Фирма Sub Pop

Style: Alternative

With "An Object", their fourth full-length album, NO AGE has forgone the straight and narrow route, landing in a strange and unexpected place, feet planted in fresh, fertile soil. This new LP finds drummer/vocalist Dean Spunt exploding from behind his kit, landing percussive blows with amplified contact mics, 4-string bass guitars, and prepared speakers, as well as traditional forms of lumber and metal. Meanwhile, guitarist Randy Randall corrals his previously lush, spastic, sprawling arrangements into taught, refined, rats' nests. Lyrically Spunt challenges space, fracturing ideological forms and complacency, creating a striking new perspective that reveals thematic preoccupations with structural ruptures and temporal limits. As the title "An Object" suggests, these eleven tracks are meant to be grasped, not simply heard. Whether in the fine grit of Randall's sandpaper guitar scrapes on "Defector/ed," or Spunt's percussive stomp and crack on "Circling with Dizzy" and "An Impression," these are songs that pivot on the sheer materiality of music-making, incorporating the process every step of the way. Still, this is hardly a work of avant garde noise music. These songs are hummable, political, recognizably rooted in underground rock, and informed by an understanding of sound as a material to be shaped, handled, and worked over. It is an aesthetic in which the relationships between guitar, percussion, and vocals-as well as those between rhythm and melody-become relationships between things. Style: Independent

Ruthless Sperm". What's in a name? A whole hell of a lot, actually. Sperm can ruin everything. Persistent little shits that fight their way to the prize. If just one soldier gets ahold of its egg of choice, things will break apart, bubble and mutate. A microscopic violence that leads to thirty plus pounds of sludge and flesh. Still, beauty tends to be the outcome after all this splashy mess and most parties find a happy, rewarding ending. Most parties. To the unfortunate others, the outcome can be more terrifying than anything dreamed up in a Polanski flick. Italy's HIS ELECTRO BLUE VOICE follows a similar path to creation. Once the choice is made, it's guaranteed the trip will be violent and unrelenting. Only the band doesn't tell you up front which crooked path is gonna lead you to the finish line (at first, they may not even know). But whether it's slathered in a thick glaze of neo-gothic guitar, an unexpected electronic pulse or leveled under a death trip full of panic inducing terror shrieks, HIS ELECTRO BLUE VOICE have become masters at building soundscapes that leave brave listeners spent, soiled and with nothing positive on their mind. On "Ruthless Sperm" - HIS ELECTRO BLUE VOICE's debut full-length, after a string of collectible singles/EPs and an appearance on the Sub Pop 1000 compilation - they set their trajectories on a Kraut-driven rhythm; a haunting, cinematic wash or a mechanically-sound industrial thump. Thirty-plus minutes of shock-horror blasts, blaring cyber-synth attacks and that gloriously-repetitive Stoogeoid-meets-Killing Joke throb. The end result is a platter that's as direct as it is deadly. Yet for all the bombast and bummer, HIS ELECTRO BLUE VOICE still bring forth euphoric hooks and shards of shoegaze, if only to leave them strewn about within the mechanical wreckage. You can almost hear the sounds of the early 4AD roster in the grooves, left teetering between warped indie sensibility and creepy-crawl madness. Crazy sounding, but damned if it doesn't stick in your head. "Ruthless Sperm" by HIS ELECTRO BLUE VOICE: subtle as a construction site and precise like a leather gloved killer. This is the apocalypse. This is end times. Thankfully we get a decent soundtrack to go with it. Style: Alternative Rock

Artist: Iron & Wine Label: Sub Pop

Artist: Postal Service Label: Sub Pop

Artist: No Age Label: Sub Pop

Artist: His Electro Blue Voice Label: Sub Pop

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

Style: Alternative

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