The official music video for Orville Peck’s “Queen of the Rodeo” is premiering today. Directed by Austin Peters (Haim, Chvrches, Bastille), the video also features a special interlude version of Peck’s song “Roses Are Falling.” 

Both songs come from Peck’s critically acclaimed debut album Pony, out now on Sub Pop Records. In celebration of the album, Peck will continue his extensive U.S. tour this spring including stops at Seattle’s Showbox, San Francisco’s The Independent, Las Vegas’ Brooklyn Bowl, San Diego’s Humphrey’s and New Orleans’ Music Box Theatre among several others. Peck will also perform at both Coachella and Stagecoach festivals this spring, one of the select few artists performing at both events. Tickets for these shows are on-sale now via https://www.orvillepeck.com/tour.

Sub Pop is pleased to announce a new partnership with the Night Flight Plus streaming service. Night Flight Plus members can now watch fifty Sub Pop videos with new introductions by the show’s original host Pat Prescott. Featured artists include Weyes Blood, Mudhoney, Sleater-Kinney, Orville Peck, and more.

Check out Night Flight’s official Sub Pop playlist here on Spotify.

Remembered by millions, Night Flight aired on the USA network from 11 PM–4 AM and is credited with breaking numerous alternative and avant-garde musicians and directors to TV audiences around the country. (Night Flight premiered four months before MTV). As DEVO’s Mark Mothersbaugh recalls, “Night Flight was one of the cool shows to be seen on, and it was a big deal to us to get the opportunity.”
 
The brand relaunched in 2016 as an on-demand streaming service offering exclusive access to the original 1980s episodes as well as an eclectic collection of cult films, music documentaries, and concerts. The new Sub Pop partnership allows users to stream current and legacy Sub Pop music videos adapted to the show’s original format.

 
Night Flight’s pioneering “Take Off” format featured artists and genres in “blocks” which helped cultivate the high cultural literacy Night Flight is now most known for today. An essential platform for discovery, Night Flight is honored to expose its loyal following to the music and video art of both new and legacy Sub Pop artists. 
 
Stuart S. Shapiro, Night Flight Creator, and CEO said: “Sub Pop is the quintessential independent label and Night Flight has always been dedicated to the discovery and support of emerging and alternative music artists. We are thrilled that Sub Pop is our first label featured on NF Plus and expect to make a big push to all the others.”
 
Night Flight Plus is available on Roku, Apple TV, Amazon Fire TV and online. Subscription info is over here. 

Follow Night Flight on Facebook, Instagram, and Twitter.

Here we have a brand new track from the one and only King Tuff! He also has a little something to say about it:

“I’m Free” is a song I wrote a few years back which first appeared on Ty Segall’s album Freedom’s Goblin. Ty had asked me to write a song for him to record and I had this little demo laying around which I gave to him. I never really thought about it much after that but recently I was asked if I would ever release my own version of the song… so here it is! My favorite time to write songs has always been in the middle of the night. The world slows down and the little nocturnal critters start hooting, howling, buzzing, bubbling… there’s just different ideas that float around that you can’t catch during the day. This is a small song about that. The crickets and raindrops you hear towards the end of the song were recorded one night in June in Vermont outside of a witches hut.”

Listen here, too:  Spotify | Apple Music

Sub Pop has signed Man Man to a worldwide deal and will release Dream Hunting in the Valley of the In-Between on CD/2xLP/CS/DL worldwide on May 1st, 2020.  You can now watch the new lyric video for “Cloud Nein,” the album’s ebullient first offering, which is available now at all DSPs. Honus Honus, who directed the visual, says of the track, “Life is short. Dance, be merry.”

The 17-track effort also features “Future Peg,” “On the Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus Ghahremani, mixed by S. Husky Höskulds (Tom Waits, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting…also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. 4 of the Sub Pop Singles Club in 2019.

Man Man will tour extensively in 2020 in support of Dream Hunting in the Valley of the In-Between. Live dates will be announced soon. 
 
Dream Hunting in the Valley of the In-Between is now available for preorder from Sub Pop.

[Album art credit: Petecia Le Fawnhawk]

Man Man
Dream Hunting in the Valley of the In-Between

Tracklisting:
1. Dreamers
2. Cloud Nein
3. On the Mend
4. Lonely Beuys
5. Future Peg
6. Goat
7. Inner Iggy
8. Hunters
9. Oyster Point
10. The Prettiest Song in the World
11. Animal Attraction
12. Sheela
13. Unsweet Meat
14. Swan
15. Powder My Wig
16. If Only
17. In the Valley of the In-Between

LP purchases through megamart.subpop.com and select independent retailers in North America will received the limited Loser edition on white vinyl with a pinkish swirl (while supplies last). Meanwhile, preorders through select independent retailers in the U.K. and Europe will receive the limited Loser edition on pink vinyl (also, while supplies last). There will also be a new T-shirt design available.

[Photo credit: Dan Monick]

About Man Man’s Dream Hunting in the Valley of the In-Between:
Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes: beauty and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and his Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring.

At the end of 2015, Man Man went on an unexpected and unforeseen hiatus, and thus began a period of creative reinvention for Honus. He worked in music supervision and on scores (The Exorcist, Superdeluxe, Do You Want to See a Dead Body?). He acted in the indie film Woe (“I played a park ranger, a nice guy in a sad movie.”), So It Goes, a short musical film with Mary Elizabeth Winstead, and starred in the award-winning tour documentary Use Your Delusion. He also developed an animated series, wrote film scripts, a graphic novel, a neo-noir TV pilot, and briefly penned a music column for The Talkhouse all while continuing to work on new music, such as an unreleased kids’ record, another Mister Heavenly album, a self-released Honus Honus record, and a conceptual art/noise project Mega Naturals. He was sleeping 2.5 hours per day.

In the midst of this Man Man sabbatical, Honus began piecing together what would become Dream Hunting in the Valley of the In-Between. He recruited longtime-creative collaborator Ghahremani to help him produce. Written in a friend’s LA “guesthouse” (more shack than chic) that had “an old upright piano, a thrift store lamp, and nothing else,” it was an arduous, three-and-a-half-year process, “I had chord progression notes that looked like chicken scratch and lyrics on pieces of paper stuck all over the walls. It looked like I was about to break the big case, catch the killer,” he says, laughing. “One of the best things about this time, in these ‘lost in the wilderness/surreal exile from my own band’ years, was that I finally found players who believed in me, trusted my vision, respected my songwriting. It was rejuvenating.”

Dream Hunting in the Valley of the In-Between opens with “Dreamers,” an ethereal instrumental that soon takes a dark turn into the 20 seconds of cacophony that introduces “Cloud Nein.” An exercise in orchestral-pop storytelling tinted by wry cynicism, it features lyrics such as, “All your dreams crash and burn, and fall to the ground. When they’re made of sweet nothings ’cause nothing sticks around.” Says Honus: “I was writing a song about someone else, but also myself, in a sense. You have to keep changing, evolving in order to survive, appreciate what you have while you have it because there are no guarantees it’ll stick around forever. AKA, life.”

He would find inspiration everywhere. “If Only,” featuring feather-light vocals from Steady Holiday’s Dre Babinski, came to him in a dream. “I first heard ‘If Only’ sung in an R&B Jackie Wilson kind of way,” he says of the haunting piano lullaby. The glitched-out fever dream “Oyster Point” opens with a recording of 8-year-old Honus singing to his newborn brother and named after the town where the frontman and his bandmates met someone who tried to sell them a broken bass clarinet. An ex, bitten by a goat and worried she’d contracted salmonella (true story!), inspired the off-kilter jazz narrative “Goat.” (Spoiler alert: It doesn’t end well!) In the opening seconds of “Goat” you can actually hear the first time Honus presented the song to his band —an iPhone recording of his drummer playfully teasing, in classic 80s movie tone, “Don’t fuck this up. This is a big gig,” before launching seamlessly into the studio version. “I was taking songs out under the guise of my solo band,” he explains, “so we could test the waters, see what worked live, what didn’t, and then I’d adjust accordingly. When it came time to finally record, we did everything at Cy’s studio but after a year or so of tracking, I didn’t like how ‘in the box’ and stiff everything felt so we booked out a short tour with the sole intention of rolling back and recutting everything together live in a larger studio space. In two frantic tracking days. It was crucial to me that this album feels like a band playing together in a room, communicating with each other, breathing, organic, slithery, alive.”

This lust for life, gloriously unhinged at times, beats strongly throughout. The “Inner Iggy,” all staccato Pinocchio Pleasure Island vibes, pays obeisance to the punk singer as a one-man tsunami. Joseph Beuys, the conceptual artist famous for cohabitating with a coyote at a gallery, stands at the center of the full-throated “Lonely Beuys.” Meanwhile, “Sheela,” a pop-fuzz update on doo-wop, is a love song to the cult attaché at the center of Wild Wild Country. “I watched that documentary, and she terrified me,” he says. “But weeks later, I couldn’t stop thinking about her. I loved how strong and powerful and determined a person she was.” The devil is in the details, which is why they affected coyote howls to honor the hell-raiser.

“I started Man Man because I saw Holy Mountain when I was 22. It blew my mind. I had never been in a band or played music before, but I knew I needed to make songs that sounded like that movie felt,” he says. “When I was hunkering down to write, there was a lot of self-doubt, fighting the urge to throw in the towel. It was unavoidable but I had to dive headlong into these fears and twist them into something that wasn’t dominated by them. I’m not gonna lie, it fucking sucked, but it definitely forced the best album of my career out of me. Sometimes you have to tear it all down to build it back up the right way.”

Kattner caught the killer. He is currently sleeping 3.5 hours per day. Hope reigns.