging and excellent taste. And, on Aug. 20 (aka today) these three bonus tracks will be available in digital services everywhere (such as YouTube, Spotify and Apple Music). Rejoice! And then also go listen to: a cover of Sparklehorse’s “Pig,” from a very limited 2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of the Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and METZ’s previously unreleased rendition of Gary Numan’s “M.E.” 



You can also watch the mesmerizing video for “M.E.,” featuring a three-headed Pleasure Principle hydra illustrated by Kirin Booth and animated by Martin MacPherson here now, and/or also by clicking here.


M.E 
Tracklisting:
1. “I’m a Bug” by the Urinals
2. “Pig” by Sparklehorse
3. “M.E” by Gary Numan



METZ have a handful of upcoming shows before getting to work on their 4th full-length LP which will be released on Sub Pop when we are all damn good and ready.

METZ Tour Dates + Ticket Links:

Sep. 07 - Toronto, ON - Echo Beach (MATTYFEST w Wu Tang Clan)
Oct. 10 - Perris, CA - Desert Daze (w The Flaming Lips, Stereolab, Lightning Bolt)
Oct. 19 - Queens, NY - Octfest 2019, presented by Pitchfork and October, at Knockdown Center
Nov. 01 - London, ON - The Rec Room @ 
Dec. 02 - Glasgow, UK - The Barrowland Ballroom #
Dec. 03 - Glasgow, UK - The Barrowland Ballroom #
Dec. 04 - Manchester, UK - Manchester Academy 1 #
Dec. 05 - Leeds, UK -  O2 Academy Leeds #
Dec. 07 - London, UK - Alexandra Palace Theatre #

@ w/ Whoop-Szo
# w/ IDLES


NEWS : WED, AUG 14, 2019 at 6:57 AM

Clipping Will Release ‘There Existed an Addiction to Blood,’ The Group’s Fourth Album, on October 18th. Now Watch a Lyric Video For Its Menacing Lead Single, “Nothing Is Safe”

Clipping has returned with There Existed an Addiction to Blood, the group’s fourth effort and the follow up to Splendor and Misery, their acclaimed album of 2016. There Existed an Addiction to Blood features the singles “Nothing Is Safe,” “Blood of the Fang,” “La Mala Ordina” (Feat. Benny The Butcher, ElCamino, The Rita), and was produced by Clipping, mixed by Steve Kaplan, and mastered by Dave Cooley at Elysium Masters in Los Angeles. The album also features appearances from Ed Balloon, La Chat, Counterfeit Madison, and Pedestrian Deposit. There Existed an Addiction to Blood will be available on 2xLP/Deluxe 2xLP/CD/CS/DL on Friday, October 18th, 2019 worldwide from Sub Pop.

There Existed an Addiction to Blood finds Clipping interpreting another rap splinter sect through their singular lens. This is Clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and the near-entirety of classic Memphis cassette tape rap.

The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.


[2xLP Deluxe Limited “Lamestain” Edition]

There Existed an Addiction to Blood is available through Sub Pop Mega Mart. Preorders of the LP through megamart.subpop.com and select independent retailers in North America will receive the limited, deluxe 2xLP “Lamestain” edition on blood-splattered clear vinyl (while supplies last). Meanwhile, LP preorders of There Existed an Addiction to Blood throughout the UK and Europe from select independent retailers will receive the limited Loser edition on opaque silver vinyl (while supplies last).

Clipping

There Existed an Addiction to Blood

Tracklisting:
1. Intro
2. Nothing Is Safe
3. He Dead (feat. Ed Balloon)
4. Haunting (Interlude)
5. La Mala Ordina (feat. The Rita, Benny The Butcher & El Camino)
6. Club Down (feat. Sarah Bernat)
7. Prophecy (Interlude)
8. Run for Your Life (feat. La Chat)
9. The Show
10. Possession (Interlude)
11. All in Your Head (feat.Counterfeit Madison & Robyn Hood)
12. Blood of the Fang
13. Story 7
14. Attunement (feat. Pedestrian Deposit)
15. Piano Burning (composed by Annea Lockwood)


Clipping will perform at the 2019 Adult Swim Festival in Los Angeles on Saturday, November 16th. Additional live performances to be announced soon.

Avoid future FOMO by following Clipping everywhere in space and time: Facebook | Instagram | Twitter | clppng.com | subpop.com



[Photo Credit: Cristina Bercovitz]

About Clipping’s There Existed an Addiction to Blood:
The science-fiction visionary Octavia Butler once declared that “there is nothing new under the sun, but there are new suns.” The aphorism could apply to any art form where the basic contours are fixed, but the appetite for innovation remains infinite. Enter Clipping, flash fiction genre masters in a hip-hop world firmly rooted in memoir. If first-person confessionals historically reign, the mid-city Los Angeles trio of rapper Daveed Diggs and producers William Hutson and Jonathan Snipes have spent the last half-decade terraforming their own patch of soil, replete with conceptual labyrinths and industrial chaos. They have conjured a mutant emanation of the future, built at odd angles atop the hallowed foundation of the past.
 
Their third album for Sub Pop, There Existed an Addiction to Blood, finds them interpreting another rap splinter sect through their singular lens. This is clipping’s transmutation of horrorcore, a purposefully absurdist and creatively significant sub-genre that flourished in the mid-90s. If some of its most notable pioneers included Brotha Lynch Hung and Gravediggaz, it also encompasses seminal works from the Geto Boys, Bone Thugs-N-Harmony, and Three 6 Mafia and the near-entirety of classic Memphis cassette tape rap.
 
The most subversive and experimental rap has often presented itself as an “alternative” to conventional sounds, but Clipping respectfully warp them into new constellations. There Existed an Addiction to Blood absorbs the hyper-violent horror tropes of the Murder Dog era, but re-imagines them in a new light: still darkly-tinted and somber, but in a weirder and more vivid hue. If traditional horrorcore was akin to Blacula, the hugely popular blaxploitation flick from the early 70s, Clipping’s latest is analogous to Ganja & Hess, the blood-sipping 1973 cult classic regarded as an unsung landmark of black independent cinema, whose score by Sam Waymon, the band samples on “Blood of the Fang” and inspired the album’s title.
 
From the opening “Intro,” Clipping summon an unsettling eeriness. Diggs sounds like he’s rapping through a drive-thru speaker about the bottom falling out, bodies hitting the floor, and recurrent ghosts. You hear ambient noises, footsteps and shovels. The hairs on your arms stick up like bayonets. You can practically see the knife’s edge, sharp and luminous.
 
Each song contains its own premise and conceptual bent. There is “Nothing is Safe,” a reversal of Assault on Precinct 13, where the band create their own version of a John Carpenter-inspired rap beat and the cops are the ones raiding a trap house. Diggs sketches the narrative from the perspective of the victims, full of lurid and visceral details and intricate wordplay. The windows are boarded and sealed, the product simmers on the stove, the bodies sleep fitfully in shifts. Then law enforcement arrives and the bullets start to fly.
 
“He Dead” turns police officers into werewolves while Diggs flips Kendrick Lamar’s “Riggamortis” into something gravely literal.“All In Your Head” finds Clipping re-contextualizing the pimp talk of Suga Free and Too $hort into a metaphor for an Exorcist-style possession. The album contains interludes featuring hissing recordings of demonic invasions and guest appearances from Griselda Gang’s Benny the Butcher and Hypnotize Minds horror queen La Chat. Other tracks feature contributions from noise music legends The Rita and Pedestrian Deposit. It all ends with “Piano Burning,” a performance of a piece written by the avant-garde composer Annea Lockwood. Yes, it is the sound of a piano burning. 
 
In the hands of the less imaginative or less virtuosic, it could come off as overwrought or pretentious. Instead, Clipping annex new terrain for a sub-genre often left for dead. In its own way, one could compare what they’ve accomplished to Tarantino’s post-modern reworkings of critically overlooked but creatively fertile blaxploitation, horror and spaghetti western cinema.
 
Everything fits neatly into the broader scope of the band’s career, which has seen them expand from insular experimentalists into globally recognized artists. Since the release of their first album in 2013, Diggs has won a Tony and a Grammy, as well as co-written and starred in 2018’s critically hailed Blindspotting, while Snipes and Hutson have scored numerous films and television shows.
 
Clipping’s last album, the 2016 afro-futurist dystopian space opusSplendor & Misery was recently named one of Pitchfork’s Best Industrial Albums of All-Time. Commissioned for an episode of This American Life, their 2017 single “The Deep” became the inspiration for a novel of the same name, written by Rivers Solomon and published by Saga Press. But it’s their latest masterwork that embodies what the band had been building towards — a work that finds them without peer. This is experimental hip-hop built to bang in a post-apocalyptic club bursting with radiation. It’s horror-core that soaks up past blood and replants it into a different organism, undead but dangerously alive. It is a new sun, blindingly bright and built to burn your retinas.