The current and fourth edition of the Sub Pop Singles Club will close at 11:59 pm PST on Sunday, March 3rd. 

The series of 12 limited-edition 7” singles will now include a single by the almost-unspeakably good singer-songwriter Julien Baker, along with records including previously announced artists OCnotes, HIDE, Pallbearer, Uranium Club, Kikagaku Moyo, Man Man, Shannon Lay, Omni, Dream Decay, and more.

Subscribe here now - or at least by March 3rd - to ensure you don’t miss out!

• Subscribing by March 3rd, 2019 is the only way to get the physical 7”s. They will not be available in stores.
• You can subscribe from anywhere in the world.
• You can purchase a subscription as a gift – simply enter the recipient’s name and address in the delivery address fields for your order.
• Each single will be available for streaming and digital purchase two weeks after that single ships. But by then you will not be able to go back in time, subscribe, and get that single. So sign up now if you want vinyl!
• Subscriptions are exempt from any Mega Mart sale discounts.
• You can buy a subscription in the same order as other items you wish to purchase from us. We will ship the rest of your order as soon as possible, but no Singles Club 7”s will ship until April 2019, when you’ll get the first two, with successive singles to follow in pairs every other month thereafter. (We are shipping two singles at a time, every other month, because shipping is expensive and we want this subscription to be relatively affordable.)
• Singles Club subscriptions cannot be sent to your local store and are not part of the Sub Pop Local program. As such, there is no free-shipping option for the Singles Club.
• If you need to change your address at any point during your subscription, please email websales@subpop.com.

Polish Tour Dates also announced. 

Today, February 15th, 2019, marks the debut release of Cast from Polish artist, Perfect Son (aka Tobiasz Biliński). The 10-track album features the previously released lead singles “It’s For Life,” “Lust,” and the latest video offering, “Promises.” Inspired by the legend of Golem and the myth of Pygmalion and Galatea, “Promises” depicts an unusual love story, in an undetermined time. Isolated in an old house away from people, lives SHE. Unable to coexist with others, SHE creates a partner, a humanoid. You can unravel this love story, directed by Jarek Tokarski here. 

 
Cast was co-produced by Biliński and Marcin Buźniak at Axis Audio in Warsaw, with additional production from Jeff Zeigler at Uniform Recording in Philadelphia, and mixed/mastered by Buźniak.

Cast is available via the Sub Pop Mega Mart  and select independent retailers. Those who order the record through megamart.subpop.com will receive the limited edition version on yellow vinyl (while supplies last).

Perfect Son Tour Dates + Ticket Links

The band has announced a string of Polish shows beginning on March 20th in Warszawa, with additional dates beginning on April 4th in Torun. Perfect Son will also appear at this years OFF Festival in Katowice this coming August. Additional European dates to follow. 

Mar. 20 - Warszawa, Poland - Hydrozagadka 
Apr. 04 - Torun, Poland -  NRD
Apr. 05 - Gdansk, Poland - Zak (PL)
Apr. 11 - Poznan, Poland - Meskalina
Apr. 12 - Łódź, Poland - Radio Lódź,
Apr. 13 - Lublin, Poland - Dom Kultury
Apr. 14 - Kraków, Poland - Zet Pe Te
Apr. 17 - Wrocław, Poland - Stary Klasztor
Apr. 18 - Gorzów Wielkopolski, Poland - Magnet Off On, 
Aug. 02 - Katowice, Poland - Off Festival (Poland) 
Aug. 03 - Katowice, Poland - Off Festival (Poland) 
Aug. 04 - Katowice, Poland - Off Festival (Poland) 

Sub Pop is over the moon to announce that we’ve signed Seattle band Tacocat (!) and are set to release their new full-length album This Mess Is a Place on LP/CD/Digital and Cassette on Friday, May 3rd. The sparkly new album is their first for Sub Pop, and heralds a more pop-driven and ebullient direction in their sound. Today, NPR music premiered the official music video for lead-off single “Grains of Salt,” which features a variety of Seattle’s finest drag performers. Watch the official video here. The band has also announced a North American summer tour. Pre-orders are available now from our Megamart, with limited LOSER editions on jade green vinyl. 

Tacocat Tour Dates + Ticket Links

Tacocat also announced a run of 2019 North American tour dates. All tickets go on sale Friday, February 15th at 10 am local time.

May 09 - St. Paul, MN - Turf Club
May 10 - Milwaukee, WI - Cactus Club
May 11 - Chicago, IL - Lincoln Hall
May 12 - Grand Rapids, MI - The Pyramid Scheme
May 13 - Pittsburgh, PA - Club Cafe
May 15 - Cambridge, MA - The Sinclair
May 17 - Brooklyn, NY - Music Hall of Williamsburg
May 18 - Philadelphia, PA - Boot & Saddle
May 19 - Washington, D.C. - U Street Music Hall
May 21 - Durham, NC - The Pinhook
May 22 - Atlanta, GA - The Drunken Unicorn
May 23 - Nashville, TN - The High Watt
May 24 - St. Louis, MO - Off Broadway
May 25 - Kansas City, MO - The Record Bar
June 08 - Seattle, WA - The Showbox at the Market
June 12 - Spokane, WA - The Bartlett
June 13 - Boise, ID - Neurolux
June 14 - Salt Lake City, UT - Kilby Court
June 15 - Denver, CO - Larimer Lounge
June 17 - Dallas, TX - Club Dada
June 18 - Houston, TX - White Oak Music Hall
June 19 - Austin, TX - Barracuda
June 21 - Sante Fe, NM - Meow Wolf
June 22 - Phoenix, AZ - Valley Bar
June 23 - San Diego, CA - The Casbah
June 25 - Los Angeles, CA - The Bootleg Theater
June 26 - San Francisco, CA - The Chapel
June 28 - Portland, OR - Aladdin Theater

This Mess Is a Place
Tracklisting:

1. Hologram
2. New World
3. Grains of Salt
4. The Joke of Life
5. Little Friend
6. Rose-Colored Sky
7. The Problem
8. Crystal Ball
9. Meet Me at La Palma
10. Miles and Miles

About Tacocat’s This Mess Is a Place: 

When Seattle band Tacocat—vocalist Emily Nokes, bassist Bree McKenna, guitarist Eric Randall, and drummer Lelah Maupin—first started in 2007, the world they were responding to was vastly different from the current Seattle scene of diverse voices they’ve helped foster. It was a world of house shows, booking DIY tours on MySpace, and writing funny, deliriously catchy feminist pop-punk songs when feminism was the quickest way to alienate yourself from the then-en vogue garage-rock bros. Their lyrical honesty, humor, and hit-making sensibilities have built the band a fiercely devoted fanbase over the years, one that has followed them from basements to dive bars to sold-out shows at the Showbox. Every step along the way has been a seamless progression—from silly songs about Tonya Harding and psychic cats to calling out catcallers and poking fun at entitled weekend-warrior tech jerks on their last two records on Hardly Art, 2014’s NVM and 2016’s Lost Time.
 
This Mess is a Place, Tacocat’s fourth full-length and first on Sub Pop,finds the band waking up the morning after the 2016 election and figuring out how to respond to a new reality where evil isn’t hiding under the surface at all—it’s front and center, with new tragedies and civil rights assaults filling up the scroll of the newsfeed every day. “What a time to be barely alive,” laments “Crystal Ball,” a gem that examines the more intimate side of responding emotionally to the news cycle. How do you keep fighting when all you want to do is stay in bed all day? “Stupid computer stupor/Oh my kingdom for some better ads,” Nokes sings, throwing in some classic Tacocat snark, “Truth spread so thin/It stops existing.”
 
Despite current realities being depressing enough to make anyone want to crawl under the covers and sleep for a thousand years, Tacocat are doing what they’ve always done so well: mingling brightness, energy, and hope with political critique. This Mess is a Place is charged with a hopefulness that stands in stark contrast to music that celebrates apathy, despair, and numbness. Tacocat feels it all and cares, a lot, whether they’re singing odes to the magical connections we feel with our pets (“Little Friend”), imagining what a better earth might look like (“New World”), or trying to find humor in a wholly unfunny world (“The Joke of Life”).
 
Throughout the album, Tacocat questions power structures and the way we interact with them, recalling the feminist sci-fi of Ursula K. Le Guin in pop-music form. “Rose-Colored Sky” examines the privilege of people who have been able to skate through life without ever experiencing systemic disadvantage: “For all the years spent/Hot lava shaping me/For all the arguments/I wonder who else would I be?” Nokes sings. “If I wasn’t on the battleground/I bet I could’ve gone to space by now.” “Hologram” reminds us to step outside ourselves and try to see beyond imaginary structures that trap us: “Just close your eyes and think about the Milky Way/Just remember if you can, power is a hologram.”
 
The record is full of beautiful details, finding plastic beaded curtains catching light amidst feelings of despair. This Mess is A Place explores politics with more nuance than the topical songs of Tacocat’s past, inviting listeners in for more complicated exchanges and leaving space for introspection. “Grains of Salt” finds the band at the best they’ve ever sounded: Maupin’s spirited drums, McKenna’s bouncy walking bass, Randall’s catchy guitar and Nokes’ soaring melody combine to create a bonafide roller-rink hit that reminds us that it just takes some time, we’re in the middle of the ride, and to live for what matters to you. It’s a delightfully cathartic moment and the cornerstone of the record when they exclaim: “Don’t forget to remember who the fuck you are!”
 
Producer Erik Blood (who also produced Lost Time) brings the band into their full pop potential but still preserves what makes Tacocat so special: they’re four friends who met as young punks and have grown together into a truly collaborative band. Says Nokes: “We can examine some hard stuff, make fun of some evil stuff, feel some soft feelings, feel some rage feelings, feel some bitter-ass feelings, sift through memories, feel wavy-existential, and still go get a banana daiquiri at the end.”
 
—Robin Edwards

Live in London was taped before a live audience at the Eventim Apollo. The album features the Conchords performing new songs from the sold-out UK and Ireland edition of “Flight of the Conchords Sing Flight of the Conchords Tour.”

You can now hear Flight of the Conchords’ live version of fan favorite “Carol Brown” from Live in London, their forthcoming album. The song first appeared in the “Unnatural Love” episode of their hit HBO series and is also available in its original form on I Told You I Was Freaky, the duo’s second studio album on Sub Pop. 

[Album Art Photo credit: Colin Hutton/HBO]

Live in London will be available on 2xCD/3xLP/DL/CS worldwide via Sub Pop on March 8th, 2019. This past October and ten years after the launch of their hit HBO series, musical comedians Bret McKenzie and Jemaine Clement returned to the network for an all-new comedy special.

Live in London is now available for preorder from Sub Pop. LP preorders in North America through megamart.subpop.com and select independent retailers will receive the limited Loser edition on clear w/blue and yellow high melt vinyl (while supplies last). 

This Loser right here:

Additionally, LP preorders of Live in London in Europe and the UK from select independent retailers will receive the limited Loser edition on clear vinyl (while supplies last).
 
The Live in London album features 7 new songs including the “Iain and Deanna,”“Father and Son,”“Summer of 1353,” “Stana,” “Seagull,” “Back on the Road,” and “Bus Driver.” The album also features performances of fan favorites “Inner City Pressure,” “Bowie,” “Foux du Fafa,” “Mutha’uckas - Hurt Feelings,” “Robots,” and “The Most Beautiful Girl (In The Room)’ (the latter two bonus tracks edited out of the broadcast due to time constraints).

Also Announcing 2019 “True Love Is Making a Comeback” Tour.

Weyes Blood (pronounced wizebluhd) will release Titanic Rising, her fourth album and Sub Pop Records debut, worldwide on CD/LP/DL/CS April 5th, 2019. The album features the lead single  “Everyday,” and the previously released “Andromeda,” along with highlights “Movies,” “Wild Time,” and “Something to Believe.” The cover for Titanic Rising was shot in a bedroom submerged fully underwater (zero CGI). 

 

[Cover Art Photo Credit: Brett Stanley]

Titanic Rising, written and recorded during the first half of 2018, is the culmination of three albums and many years of touring: stronger chops and ballsier decisions. It’s an achievement in transcendent vocals and levitating arrangements, conversational lyrics and thoughtful commentary on the modern condition of our souls. Like the Kinks meet WWII (or is it Bob Seger meets Enya?) Titanic Rising manages to ride that line between classic songwriting and post-apocalyptic futurism.

Titanic Rising is now available for pre-order from Sub Pop. LP pre-orders in North America through weyesblood.com, megamart.subpop.com, and select independent retailers will receive the limited Loser edition on maroon colored vinyl (while supplies last).  LP pre-orders of Titanic Rising in the UK and Europe from select independent retailers will receive the limited Loser edition on red vinyl (while supplies last). There is also a new T-shirt design available now.

Titanic Rising
Tracklisting

1. A Lot’s Gonna Change
2. Andromeda
3. Everyday
4. Something to Believe
5. Titanic Rising
6. Movies
7. Mirror Forever
8. Wild Time
9. Picture Me Better
10. Nearer to Thee

Weyes Blood Tour Dates and Ticket Links

Weyes Blood has also scheduled an intergalactic headlining tour for the spring of 2019 in support of Titanic Rising, which begins on April 22nd in Brighton, UK at the Haunt and currently ends June 13th at the Troubadour in Los Angeles. Weyes Blood and her band will visit the UK, mainland Europe, Canada, and the US for these dates. These dates will be preceded by a run of California shows, which run April 1st-April 5th, 2019. More 2019 dates to come.
 
Tickets for the newly announced shows go on sale Friday, February 15th at 10 am PST.

True Love Is Making a Comeback Tour 2019

California 
Apr. 01 - Fresno, CA - Strummers
Apr. 02  - Santa Cruz, CA - The Atrium at The Catalyst
Apr. 03 - Santa Barbara, CA - Velvet Jones
Apr. 04 - Los Angeles, CA - Masonic Lodge [Sold Out]
 
UK/Europe
Apr. 22  - Brighton, UK - The Haunt 
Apr. 23 - Bristol, UK - The Exchange
Apr. 24 - Manchester, UK - YES (The Pink Room) 
Apr. 25 - London, UK - Islington Assembly Hall          
Apr. 27 - Berlin, DE - Kantine am Berghain
Apr. 28 - Hamburg, DE - Turmzimmer
Apr. 29 - Amsterdam, NL - Paradiso Upstairs 
Apr. 30 - Dunkerque, FR  - 4Ecluses
May 02 - Paris, FR - La Maroquinerie
May 03 - Orleans, FR - Astrolabe
May 04 - Brussels, BE - Le Nuits Botanique (Venue: Rotonde)
 
North America 
May 14 - San Francisco, CA - The Independent
May 16 - Seattle, WA - The Tractor Tavern
May 17 - Vancouver, BC - St. James Hall
May 18 - Portland, OR - Doug Fir
May 21 - Minneapolis, MN - Turf Club
May 22 - Chicago, IL - Lincoln Hall
May 24 - Toronto, ON - Horseshoe Tavern
May 25 - Montreal, QC - Petit Campus
May 26 - Portland, ME - SPACE Gallery
May 28 - Cambridge, MA - The Sinclair
May 29 - New York, NY - Music Hall of Williamsburg
May 31 - Washington, DC - U Street Music Hall
Jun. 01 - Philadelphia,  PA - Johnny Brenda’s
Jun. 03 - Atlanta, GA - The Earl
Jun. 04 - Nashville, TN - The High Watt
Jun. 06 - Dallas, TX - Club Dada
Jun. 07 - Houston, TX - White Oak Music Hall (upstairs)
Jun. 08 - Austin, TX - Antone’s
Jun. 11 - Santa Fe, NM - Meow Wolf
Jun. 12 - Phoenix, AZ - Valley Bar
Jun. 13 - Los Angeles, CA - The Troubadour

 

Weyes Blood recently released “Andromeda,” a stellar offering also found on Titanic Rising. The track plays on a few themes (mythology, astronomy, technology), and is ultimately a love song about finding something long-lasting in an ever-changing world full of distractions, unrealistic expectations (“looking up to the sky for, something I may never find”) and past disappointments. 

Stereogum recently named “Andromeda” one of its songs of the week, and said “There are few contemporary artists who sound like Natalie Mering. Her voice is enchanting, and on this song, she asks listeners to give themselves over to love, as if doing so will allow them to live in her plush, technicolor world a little longer.” And The FADER raves “…Mering, crafts melodies that feel rooted in another space and time.” 

About Weyes Blood’s Titanic Rising:
The phantom zone, the parallax, the upside down—there is a rich cultural history of exploring in-between places. Through her latest,Titanic Rising, Weyes Blood (a.k.a. Natalie Mering) has, too, designed her own universe to soulfully navigate life’s mysteries. Maneuvering through a space-time continuum, she intriguingly plays the role of a melodic, sometimes melancholic, anthropologist.
 
Tellingly, Mering classifies Titanic Rising as the Kinks meet WWII or Bob Seger meets Enya. The latter captures the album’s willful expansiveness (“You can tell there’s not a guy pulling the strings in Enya’s studio,” she notes, admiringly). The former relays her imperative to connect with listeners. “The clarity of Bob Seger is unmistakable. I’m a big fan of conversational songwriting,” she adds. “I just try to do that in a way that uses abstract imagery as well.”
 
“An album is like a Rubik’s Cube,” she says. “Sometimes you get all the dimensions—the lyrics, the melody, the production—to line up. I try to be futuristic and ancient at once, which is a difficult alchemy. It’s taken a lot of different tries to get it right.” As concept-album as it may sound, it’s also a devoted exercise in realism, albeit occasionally magical. Here, the throwback-cinema grandeur of “A Lot’s Gonna Change” gracefully coexists with the otherworldly title track, an ominous instrumental. 
 
Titanic Rising, written and recorded during the first half of 2018, is the culmination of three albums and years of touring: stronger chops and ballsier decisions. It’s an achievement in transcendent vocals and levitating arrangements—one she could reach only by flying under the radar for so many years. “I used to want to belong,” says the L.A. based musician. “I realized I had to forge my own path. Nobody was going to do that for me. That was liberating. I became a Joan of Arc solo musician.”
 
The Weyes Blood frontwoman grew up singing in gospel and madrigal choirs. “Classical and Renaissance music really influenced me,” says Mering, who first picked up a guitar at age 8. (Listen closely to Titanic Rising, and you’ll also hear the jazz of Hoagy Carmichael mingle with the artful mysticism of Alejandro Jodorowsky and the monomyth of scholar Joseph Campbell.) “Something to Believe,” a confessional that makes judicious use of the slide guitar, touches on that cosmological upbringing. “Belief is something all humans need. Shared myths are part of our psychology and survival,” she says. “Now we have a weird mishmash of capitalism and movies and science. There have been moments where I felt very existential and lost.”
 
As a kid, she filled that void with Titanic. (Yes, the movie.) “It was engineered for little girls and had its own mythology,” she explains. Mering also noticed that the blockbuster romance actually offered a story about loss born of man’s hubris. “It’s so symbolic that the Titanic would crash into an iceberg, and now that iceberg is melting, sinking civilization.” Today, this hubris also extends to the relentless adoption of technology, at the expense of both happiness and attention spans.
 
The track “Movies” marks another Titanic-related epiphany: “that movies had been brainwashing people and their ideas about romantic love.” To that end, Mering has become an expert at deconstructing intimacy. Sweeping and string-laden, “Andromeda” seems engineered to fibrillate hearts. “It’s about losing your interest in trying to be in love,” she says. “Everybody is their own galaxy, their own separate entity. There is a feeling of needing to be saved, and that’s a lot to ask of people.” Its companion track, “Everyday,” “is about the chaos of modern dating,” she says, “the idea of sailing off onto your ships to nowhere to deal with all your baggage.”
 
But Weyes Blood isn’t one to stew. Her observations play out in an ethereal saunter: far more meditative than cynical. “I experience reality on a slower, more hypnotic level,” she says. “I’m a more contemplative kind of writer.” To Mering, listening and thinking are concurrent experiences. “There are complicated influences mixed in with more relatable nostalgic melodies,” she says. “In my mind, my music feels so big, a true production. I’m not a huge, popular artist, but I feel like one when I’m in the studio. But it’s never taking away from the music. I’m just making a bigger space for myself.”