The Staff of the Sub Pop Airport Store Pick Their Favorite Light in the Attic Releases
Beginning this month, the Sub Pop Airport Store has unveiled its newest addition: a staff picks section! On a semi-regular basis, we, the illustrious and expert curatorial airport store staff, will be highlighting and showcasing different albums that we really, really, really, like. For our inaugural staff picks, we decided to all choose albums from Light in the Attic, a Seattle record label that specializes in re-issuing criminally under-appreciated music. In honor of this being our first round of staff picks, I asked my fellow co-workers, “Why did you pick the album that you picked?” Here’s what they said…
(Be sure to check out the Spotify playlist down below, which contains our favorite tracks from these albums.)
Betty Davis: Betty Davis
Audrey says: “Betty Davis is a psychedelic funk queen who pushed boundaries and broke stereotypes in the name of self expression. With the encouragement of T-Rex singer Marc Bolan, she switched from writing songs for others to songwriting for herself. This self titled album released in 1973 is the first of three albums that are so freaky and badass, religious groups protested her shows and radio stations banned some of her songs. She was really a musician ahead of her time.”
Lizzy Mercier Descloux: Press Color
Rachel says: “I first found Lizzy Mercier Descloux’s Press Color in a rare record store super score! Someone had sold a bunch of their no wave/Ze Records titles like Contortions, Mars, and Teenage Jesus and the Jerks. Press Color was one of my favorites because it’s so fun and danceable. Thanks to Light In The Attic Records for reissuing this great record!”
The Free Design: Stars/Time/Bubbles/Love
Josh says: “Funk-filled, family friendly, kite flying, wholesome harmonies, only god itself could have reissued as heavenly a record. But since god is not real, it must be the goodly folks at Light in the Attic and to them I give thanks and praise.”
Monks: The Early Years 1964-1965
Jacob says: The Monks’ 1966 one-off album Black Monk Time is an out of time, anti-Vietnam war, proto-art-rock oddity, made by some forward thinking discharged American GI’s stationed in Germany (playing and honing their skills at some of the same wild nightclubs the Beatles had made a name for themselves in a few years prior), that while probably not being directly influential, at the very least predicted, and works as a critical jump-off point for a lineage of still to come conceptual agitating greats like Devo and the Residents. I would consider the album an artistic equal to Zappa’s Freak Out!, also from 1966, and a distant relative to more recently recognized, and ahead of their time, Los Saicos, from Peru.
This brings me to my Light In The Attic showcase selection: Monks’ The Early Years.
At first, a listener familiar with Black Monk Time may be slightly disappointed with these demos lack of finished lyrics, or all out vocal assaults found on the album proper. But that is actually part of the strength and distinction that makes the demos these GI’s made so very interesting; the sheer chunky rhythmic monotony and minimalist organ-preset style jungle-tom drumming, and what I see as the secret ingredient to their sound: the snare drum doubled up by nearly-indiscernible, textural muted banjo strikes. All of this is to the forefront on these demos. The Stooges had their single repetitive piano note through a song, and the Monks had their transparent banjo, damn it! To put this all in context, the Monks pre-date the full swing of Jazz Rock Fusion, and Progressive rock drumming; it would be another 6-7 years until Krautrock bands learned to unlearn and play-on-purpose the simplified, minimal, ‘Motorik’ beat. I sincerely wonder if whoever it was who approached CAN’s Jaki Leibezeit and profoundly stated “you must play monotonous” had been lucky enough to have seen the Monks do it first.”
Honey Ltd: The Complete LHI Recordings
Kane says: “Good harmonies.”
Public Image Ltd: First Issue
Olivia says: “PiL broke the punk paradigm with this first album. Punk was now carte blanche, not just a sped up tempo with a fashion shtick. I can’t listen to this without thinking about how Seattle was channeling punk on its own terms years later. I think we were really inspired by this post-punk freedom! Punk rock should ALWAYS be about freedom. That includes being free to call out any particular icon, steal their booze and comfy chair, and throw salami on their bus if necessary…”
Marcos Valle: Marcos Valle
Javier says: “I just really like the flavors presented here. Thumpy, warm melodic bass lines, very chill vocals, mostly in Portuguese, tasteful touches of piano chords and the drumming is just straight up groovy. I have no idea what these songs are about but there are some really delightful flute bits and psychedelic touches sprinkled throughout. Just a solid little nugget of good Bossa Nova made in 1970. Sign me up!”
Various Artists: I Am The Center: Private Issue New Age In America, 1950-1990
Ben says: “Trading in the ‘sex, drugs and rock ‘n roll’ for crystals, eastern philosophies and incense (and well, ok, maybe not trading away all of the drugs…) New Age wasn’t about fame and fortune. Instead, it explored the boundaries of music: From Gregorian chants to gongs, and from chimes and bells to synths. I Am The Center covers 40 years of New Age, focusing mostly on home-made recordings and unheralded-in-their-own-time artists. (While also leaving out soft heavy hitters like Yawni and Enya (a.k.a, the soundtrack to my childhood road-trips)). Let these CDs help you open your third eye, align your chakras, or even relax while paying your taxes (if possible).”
Various Artists: Native North America (Vol. 1): Aboriginal Folk, Rock, and Country 1966–1985
I say: “Vancouver-based record archaeologist Kevin “Sipreano” Howes spent 15 years searching for music from the Indigenous peoples of Canada and the northern United States, and Native North America is the culmination of his efforts. Taking cues from the genres of “folk, rock, and country” that ruled over popular music in the latter half of the 20th century, you will hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup’ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia, among many other sounds and locales. Listening to this staggering compilation reminds me of the work that Bruce Pavitt did with the original Sub Pop fanzines, scouring for artists outside of the major cultural hubs of North America, and discovering vibrant, enriching, and totally unique regional music.”
Various Artists: Summer Records Anthology (1974-1988)
Chase says: “Summer Sound Studios was a Toronto-based record label started by Jerry Brown that produced some of the first notable Canadian reggae artists. This compilations covers releases from ‘74-‘88 and includes alternate masters and some previously unheard takes, all of which are really great! Stand out tracks include, “Right, Right Time,” “Warrior,” and “Dreadlock Lady”. A must buy if you’re trying to warm up this winter.”
Alan Vega, Alex Chilton, Ben Vaughn: Cubist Blues
Brent says: “Coming from a vinyl completest of all things Big Star and Suicide, it took a LITA reissue to finally bring “Cubist Blues” to my ear holes. Not to mention It was only pressed once in Spain twenty years ago and would set you back at least a hundred bucks. I discovered Alex’s Chilton’s output from the 1980’s and began to avoid it for the most part. I admire the company he kept and his taste for self-destruction: if you haven’t seen the footage of his performance with the Panther Burns live on the Marge Thrasher show, do so now: https://youtu.be/2U-k32L0KCc
I can’t help but think of one of Gene Vincent’s last albums, I’m Back and I’m Proud, when listening to “Cubist Blues”, which was produced by Kim Fowley, who also collaborated with Ben Vaughn. I want to think of this as a ‘art rock’ record, but that might just be the fact that Vega is a sculptor and Chilton’s parents owned a gallery. This is my pick of this month mostly because I usually only want to listen to Suicide, and so I figured I’d see what happened.”
Mass Gothic’s self-titled debut is out tomorrow! The group will kick-off their 2016 headlining tour in support of the album, with a show tonight, Thursday, February 4th in Philadelphia at Johnny Brenda’s. Tour ends on March 19th in Austin at SXSW. Support for the tour (February 4th -25th) will come from fellow NYC band Mazed (Autre Ne Veut affiliates, ex-Bear in Heaven, Zambri). Scroll down for all the dates.
Mass Gothic, led by the singles “Every Night You’ve Got To Save Me” and “Nice Night,” was produced by the group, mixed Chris Coady (Beach House, TV on the Radio) and mastered by Greg Calbi at Sterling Sound.
The band recently shared an official video for “Every Night You’ve Got To Save Me”, the iridescent lead single. The exuberant visual, directed by Addison Post (Colleen Green, Solvey), follows group members Noel Heroux and Jessica Zambri on a night out in Manhattan (watch it here).
Mass Gothic and tourmates Mazed have also teamed up to release “March of the Cigs” / “Ronette,” a 7” split-single.
Mass Gothic’s “March of the Cigs” is featured on the A-side, and was produced by the band, mixed by Chris Coady, mastered by Greg Calbi. Meanwhile Mazed’s “Ronette” is on the B-side, and was produced by the group, with additional engineering by Rick Kwan, mixing by the group and Josh Ascalon, and mastered by Joe LaPorta.
You can listen to both songs now via Mass Gothic’s Bandcamp page (with Mazed’s “Ronette” also available for download). Listen here.
What people are saying about Mass Gothic:
“Don’t let the name Mass Gothic trick you into thinking the record is a spiral into sadsackism. Each song carries its own weight unreliant and wholly different from the track that came before it, creating a collection of different modes of music and feeling. Songs like “Nice Night” carry an unwavering heaviness and compliment the reflective nature of the lyrics, while the track “Territory” creates a variety of different electronic textures that all stay dancy and catchy. The record is a trip into a variety of different vibes and reasons to listen to music, forming into a wholly memorable and engaging listen. It warps what you think pop, rock, and punk can do when bleeding into each other, one song to the next.” - Noisey
“The four-minute clip follows Heroux as he wanders Chinatown, the East Village, and SoHo, karaoke mic in hand, lip-syncing to the track and going nowhere in particular. Along for the ride are his bandmate (and wife) Jessica Zambri, some random passerby, a few cab drivers, and Sub Pop co-founder Jonathan Poneman…The laid-back feel of the video matches the content (if not the upbeat sound) of the song, which covers Heroux’s feelings of alienation and depression when he was making music that didn’t resonate within. Mass Gothic is an honest record, and its lead single needed an honest video where Heroux could exhale and act naturally” [“Every Night You’ve…” video] - Village Voice
“Noel Heroux started off working alone on a four-track, and after nine years and mild success with his old band, dance-rockers Hooray for Earth, he’s gone back to the way he used to do things. This became a necessity, really — a way of dealing with his depression — but the results capture something quintessential about the emotional experience at hand: There are definite highs, and there are definite lows on his self-titled debut as Mass Gothic for Sub Pop. Sometimes Heroux, who’s accompanied at turns by his wife Jessica Zambri, sounds like he’s trying to kick down the doors of his own brain with the sheer force of distorted riffs and heavy echoes and sharp turns. Other times, he’s just trying to shake off the bad stuff with a dance party where the playlist’s almost exclusively synth-pop.” [ 20 Artists You need To Know in 2016] - Vulture
“Tracks such as the exhilarating “Nice Night” - layered stinging distortion - offer a cathartic energy that’s it’s hard not to be pulled in by. Other highlights include the crisp modern doo-wop of “Every Night You’ve Got To Save Me” and the pulsating digital clatter of “Want To Bad”. The sound of a man finding freedom, it’s an impressive reincarnation.” - Q Magazine
Tour Dates Feb. 04 - Philadelphia, PA - Johnny Brenda’s* Feb. 05 - Cleveland, OH - Grog Shop* Feb. 06 - Chicago, IL - Schuba’s Tavern* Feb. 08 - Minneapolis, MN - 7th Street Entry* Feb. 11 - Boise, ID – Neurolux* Feb. 12 - Seattle, WA - Columbia City Theatre* Feb. 13 - Portland, OR - Bunk Bar* Feb. 14- San Francisco, CA - Rickshaw Stop* Feb. 16 - Los Angeles, CA – Bootleg* Feb. 18 - Denver, CO - Lost Lake* Feb. 19 - Kansas City, MO - Riot Room* Feb. 21 - Louisville, KY – Zanzabar* Feb. 22 - Cincinnati, OH - MOTR Pub* Feb. 23 - Pittsburgh, PA - Club Café* Feb. 25 - Allston, MA - Great Scott* Feb. 26 - Providence, RI - Columbus Theatre* Feb. 27 - Brooklyn, NY – Palisades* Mar. 10 - Washington, DC - Black Cat Mar. 12 - Savannah, GA - Savannah Stopover Mar. 16 - Austin, TX - SXSW Mar. 17 - Austin, TX - SXSW Mar. 18 - Austin, TX - SXSW Mar. 19 - Austin, TX – SXSW *w/ Mazed
We’re now hoping to add another thing for you to know about Sub Pop…
We’ve made (and plan to continue to make) a podcast! Finally, you can hear the stories from inside, outside, and adjacent to Sub Pop, straight from this particular horse’s mouth. We’ll be bringing you conversations with our artists, people who work at or with Sub Pop, and anyone else who will talk to us. And, we’ll be doing much of this same sort of thing with the artists and people related to our sibling label Hardly Art Records.
It’s important to note here that when we say that “we” have made a podcast, we actually mean people here at Sub Pop Records. Hosted by Alissa Atkins (actual, long-time Sub Pop employee!) and Arwen Nicks (actual, albeit part-time and only recently hired, Sub Pop employee!), the Sub Pop Podcast is entirely self-produced and not something pitched to us by shifty entrepreneurs, or created in response to any real, discernible demand or marketing analytics. We have approached this in much the same way we approached starting the label: we really had no idea what we were getting ourselves into, and we’re pretty pleased with ourselves by the results.
And somehow, unrelated to any current or past contractual obligations, we convinced an impressive array of folks to talk with us for this thing. Here we are referring to such revered figures from the wide world of entertainment as: King Tuff! Cat from THEESatisfaction! Jon Benjamin! Ben Bridwell from Band of Horses! Jonathan Meiburg from Shearwater! And eventually, we’re fairly certain, if we can pin him down, Mark Arm!
In the spirit of tell and show, you can listen to the trailer for the podcast at subpop.fm RIGHT NOW. If you like what you hear, you can subscribe (in iTunes or anything) right now, too. The first episode will be available Wednesday, February 3, and new episodes will be delivered weekly until April 2016 (at which point the first season will end).
SO! Visit subpop.fm to listen to the trailer, subscribe to the podcast, sign up for the podcast mailing list, or to get in touch with us.
The Sub Pop Podcast: Absolutely nothing sounds better.
Sub Pop Slurps the Best Soups at the Seattle-Tacoma International Airport
One of the most important questions I get asked while working at the airport isn’t, “How do I get to my rental car?” or “Is there a smoking section in here?” or “Are you the Duty Free store?” but rather, “What is the best food in the airport?” A person who has just met me has now put his or her stomach in my hands. It presumes that I am closer to a ‘foodie’ than a garbage rat, and it’s not a question I take lightly.
So, what is the best food in the airport? It depends on what kind of food you like. Do you have time to kill and cash to spend on a ‘nice’ meal? Do you want a gut-punch of food that will ensure you pass out during your flight? Do you want some kind of regional fare to the Seattle-Tacoma area? Does flying make you nervous, ergo, you want comfort food with no surprises? Are you vegetarian? Those are just some of the questions that run through my head when confronted by the question of where to eat in the airport, but lately, I’ve only had one type of food on my mind.
Soup.
It’s warm, flavorful, hearty but not too-filling, and usually can be found at an affordable price point (although I can’t wait for the day that I have three martini lunches at Anthony’s on the regular). I know what you’re probably thinking, “There can’t be that many soup options at the airport.” Well, guess what, there are so many soup options at the airport, it’ll make your fuckin’ head spin. I asked some of my co-workers for their favorite soups at the airport, and learned more about soup than most folks will ever need to know in their lifetime. So, here’s a practical knowledge bomb that will help you fight off the winter doldrums before your next flight:
Waji’s Udon Noodle Soup: Here’s what you get with their udon noodle soup: A delicate broth, thick noodles, fish cake, and the longest cylinder container I’ve ever eaten out of. Getting to Waji’s involves a trek down to the end of the C Concourse, but it’s definitely worth it.
Wolfgang Puck Gourmet Express: I’ve heard rave reviews of their butternut squash soup, a dish I haven’t yet tried, but I was quite impressed by their cup of tortilla soup, which came with nice flourishes like cilantro, avocados, and a complimentary roll.
Dish D’Lish Soup of the Day: Part of the fun of going to Dish D’Lish is the surprise of what kind of soup they’ll have that day. With our store being open 7 days a week, our staff has tried to come together to decipher Dish D’Lish’s daily soup schedule, but we’ve yet to crack the code, and we’re always left in suspense. We have been treated to the likes of chicken and rice stew, cream of artichoke soup, and even a curry. (Dish D’Lish, if you are reading this, please bring back the curry).
Maki of Japan Miso Soup: It’s miso soup. When done right, miso transcends all description. What more can you want?
Beecher’s Soups: While Beecher’s Handmade Cheese might be well-known for its mac n’ cheese and grilled cheese sandwiches, they also offer more than just a nominal tomato soup. There’s a tasty french onion soup, complete with croutons and cheese that can stand alone, along with a rotating seasonal; at publication, the seasonal is a nice vegetarian chili. Is Chili a soup? A stew? Who cares. Pair it with a bread roll and you’re set.
Wendy’s Chili: OK, so if I’m gonna include Beecher’s chili here, then I have to throw in Wendy’s chili, as well. If you haven’t eaten it in a while, Wendy’s chili packs more of a punch, with meat and plenty of beans. (They don’t call it Rich & Meaty Chili for nothing). Order it off the value menu with a side salad and baked potato, and you’ve got a 3 course meal for under 10 bucks.
Qdoba Mexican Gumbo: So while we dive into the stew realm, Qdoba’s gumbo is a playful concoction for when your typical enormous burrito gets boring. (But I’m pining for the day that they roll out a pozole).
Ivar’s vs. Anthony’s Clam Chowder: Look, I’ll be upfront with you all. I might love soup, but overall, clam chowder grosses me out. Something about the milky creaminess of it just never sounds appetizing to me, but maybe one of these days I’ll come around. Ivar’s and Anthony’s, two venerable local Seattle seafood chains with locations in the airport, both serve clam chowder, and I feel obligated to include it here. Simply put, a Seattle-Tacoma International Airport soup list wouldn’t be complete without their inclusion, but you’ll have to try these out for yourself.
Wolf Parade have reunited after a 5-year hiatus and scheduled a series of residency shows (watch the trailer here) in North America and the UK for 2016. The band shared the news earlier this morning via their newly launched website and social media accounts.
New to Wolf Parade? We made this handy Beginner’s Guide playlist just for you!
The band had this to say about the reunion: “Hey-o everyone! The hiatus is over! We’re so excited to finally get back on stage together at these residency shows in NYC, Toronto, and London. We’ll be playing our favorites from from all the old albums, of course, as well as a taste or two of the new tunes we’ve been writing. Hope to see you there! XO, WP.”
Wolf Parade will perform at New York’s Bowery Ballroom (May 17th-21st), Toronto’s Lee’s Palace (May 24th-26th) and London’s Scala (June 14th-15th). Tickets are available now through wolfparade.com. UPDATE: Due to overwhelming demand, the band have added 2 more shows in Downtown Canada at Lee’s Palace! See the fill list of dates below.
2016 Residency Shows May 17 - New York, NY - Bowery Ballroom May 18 - New York, NY - Bowery Ballroom May 19 - New York, NY - Bowery Ballroom May 20 - New York, NY - Bowery Ballroom May 21 - New York, NY - Bowery Ballroom May 24 - Toronto, ON - Lee’s Palace May 25 - Toronto, ON - Lee’s Palace May 26 - Toronto, ON - Lee’s Palace
May 27 - Toronto, ON - Lee’s Palace
May 28 - Toronto, ON - Lee’s Palace Jun. 14 - London, UK - Scala Jun. 15 - London, UK - Scala
Heron Oblivion have announced U.S. west coast tour dates in support of their forthcoming self-titled debut. You can listen to lead track “Oriar” right now on YouTube and Soundcloud.
Shows include: February 7th in Portland at Sabertooth Music Festival (with Built to Spill and Mikal Cronin); an album release show on March 3rd in Oakland at Starline Social Club; March 5th in Los Angeles at Resident (with labelmate Morgan Delt); And March 6th in San Diego at ‘Til Two. Additionally, Heron Oblivion will appear at Marfa Myths in Marfa, Texas on March 11th and Austin’s Levitation Festival April 29th-May 1st. (All dates below)
Heron Oblivion will be released on CD / LP / DL / CASS worldwide March 4th through Sub Pop, and is now available for preorder from the Sub Pop Mega Mart,iTunes, Amazon, Google Play and Bandcamp. LP preorders from megamart.subpop.com will receive the limited “Loser” edition on clear vinyl with white swirl (while supplies last), and there’s a T-shirt available on its own or in a $ saving bundle!
More on Heron Oblivion from WFMU’s Brian Turner: Pastoral pummel. Listening to Heron Oblivion’s album feels like sitting in a lovely meadow in the shadow of a dam that’s gonna heave-ho’ any minute. Members of this new San Francisco combo have put in time in both raging and relatively tranquil psychedelic sound units—this is the premise and the synergy behind this very unique and special new album (read more at Sub Pop).
Heron Oblivion, which features the highlights ”Oriar”, “Beneath Fields”, “Your Hollows” and “Sudden Lament”, was produced and mixed by the band and Eric Bauer in San Francisco at The Mansion.
What people are saying about Heron Oblivion: “…A raging new psych band.” - Uncut
“Expressive guitar lines laced with feedback sprawl out again and again without trailing away too far. Meg Baird’s serene voice harkens back to ’60s folk singers, subdued in a way that lends special gravity without being bombastic. Frankly, the group sounds exactly like what psychedelic rock should sound like” [“Oriar”] -Stereogum
“Not much of HO’s music lives online at the moment, but what’s there suggests a group— Ethan Miller, Noel V. Harmonson, Meg Baird, and Charles Saufley—who like to jam for long durations in the fuzzy, fiery guitar-laden zone where Neil Young’s Zuma meets Joe Walsh-era James Gang. (One track is called “Funeral Funk 49,” and while it’s not as funky as James Gang’s 1970 hit, it takes you deeper into trance land.) Heron Oblivion also claim influences from the Japanese power-psych label PSF and UK electric folk rock, and Baird’s vocals counterbalance the swarming sound with a dulcet breeziness. - The Stranger
San Francisco band Heron Oblivion (who just signed with Sub Pop) opened the night. Fronted by singer/drummer Meg Baird of the Espers (and a Philly ex-pat who’s sung backing vocals for Vile), the band set the tone for the night with some moody psych-folk/noise rock that was made all the more impressive when paired with Baird’s powerful, haunting voice. - Three Match Breeze
Tour Dates: Feb. 07 - Portland, OR - Sabertooth Music Festival (Crystal Ballroom)* Mar. 03 - Oakland, CA - Starline Social Club Mar. 05 - Los Angeles, CA - Resident** Mar. 06 - San Diego, CA - ‘Til Two Mar. 11 - Marfa, TX - Marfa Myths Apr. 29 - May 01 - Austin, TX - Levitation Festival * w/ Built to Spill, Mikal Cronin, Snakes ** w/ Morgan Delt
