Sub Pop has signed Polish artist Perfect Son (aka Tobiasz Biliński) for the world, to release Cast, his label debut on CD/LP/DL February 15th, 2019. The 10 track album, which features the lead single “It’s For Life,” along with the highlights “Promises,” and “Lust,” 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.
On “It’s For Life,” Biliński’s soft falsetto and arching melodies are embedded in a world of enormous drums, pounded piano, and blown-out bass. The lyric video (as seen above, and also heard on Spotify or Apple Music) was co-directed by Biliński and his wife Anna Mayer-Bilińska, and shot in his hometown of Sopot, and in Warsaw, where he now resides.
1. Reel Me 2. Lust 3. It’s For Life 4. Old Desires 5. So Divine 6. Promises 7. High Hopes 8. My Body Wants 9. Wax 10. Almost Mine
More About Perfect Son and ‘Cast’
Sometime in 2016, just as the Polish singer and producer Tobiasz Biliński began to find success through the dim and fractured electropop of Coldair, he knew it was time for a radical change. The songs on The Provider, Coldair’s much-lauded third album, had been an exorcism of sorts. Laced with songs about early death, chronic disappointment, and clouded minds, the record was, as he puts it now, his earnest attempt to “get all this old shit out.” That mission accomplished, he needed something new, a restart—the unabashedly radiant and unapologetically complex pop of Perfect Son, delivered in 10 perfect shots on Biliński’s Sub Pop debut, Cast.
[Photo Credit Weronika Izdebska]
In the past, Biliński’s music has flirted with and explored the darkness, first in a sort of Transatlantic freak-folk and then with the gothic refractions of Coldair. But on Cast, Perfect Son steps boldly into the light without sloughing off emotional weight or depth. With powerful, sweeping production that recalls the best pop beats of Matthew Dear and arcing melodies that conjure the majesty of Jonathan Meiburg, Perfect Son animates sensations of lust, belonging, and newfound trust with tumescent electronic arrangements that threaten the safety of any sound system.
On opener “Reel Me,” his soft falsetto floats through a Steve Reich-like pulse and above an ominous guitar, as he describes the feeling of a soul lost in the wilderness and doubting his own humanity. But the drums and the bass stir him awake, giving him a sense of vitality and belonging: “I’m finally aware,” he confesses, eyes brightened. “And fearing things.” During the thunderous “It’s For Life,” Biliński wraps his voice around a world of enormous drums, pounded piano, and blown-out bass. “It’s alright/It’s for life,” the newly married singer offers in the instantaneous chorus.
Biliński doesn’t forsake the heavier things here. The haunted “Old Desires” battles latent demons, soundtracked by howling synthesizers and harmonies that seem to hang in the distance like ghosts. The sweeping closer “Almost Mine” is a candid confession of pain and a frank acknowledgment that, one day, even the relationships that give us strength and purpose will crumble. Biliński sings about falls throughout Cast but also about picking yourself back up, about pressing on despite or perhaps because of the bruises. In the process, he is lifted by music that feels unabashedly motivational, built to remind us that the best times are hopefully to come.
Perfect Son, it should be said, is Sub Pop’s first Polish artist, the result of an extended interest in Biliński’s work and the country itself from label co-founder Jonathan Poneman. Several years ago, Biliński applied to play at South by Southwest as Coldair. Poneman saw his performance, and was impressed. The two stayed in touch, with Poneman eventually signing Coldair to a publishing deal. “I bugged him about releasing my stuff constantly,” Biliński admits with a laugh. “And I guess he admired my persistence.”
When Cast was finally finished, Poneman didn’t need more convincing. These songs, after all, are magnetic, with the searching harmonies and deep drums of “Promises” and the rhythmic intricacy and serial synths of “Wax” pulling you close on first listen and holding you there for the foreseeable future. These songs and this story are about the power of human perseverance and deliberate reinvention, of knowing that you can confront and come to terms with the darkest angels of your being. Cast is a testament to the possibilities of the future, brilliantly disguised as 10 grandiose and undeniable pop anthems.
Due to popular demand, the Deluxe Box Set will now be available December 14th, 2018.
You can now watch clipping.’s new lyric video for “Stab Him in the Throat” directed by Mortis Studio. The song is found on the Rick and Morty soundtrack, and is inspired by the show.
Due to overwhelming popularity, the release date for the Deluxe Box Set version of the Rick And Morty soundtrack has been moved to December 14th in order to meet demand. For those customers who have waited patiently for their pre-orders, we will be shipping orders on a first come, first served basis as soon as these sets become available.
The Deluxe Box Set includes the album on double-LP pressed on an exclusive “Portal” colored vinyl* along with a custom poster, a patch, a sticker, and a bonus 7” single (featuring an extended mix of the screaming sun from the 2nd season finale, pressed on clear vinyl). All of this comes housed in an attractive, borderline extravagant box featuring a plexiglass window cover which reveals a glowing design when lit by its integrated LED lights.
The Rick and Morty Soundtrack is currently available in the following formats:
A standard CD
A double LP pressed on colored vinyl featuring two single-pocket LP jackets housed together in a custom die-cut slipcase.
A full digital release of all of the material on the CD and double LP
A traditional cassette tape of Rick and Morty soundtrack will also be available this Friday, November 23rd, 2018.
About Rick and Morty
Rick and Morty follows a sociopathic genius scientist who drags his inherently timid grandson on insanely dangerous adventures across the universe. Rick Sanchez is living with his daughter Beth’s family and constantly bringing her, his son-in-law Jerry, granddaughter Summer, and grandson Morty into intergalactic escapades. Can the family survive Rick’s insanity and all the chaos the universe throws at them?
Rick and Morty stars Justin Roiland, Sarah Chalke, Chris Parnell and Spencer Grammer. The series is created by Dan Harmon and Roiland who also serve as executive producers.
In the “Moon Whip Quaz” video, slumber party magic summons forth the otherworldly figure known as Quäz; and in the “ode to badass females” visual for “Julian’s Dream (ode to a bad),” the mythical Quäz joins forces with lead protagonist Dr. Julian in her quest to liberate the controversial bodyswap tech she invented.
Shabazz Palaces European and UK tour dates in support of Quazarz Born on a Gangster Star, and Quazarz vs. The Jealous Machines have been extended through February 2019. Beginning November 17th in Skopje, Macedonia and ending December 3rd, 2018 in London at O2 Arena, the group will support Ms. Lauryn Hill on the EU/UK edition of “The Miseducation of Lauryn Hill 20th Anniversary Tour.”
Then in early 2019, Shabazz Palaces’ EU/UK headlining tour has expanded and now begins February 1st in Toulouse at Le Metronum and ends February 8th in Dublin at The Sugar Club.
Nov. 17 - Skopje, MK - MKC* Nov. 18 - Brussels, BE - Forest National* Nov. 20 - Paris, FR - AccorHotels Arena* Nov. 21 - Paris, FR - AccorHotels Arena* Nov. 22 - Amsterdam, NL - De Marktkantine (DJ Set) Nov. 23 - Glasgow, UK - SSE Hydro* Nov. 26 - Manchester, UK - Manchester Arena* Nov. 27 - Birmingham, UK - Birmingham Arena* Nov. 30 - Dublin, IE - 3Arena* Dec. 03 - London, UK - O2 Arena* Feb. 01 - Toulouse, FR - Le Metronum Feb. 02 - Paris, FR - International Cité Theater Feb. 03 - Brugge, Sint-Andries, BE - MaZ Feb. 04 - Rotterdam, NL - Bird Feb. 05 - Amsterdam, NL - Bitterzoet Feb. 06 - Liège, BE - Le Reflektor Feb. 07 - London, UK - Jazz Cafe Feb. 08 - Dublin, IE - The Sugar Club *w/ Ms. Lauryn Hill
Quazarz Born on a Gangster Star and Quazarz vs. The Jealous Machines, the group’s third and fourth albums released in 2017, are available now on CD / LP / DL / CS / Illustrated album worldwide through Sub Pop.
First Collection 2006 – 2009 is out today. The special edition features content
spanning the early days of Fleet Foxes’ career, including the self-titled
full-length debut album on 12” vinyl, as well as the Sun Giant EP
on 10” vinyl and the first vinyl releases of boththe very
limited-edition, previously only self-released The Fleet Foxes EP
on 10” and B-sides & Rarities on 10”. In addition to
its musical offerings, the release features a thirty-two-page booklet including show flyers, lyrics, and artwork from the period. The special
edition will also be released on CD and on all digital
platforms.
Fleet Foxes’ debut album made a tremendous impact on the international musical scene, topping numerous “best of” lists, including Rolling Stone’s 100 Best Albums of the 2000’s and Pitchfork’s 50 Best Albums of 2008, and earned the band Uncut’s inaugural Music Award Prize. Fleet Foxes is certified Gold in North America and Platinum in both the UK and Australia.
Purchase your copy of First Collection 2006 - 2009 from the Sub Pop Megamart today.
Listen to tracks “This Town” (from Dry As a Bone) and “Forever Means” (from Rehab Doll).
Sub Pop will release Green River’s Dry As a Bone EP, and their final offering the Rehab Doll LP, as expanded and remastered deluxe editions on CD/2xLP/DL worldwide January 25th, 2019. Jack Endino served as the executive producer for the project excavating & restoring tapes, mixing, remixing & mastering both packages.
Rolling Stone had this to say of Rehab Doll: “Proto-grunge at its best, its mud-dipped tracks breaking down and building themselves back up in real time. Frontman Mark Arm (later of Mudhoney) sounds like he gargled with lye before cutting tracks like the boogie-gone-bad “Together We’ll Never,” while the band’s rip-roaring cover of David Bowie’s “Queen Bitch” (originally only available on the album’s cassette release) hints at the wry humor that would animate much of the Seattle scene’s best moments.” And Magnet Magazine offers this, “Not only did Green River exemplify the collision of punk, metal and classic rock that became the early Seattle sound’s calling card, it eventually spawned some of the most recognizable faces of the grunge era....Green River sound is exactly what you would expect, with the tension of competing styles (Arm’s unhinged, punk-rock shriek vs. Gossard and Ament’s bluesy metal wanking) forming a singular, if combustible, mix....The impact is something akin to a beer bottle to the head, and it still reverberates 20 years later.”
LP preorders of each album through Sub Pop Mega Mart and select independent retailers will receive the limited Loser editions of Dry As a Bone on forest green vinyl and Rehab Doll on opaque lime green vinyl (while supplies last).
About Green River’s Dry As a Bone and Rehab Doll:
The story of Seattle’s rise to global rock supremacy in the late ’80s and early ’90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12”s and a 7” single during its brief existence. But Green River’s influence on Seattle’s music scene spread far and wide—thanks to the members’ dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind.
“By ‘83, ‘84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,” says Arm. “The Replacements and Butthole Surfers were rearing their heads, and they’re very different bands, but they’re not hardcore—the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth’s Bad Moon Risingwas around, and a lot of really interesting post-hardcore things were happening, Big Black, Scratch Acid.”
Green River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres—blues, punk, boozy straight-ahead rock. The mini-LP Dry As A Bone, which came out in 1987, and the LP Rehab Doll, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie’s “Queen Bitch” and their marauding version of Dead Boys’ “Ain’t Nothin’ to Do,” in 1990—but they’ve been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they’re accompanied by items from the from the vaults that had been forgotten about for decades.
Dry As A Bone, originally released as a mini-LP, was recorded at Jack Endino’s Reciprocal Recording in 1986, and it shows the band in furious form, with Arm’s yowl battling Fairweather and Gossard’s ferocious guitar playing on “This Town” and “Unwind” opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green River’s cuts from the crucial Seattle-scene compilation Deep Six, as well as long-lost songs that were recorded to the now-archaic format Betamax. “Jack actually got his hands on one of those old players and was able to revive and mix them,” says Arm.
Dry As a Bone Tracklisting 1. This Town 2. PCC 3. Ozzie 4. One More Stitch * 5. Unwind 6. Baby Takes 7. Searchin’ # 8. Hangin’ Tree * 9. Together We’ll Never @ 10. Ain’t Nothin’ To Do @ 11. Bleeding Sheep * 12. Bazaar $ 13. Thrown Up * 14. This Little Boy * 15. 10000 Things ^ 16. Your Own Best Friend ^
* = Previously unreleased # = Previously released onDry As a Bone / Rehab DollCD (Sub Pop) @ = Previously released as a 7” (Tasque Force Records) $ = Previously released onAnother Pyrrhic Victory compilation (C/Z Records) ^ = Previously released onDeep Six compilation (C/Z Records)
Rehab Doll was released around the time the band split up in 1988. The album, recorded largely at Seattle’s Steve Lawson Studios, bridges the gap between the taut, punky energy of Dry As a Bone and the bigger drums and thicker riffs that were coming to dominate rock in the late ’80s. “None of us had been in a 24-track studio at that point,” says Arm. “There were a lot of weird things that we did in the recording of Rehab Doll that we had never done in any other studio. I remember doing the vocals for ‘One More Stitch’ underneath a piano that had its strings mic’d—so I was singing and that was being recorded, but the reverberation from the strings was being recorded at the same time.”
Rehab Doll includes the menacing “Forever Means,” which front-loads Arm’s yelp amidst waterspouts of guitar and a swaggering rhythm section, the cavernous “One More Stitch,” and “Swallow My Pride,” which would go on to be covered by fellow Sub Pop outfits Soundgarden and The Fastbacks. This new edition of Rehab Doll includes a remixed version of the album + 8 songs recorded to 8-track at Endino’s Reciprocal Recording, which features a more accurate depiction of how the band sounded when they played live. (“We generally didn’t have a gated snare sound,” notes Arm.) “When I listen to these mixes, I think, ‘This is how we actually sounded—this is the kind of energy we had,’” says Shumway. “It’s much more raw, and it’s much more real.”
Rehab Doll Tracklisting 1. Forever Means 2. Rehab Doll 3. Swallow My Pride 4. Together We’ll Never 5. Smilin’ and Dyin’ 6. Porkfist 7. Take a Dive 8. One More Stitch 9. 10000 Things * 10. Hangin’ Tree * 11. Rehab Doll * ^ 12. Swallow My Pride # ^ 13. Together We’ll Never * ^ 14. Smilin’ and Dyin’ * ^ 15. Porkfist * ^ 16. Take a Dive * ^ 17. Somebody * ^ 18. Queen Bitch * ^
* = Previously unreleased ^ = Reciprocal 8-track versions $ = Previously released on the Hype! Soundtrack (Sub Pop) # = Previously released on the Dry As A Bone / Rehab Doll CD (Sub Pop)
[Photo Credit: Charles Peterson]
Green River’s place in American music history is without question, but these recordings paint a more complete picture of the band—and of rock in the mid- to late-’80s when punk’s faster-and-louder ideals had begun shape-shifting into other ideas.
