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LP includes a download code. "Daughn Gibson is quite unlike anyone you will ever have heard" - THE GUARDIAN For those new to DAUGHN GIBSON, the first name rhymes with the Vaughn's Robert and Stevie Ray. He was born in the village of Nazareth, Pennsylvania, (ironic given the title of his debut album "All Hell") and currently resides in the sleepy college town of Carlisle, Pennsylvania,, where he frequents local watering holes like The Cave and Alibis. He's 6'5", hovers at 200 pounds and has a head of jet black hair thicker than a porcupine. He played drums in PEARLS & BRASS for a number of years, touring the US to small but enthusiastic crowds. For some time in between, Daughn was a trucker, but he's also been packing boxes in an un-airconditioned warehouse, climbing up commercial broadcast towers with untested levels of radiation, working the register at an adult bookstore, doing sound at dive bars and collecting unemployment checks to earn a living. Daughn's been around. Daughn Gibson's second album "Me Moan" is his Sub Pop debut. The album kicks-off with the lead track "The Sound Of Law" and features highlights "Kissing On The Blacktop", "Mad Ocean", "You Don't Fade", and "The Pisgee Nest". "Me Moan" was produced by Daughn Gibson and Benjamin Balcom and recorded at MINBAL in Chicago and mastered by Greg Calbi at Sterling Sound. "Me Moan" follows 2012's breakthrough debut, "All Hell", released on Matthew K of PISSED JEANS' label White Denim. At once both foreign and familiar, Daughn's music is immediately striking, through the use of dusty thrift store records and baptized them as fierce, future Americana. His songs as frequently tender as they are prurient, as hopeful as they are brimming with despair. He treats the past with respectful reverence while still appreciating what is happening at the forefront of electronic production. The follow up and Sub Pop debut "Me Moan" has taken "All Hell"'s willful lead, grabbed the rule book, laughed in its face and driven it to the tip. The woozy baritone remains intact but what surrounds it is utterly unique. Like SCOTT WALKER's 1-4 sharing a drink with WAYLON JENNINGS, neon lit and glowing with the hazily blue-ish light of a computer screen. Daughn was also going through a big FLEETWOOD MAC phase during the album's gestation, endlessly submerged in "Mirage" and "Tango In The Night", resulting in a record that bubbles with melodic invention, taking in the classics and re-tooling them to create an entirely new musical landscape. He also has a penchant for the likes of DEMDIKE STARE and is smitten with all things hip hop. Daughn really likes to get around. While the roots of sample-based music remain, these songs and every piece of music on them is performed live, lushly detailed and richly orchestrated. While taking in everything from live drums, pedal steel and horns, to house strings, organs and even bagpipes, it never feels over stuffed, with every instrument or melody in its rightful place. Elsewhere, guitarists John Baizley (BARONESS) and Jim Elkington (BROKEBACK) provide stunning performances. "Me Moan" takes the listener on a journey as seen through Daughn's eyes, with stories and characters that are distinctively Noir-ish. Daughn is a uniquely American and modern artist who throw's his romantic soul into his work, free of compromise, possessed by a singular vision. Style: Singer/Songwriter

"Daughn Gibson is quite unlike anyone you will ever have heard" - THE GUARDIAN For those new to DAUGHN GIBSON, the first name rhymes with the Vaughn's Robert and Stevie Ray. He was born in the village of Nazareth, Pennsylvania, (ironic given the title of his debut album "All Hell") and currently resides in the sleepy college town of Carlisle, Pennsylvania,, where he frequents local watering holes like The Cave and Alibis. He's 6'5", hovers at 200 pounds and has a head of jet black hair thicker than a porcupine. He played drums in PEARLS & BRASS for a number of years, touring the US to small but enthusiastic crowds. For some time in between, Daughn was a trucker, but he's also been packing boxes in an un-airconditioned warehouse, climbing up commercial broadcast towers with untested levels of radiation, working the register at an adult bookstore, doing sound at dive bars and collecting unemployment checks to earn a living. Daughn's been around. Daughn Gibson's second album "Me Moan" is his Sub Pop debut. The album kicks-off with the lead track "The Sound Of Law" and features highlights "Kissing On The Blacktop", "Mad Ocean", "You Don't Fade", and "The Pisgee Nest". "Me Moan" was produced by Daughn Gibson and Benjamin Balcom and recorded at MINBAL in Chicago and mastered by Greg Calbi at Sterling Sound. "Me Moan" follows 2012's breakthrough debut, "All Hell", released on Matthew K of PISSED JEANS' label White Denim. At once both foreign and familiar, Daughn's music is immediately striking, through the use of dusty thrift store records and baptized them as fierce, future Americana. His songs as frequently tender as they are prurient, as hopeful as they are brimming with despair. He treats the past with respectful reverence while still appreciating what is happening at the forefront of electronic production. The follow up and Sub Pop debut "Me Moan" has taken "All Hell"'s willful lead, grabbed the rule book, laughed in its face and driven it to the tip. The woozy baritone remains intact but what surrounds it is utterly unique. Like SCOTT WALKER's 1-4 sharing a drink with WAYLON JENNINGS, neon lit and glowing with the hazily blue-ish light of a computer screen. Daughn was also going through a big FLEETWOOD MAC phase during the album's gestation, endlessly submerged in "Mirage" and "Tango In The Night", resulting in a record that bubbles with melodic invention, taking in the classics and re-tooling them to create an entirely new musical landscape. He also has a penchant for the likes of DEMDIKE STARE and is smitten with all things hip hop. Daughn really likes to get around. While the roots of sample-based music remain, these songs and every piece of music on them is performed live, lushly detailed and richly orchestrated. While taking in everything from live drums, pedal steel and horns, to house strings, organs and even bagpipes, it never feels over stuffed, with every instrument or melody in its rightful place. Elsewhere, guitarists John Baizley (BARONESS) and Jim Elkington (BROKEBACK) provide stunning performances. "Me Moan" takes the listener on a journey as seen through Daughn's eyes, with stories and characters that are distinctively Noir-ish. Daughn is a uniquely American and modern artist who throw's his romantic soul into his work, free of compromise, possessed by a singular vision. Style: Singer/Songwriter

Vinyl includes mp3 coupon. 45 RPM double LP. The notion that there is nothing new under the sun can be both a blessing and a curse to musicians. On the one hand, it absolves artists from any nagging sense that they have to reinvent the wheel with every new project. On the other, it makes innovation seem like a fool's errand. Seattle songwriter Chris Cheveyo embraces this blessing, but, with his compatriots in ROSE WINDOWS, he also defies the curse. The band follows Western traditions in their instrumentation, using the basic tools employed in past decades of American and British rock music. Elements of THE BAND's folk-infused rock, THE DOORS' organ-driven psychedelia, and BLACK SABBATH's blues-based dirges can be heard in ROSE WINDOW's debut album "The Sun Dogs". But the septet's curiosity goes much further than a few well-chosen classic rock records. The band devoured Persian, Indian, and Eastern European music, and incorporated the revelations learned into ROSE WINDOWS' sound. "The Sun Dogs" challenges the assumption that all creative territories have been mapped out and charted. While Rose Windows aren't interested in making music of the future, one reviewer was wise enough to note "a sound like this would not be possible in any other time." ROSE WINDOWS began in late 2010 in a house in Seattle's Central District, where Cheveyo found himself tiring of the limited palette of his prior heavy, post-rock project. Starting with a few rough demos by Cheveyo alone, ROSE WINDOWS took shape as the band amassed members from their circle of musician friends. ROSE WINDOWS began playing out, fluidly sharing the stage with underground art-metal bands one night and popular indie Americana acts the next. In November of 2011, the band began working on "The Sun Dogs" with local producer Randall Dunn (SUNNO))), BORIS, EARTH, MASTER MUSICIANS OF BUKKAKE). Dunn's penchant for musical anthropology proved the perfect match for the band, with their mutual curiosity and artistic ambition broadening the scope of the album. Dynamics were expanded. Boundaries were pushed. CD, Album

Artist: Rose Windows Label: Sub Pop

On "Carl", St. Paul's CONDOMINIUM churn out three tracks of their trademark blend of hardcore punk and mutated, art-damaged heaviness. This is CONDOMINIUM's sixth vinyl release, after four long-sold out 7"s and the "Warm Home" LP, all of which made the underground rock cognoscenti drool all over their Flipper shirts. All three tracks are new and exclusive to this release. Style: Punk/Hardcore

On THE BAPTIST GENERALS' sophomore album, the word "heart" repeats eight times. The Denton, TX band, known for its haunting, claustrophobic take on drunken folk, needed ten full years to bare its hearts - one of which is in the album title, "Jackleg Devotional to the Heart", a name that songwriter Chris Flemmons conjured shortly after he recorded, and then trashed, the album's first attempt in 2005. Flemmons goes so far as to call this his "love album," and it's an apt description - though love through THE BAPTIST GENERALS' eyes is plenty complicated. Jackleg's hearts don't resemble valentines. The band's vibraphones, guitarrons and ambient feedback combine like a mess of ventricles, aortas and veins - not to mention, from the sound of it, all of the blood spilled while Jackleg lurched for years toward an eventual finish line. Call it a love record, then. It's the kind of love Flemmons had to figure out in the ten years since THE BAPTIST GENERALS' critically-acclaimed 2003 full-length debut "No Silver/No Gold", a period in which he admits he's fallen in love with a wild spectrum of music - the Ethiopiques series, saxophonist Archie Shepp, film scorer Meredith Willson, and plenty more. That wide spectrum only befits Jackleg's repeated need to buck genre; in fact, the 2005 version of the album hit the trash heap because "it sounded like any other indie rock-type band," Flemmons admits. Co-produced by Stuart Sikes (LORETTA LYNN, CAT POWER, THE WALKMEN, MODEST MOUSE, THE WHITE STRIPES) and the band's Jason Reimer, "Jackleg Devotional to the Heart" sounds like exactly no one else Style: Indie Rock

Artist: Baptist Generals Label: Sub Pop

London-based duo STILL CORNERS releases its exquisite new album "Strange Pleasures", the follow up to "Creatures Of An Hour", the band's acclaimed 2011 debut, via Sub Pop. The album is led by the single "Berlin Lovers", as well as highlights "Beginning to Blue", "Future Age," "Beatcity," and the previously released album teaser, "Fireflies". "Strange Pleasures" was produced by band leader Greg Hughes at his Greenwich studio in London. Riding that insatiable kinesis over the last two years has resulted in Hughes, along with singing accomplice Tessa Murray, fashioning a devastating sophomore album, "Strange Pleasures", which is surely destined to usher STILL CORNERS to a deserved place at cerebral dream-pop's high table. Where its predecessor soared on sugared layers of shoegazing-infused retro-futurism, "Strange Pleasures" proffers a leaner, more acute extrapolation of '80s-suffused song and studio craft, navigating a sinuous trajectory between velveteen Angelo Badalamenti noir-pop torch song sophistication and ethereal Cocteau Twins beauty, with exquisite meanders through the glacial but mellifluous territory first mapped by Modern English, The Cure and The Passions, with nods along the way to cool, graceful detachment a la '80s Euro avant-poppers such as Berntholer and Virna Lindt (read more at Sub Pop). "Another dreamy, widescreen pop gem" - ["Berlin Lovers" Track Post] Gorilla Vs. Bear "Fireflies"... is no less beholden to the past-- only, this time, the band's drawing from the spangly, huge-sounding sounds of 1980s synth-pop. The change suits them well, as it's their most immediate and starry-eyed song to date, with Tessa Murray's multi-tracked vocals navigating their way through gorgeously empty terrain dotted with cymbal washes and gently pulsing synth tones." - ["Fireflies" Track Review, "Best New Track"] - Pitchfork "Called "Fireflies," the tune leans closer to 1980s dance music than previous atmospheric offering, Creatures Of An Hour. It's still full of the band's signature dreaminess." - Under The Radar "...A wonderful surprise" - ["Fireflies" Track Review] Refinery 29 CD, Album, Gatefold

Artist: Big Chief Label: Sub Pop

Artist: Still Corners Label: Sub Pop

Artist: Vaselines Label: Sub Pop (Irascible Distribution)

Sub Pop is thrilled to share the news that THE POSTAL SERVICE, the much-beloved, long-distance collaboration between Ben Gibbard and Jimmy Tamborello, reunite to celebrate the 10th anniversary and deluxe edition reissue of their universally acclaimed rele Style: Indie Rock

25 years in, Vanishing Point decisively affirms that, even in an age where only the newest of the new can survive (and even then, only for a few weeks at best), Mudhoney still have plenty to say and more to offer. These are songs written from the rare vantage point of a band who went through the rock n' roll meat-grinder and not only lived to tell such a tale, they came out full of the wisdom and dark humor such a journey provides. Vanishing Point is filled with dread, psychoanalysis and Nuggets-on-fire riffs; the sort of real, uninhibited rock music that is harder and harder to locate these days. With Vanishing Point, Mudhoney makes it easy. CD, Album

Artist: David Cross Label: Sub Pop

Artist: No Age Label: Sub Pop (Irascible Distribution)

Artist: Red Red Meat Label: Sub Pop

Artist: Kelley Stoltz Label: Sub Pop (Cargo Records)

Artist: Postal Service Label: PIAS.

Sub Pop Records is excited to announce that Duluth, Minnesota, trio LOW are releasing their 10th record, "The Invisible Way". The record was produced by Wilco's Jeff Tweedy, engineered by Tom Schick and recorded in Wilco's studio in Chicago during the autumn of 2012. Coincidentally, the release marks LOW's 20th anniversary as a band. Rather than put together an own, inevitably-inadequate description of the album, Sub Pop will let LOW's Alan Sparhawk do the talking: "While driving though Chicago, on tour, we stopped finally to visit Wilco at their studio, The Loft. They had invited us to come check it out several times over the years, but this would finally be the day. It's a great place-a sea of nstruments in a relaxed, open working environment. It's cool, but what really converted us was hearing the new Mavis Staples tracks they were working on: big, simple, raw, and intimate. Plans were made then and there. "Don't break my Grammy streak." We have worked with many of the great engineer/producers. Jeff Tweedy has been on our side of the microphone for over 25 years, however with engineer (and fellow Grammy winner) Tom Schick, he has of late become a formidable and eclectic producer. He spoke a language we understood, but then took us effortlessly into the mystery. We've made many records, and you know our M.O.: slow, quiet, sometimes melancholy, and, we hope, sometimes pretty... How is this different from any other Low record? - Mimi sings lead on five of the eleven songs (she usually only does one or two, despite being a fan favorite). - Piano, lots of piano... and an acoustic guitar. - Songs about intimacy, the drug war, the class war, plain old war war, archeology, and love. Thank you for your time again and please enjoy what we made. I think it's beautiful CD, Album, Gatefold Cardboard Sleeve