Sub Pop has signed Bria, the intimate and incisive labour of love from multi-instrumentalists Bria Salmena and Duncan Hay Jennings. Bria has recorded Cuntry Covers Vol. 1, a six-song EP that will be available digitally on September 24th, and on CD, cassette, and vinyl December 10th worldwide from Sub Pop.
You can now watch the official video for their lead single, “Green Rocky Road,” which was co-directed by Andrew Matthews & Maitland Austin-Olsen. Bria had this to say about the video, “We wanted the video for “Green Rocky Road” to act as an homage to the concept of Cuntry Covers – a small window into the world in which it was created, highlighting the collaborative nature of the project and the friendships behind it.”
Catapulted by a deep sense of dread and confusion in the depths of 2020, Salmena decided to forgo writing her own music. “I wanted to listen for what might reflect my life back to me,” she says, “six tracks that could be my mirror.” The result is a pointillistic knockout of an EP that weaves a landscape both luscious and a little rogue; showing us exactly what good songs can do.
Bria’s internal turbulence seemed to mirror last year’s external instability. When Jennings and back-up singer Jaime McCuaig moved to The Outside Inn, a hobby farm in Hockley Hills, Ontario, Bria soon joined. The farm’s living-room-turned-studio proved an ideal setting for the long-time friends to compile a record of handpicked country covers. They went searching for songs that could speak to our everyday loneliness; outside and in. Cuntry Covers Vol. 1 houses it all well-worn favourites and lesser-known gems.
Cuntry Covers Vol. 1 opens with “Green Rocky Road,” as performed by Greenwich Village legend Karen Dalton. Jennings’ twangy guitar carries Bria’s original inflection and richly textured vocals, complete with dreamy overlay. “Dreaming My Dreams With You,” a rendition of the Waylon Jennings hit, is followed by John Cale’s “Buffalo Ballet,” a lyrical journey through Abilene, Texas, the endpoint of the infamous Chisholm Trail. Engineered and mixed by Jennings, each song brings desire and sexuality front and center, with all the swagger you’d expect – and more. Bria hopes the record will be understood as a small contribution to the subversion of a genre with deep patriarchal roots. Mistress Mary’s “I Don’t Wanna Love Ya Now,” from the 1969 album Housewife, served as the original inspiration. “It was the first song Duncan and I worked on,” Bria notes. “It definitely set the tone for the other tracks we picked.”
Bria’s voice – described as wavering between “sultry and howitzer” – shines on “Fruits Of My Labour,” written and performed by country great, Lucinda Williams. The Walker Brothers’ “The Sun Ain’t Gonna Shine Anymore” is a harmonic (and hypnotic) standout.
A musical explorer who moves fluidly between styles, Bria doesn’t consider herself a country artist “I feel as though I’m a visitor here, paying respect to a style that has informed a part of my musical identity. Country music, as much as any other art form, should be an arena for representation, expression, and provocation. I have a ton of reverence for artists who came before me and challenged the primarily white-heterosexual status quo.”
Salmena and Jennings have toured for years as members of Toronto four-piece FRIGS, whose 2018 debut Basic Behaviour was long-listed for the Polaris Music Prize. Making a mark in diverse genres from country to punk, both play as permanent members of Orville Peck’s band. Cuntry Covers Vol. 1 was recorded on the territories of the Anishnaabe, the Haudenosaunee, the Wendat, and the Mississaugas of the Credit. The release also features contributions from FRIGS drummer Kris Bowering and vocals by Ali Jennings. Bria’s first release is a gorgeous debut, a homage to the songs that brought solace and relief in the stillness of last year.
Tracklisting: 1. Green Rocky Road (Karen Dalton) 2. Dreaming My Dreams With You (Waylon Jennings) 3. Buffalo Ballet (John Cale) 4. Fruits of My Labour (Lucinda Williams) 5. The Sun Ain’t Gonna Shine Anymore (The Walker Brothers) 6. I Don’t Wanna Love Ya Now (Mistress Mary)
Cartel Madras is sharing the official video for “FEAR & LOATHING,” from their forthcoming project TheSerpent & The Tiger, the third installment of the Project Goonda trilogy, out August 19th, 2021 on Royal Mountain Records/Sub Pop. The high concept visual is an entry point into TheSerpent & The Tiger multiverse and was co-directed by the duo and Jashan Makan.
Cartel Madras’s Eboshi and Contra share this about the video, “‘FEAR & LOATHING,’ is composed of several stories and represents the heart of our upcoming project, The Serpent & The Tiger. The song is an exploration in duality, a major plot point in our story, and our most ambitious filmmaking experiment yet. We teamed up with Toronto producer Dom Dias again to bring our audience a cinematic track, and dynamic music video that pushes us both as artists.
“We filmed ‘FEAR & LOATHING’’ over the course of one month and three cities: Calgary, Alberta, Toronto, Ontario, and London, UK. We were inspired by Season 1 of True Detective (2014), and the films Dark City (1998), Skyfall (2012), and La Femme Nikita (1990). Taking visual cues from Brian De Palma, and studying the pacing of works by Marisha Pessl, ‘FEAR & LOATHING,’ is a culmination of our influences and love of artful storytelling with striking cinematography.
“This music video stars UK-based, Tamil model, Sheerah Ravindren (Black Is King, Primark, Queer Possible) as ‘The Serpent.’ Sheerah is an incredible force, and a rising star; we’ve all wanted to work together since we found each other online a year ago. Sharanya M takes on the mysterious role of “The Tiger.” She is from our other home state, Kerala, and a collective member of Sansfucss, a collective of multidisciplinary BIPOC artists from Canada. Meanwhile, Eboshi and song Dom portray the two hostages, and Contra tackles the role of ‘The Defector,’ alongside Bear, her canine companion.”
“FEAR & LOATHING” is Cartel Madras’s third single of 2021, and follows the release of “Dream Girl Concept” in June, and “DRIFT” in January. The tracks are from their forthcoming project TheSerpent & The Tiger, the third installment of the Project Goonda trilogy (which includes 2018’s Trapistan and 2019’s Age of the Goonda). The Serpent & The Tiger features guest appearances from Backxwash, Dom Dias, Airospace, Tyris White, Jide, and Shiro Jackson, with production by Dias (tracks 1-4), Naphi (track 5), White (tracks 6-8), and Jide (tracks 9-10), and will available on all DSPs August 19th, 2021 from Royal Mountain Records/Sub Pop.
What people are saying about Cartel Madras: “They’ve got an absolutely wicked flow — think M.I.A. meets Cardi B. Hints of traditional Tamil music are sprinkled throughout.” [“Goonda Gold”] - Stereogum
“Cartel Madras are smashing barrier musically and are sure to blow your mind with their uniqueness.” [Age of the Goonda] - CLASH
“Full of raw, powerful, nonchalant energy” [“Goonda Gold”] - Gal-Dem
“Age of the Goonda is an invigorating five-track blast…More, please.” - The Wire
“Comprised of six tracks, the EP possesses layered bass lines pumped with adrenaline, a range of Indian classical instruments weaved in and hooks that stay in your brain for days.” [Age of the Goonda] - NME
“Age of the Goonda provides an electrifying burst of the duo’s live show energy in concentrated form.” - Loud & Quiet
“In pop analogy, this hip-hop duo comprising Calgary-bred, Chennai-born siblings Bhagya and Priya Ramesh is somewhat like a Tamil Pulp Fiction-meets-MIA. With a carousel of bad-ass, no-fucks-given, brown girl anthems, Cartel Madras is brought to life by two sisters who don’t shy of braggadocio (you can’t miss their stack of gold jewelry) as they spout songs about feminism, empowerment and inclusivity.” [“12 New Musicians Set to Breakthrough in 2020”] - Vogue India
Cartel Madras The Serpent & The Tiger
Tracklisting: 1. FEAR & LOATHING 2. The Green Scare (ft. Airospvce) 3. EBOSHI’S NEVADA 4. DRIFT 5. DEEPINTHEJUNGLE (ft. Backxwash) 6. LAVENDER NIGHTZ 7. Dream Girl Concept 8. CONTRABAND 9 WORKING 10. MOON DRILLE (ft. Shiro Jackson)
Washed Out is announcing North American headlining dates for 2022 in support of Purple Noon, his acclaimed album of 2020, out now on Sub Pop.
The 24-city trek begins Monday, January 10th, 2022 in Asheville, NC at the Orange Peel runs through Saturday, February 12th, 2022, closing with a hometown show in Atlanta, GA at The Eastern. The tour will also include stops in Nashville (TN), Houston (TX), Austin (TX), Dallas (TX), Phoenix (AZ), San Diego (CA), Los Angeles (CA), Santa Ana (CA), San Francisco (CA), Portland (OR), Seattle (WA), Salt Lake City (UT), Denver (CO), Minneapolis (MN), Chicago (IL), Toronto (ON), Montreal (QC), Boston (MA), Brooklyn (NY), Washington (DC), Philadelphia (PA), Chapel Hill (NC).
A special fan presale begins Wednesday, July 7th, 2021 at 12 pm PT and ends Thursday, July 8th at 10 am PT, with tickets on sale to the general public on Friday, July 9th, 2021 at 7 am PT. For more information on tickets, please visit https://washedout.net/Tour.
Mon. Jan. 10 - Asheville, NC - Orange Peel Tue. Jan. 11 - Nashville, TN - Brooklyn Bowl Thu. Jan. 13 - Houston, TX - Stereo Live Fri. Jan. 14 - Austin, TX - Empire Sat. Jan. 15 - Dallas, TX - The Granada Theatre Mon. Jan. 17 - Phoenix, AZ - The Van Buren Tue. Jan. 18 - San Diego, CA - The Observatory Thu. Jan. 20 - Los Angeles, CA - The Wiltern Theatre Fri. Jan. 21 - Santa Ana, CA - The Observatory Sat. Jan. 22 - San Francisco, CA - The Regency Mon. Jan. 24 - Portland, OR - Wonder Ballroom Tue. Jan. 25 - Seattle, WA - Showbox at the Market Fri. Jan. 28 - Salt Lake City, UT - Metro Gallery Sat. Jan. 29 - Denver, CO - The Gothic Theatre Mon. Jan. 31 - Minneapolis, MN - USA - Fine Line Tue. Feb. 01 - Chicago, IL - Metro Thu. Feb. 03 - Toronto, ON - The Danforth Theatre Fri. Feb. 04 - Montreal, QC - L’Astral Sat. Feb. 05 - Boston, MA - Paradise Mon. Feb. 07 - Brooklyn, NY - Brooklyn Steel Wed. Feb. 09 - Washington, DC - 9:30 Club Thu. Feb. 10 - Philadelphia, PA - Underground Arts Fri. Feb. 11 - Chapel Hill, NC - Cat’s Cradle Sat. Feb. 12 - Atlanta GA - The Eastern
Washed Out is also sharing a remix of Purple Noon standout “Too Late” by Ribbon Music recording artists Buscabulla. The Puerto Rican pop duo takes the original, which New York Times notes for its “lush vocals, quavering synth bass, throwback electronic drums and an intense sense of longing,” and reworks the song into a blissed-out, electro-funk track. The Washed Out “Too Late” (Buscabulla Remix) is out today on all DSPs from Sub Pop.
Amen Dunes (aka the project of Damon McMahon) returns with “Feel Nothing,” a powerful and honest first statement since the release of 2018’s beloved Freedom, and his debut release with Sub Pop. Recorded in Los Angeles with co-producer Ariel Rechtshaid and mixed by Craig Silvey, “Feel Nothing” begins with McMahon’s unmistakable voice chanting “Kingdom, kingdom, kingdom, kingdom, kingdom // be a prophet” until the Sleaford Mods rhythm drops and McMahon continues “Every time I hear a story // Got no good from it.” The song, which features synths by Freedom-collaborator Panoram, gradually introduces the rhythm-heavy next chapter in Amen Dunes’ sound, before a duet by Sleaford Mods’ Jason Williamson and McMahon carries the song out. Where Freedom was “[Amen Dunes’] euphoric breakthrough … silvery and romantic, like a hallucination of the classic-rock songbook”
(Pitchfork), “Feel Nothing” is a bold reflection on resistance, and a step further in the intentional reimagining of the world of Amen Dunes.
I feel nothing at all
Do you feel nothing too?
I have nothing to say
Don’t drag me down with you
Some days wish I was dead
Some days wish I was you
Every time I hear a story
Got no good from it
Can’t change the situation
When everything’s the same
Still in love, just a little
Aww my mind forgets
You stole that piece from the devil
But you know me, I’d do the same
Get everyone off my back
You can gossip, but I don’t care
I headed off one day without even talking,
and I got lost from there
In the middle of a show I break down, yeah
Can’t remember what to say
Can’t shake this ugly feeling, baby, but it’s not lasting
He was thinking of God, when he begged them to stop
HEY WHAT, the astonishing new Low album, will be released worldwide on September 10th, 2021 on Sub Pop Records. In anticipation of the new album, the beloved group is sharing “Days Like These,” the first single, and its official video, helmed by their longtime friend and director, Karlos Rene Ayala. You can watch “Days Like These” by clicking here.
HEY WHAT is Low’s thirteenth full-length release in twenty-seven years, and their third with producer BJ Burton. The new album finds the group focusing on their craft, staying out of the fray, and holding fast their faith to find new ways to express the discord and delight of being alive, to turn the duality of existence into hymns we can share. These ten pieces—each built around their own instantaneous, undeniable hook—are turbocharged by the vivid textures that surround them. The ineffable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse - building, breaking, colossal then restrained, a solemn vow only whispered. There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks FORWARD, with teeth.
HEY WHAT is now available for preorder on CD/LP/CS/DSPs from Sub Pop. LP preorders from megamart.subpop.com, select independent retailers in North America and in the U.K, and in Europe will receive the limited Loser Edition on clear vinyl (while supplies last). HEY WHAT’s minimal album cover, evoking interference patterns, was designed by UK multidisciplinary artist Peter Liversidge.
HEY WHAT is the band’s first release since Double Negative, one of the best-reviewed albums of 2018, with year-end honors from Uncut (#1), The Guardian, MOJO, NPR, Vulture, The Wire, and more. The album also earned “Best of the Decade: 2010s” placement from Aquarium Drunkard, Brooklyn Vegan, Pitchfork, and Stereogum.
Low has announced a 30 date world tour with North American shows beginning in March 2022, with UK & European dates to follow in May. See below for a full list of shows.
North America 2022: Mar. 22 - Bloomington, IN - Bishop Mar. 25 - Birmingham, AL - Saturn Mar. 26 - Atlanta, GA - Terminal West Mar. 28 - Washington, DC - Miracle Theatre Mar. 29 - Philadelphia, PA - World Cafe Live Mar. 31 - New York, NY - Webster Hall Apr. 01 - Providence, RI - Columbus Theater Apr. 02 - Montreal, QC - Theatre Fairmount Apr. 04 - Toronto, ON - The Axis Club Apr. 05 - Detroit, MI - Loving Touch Apr. 08 - Madison, WI - High Noon Saloon
UK & Europe 2022: Apr. 25 - Edinburgh, UK - Queen’s Hall Apr. 26 - Dublin, IE - Vicar Street Apr. 27 - Manchester, UK - Manchester Cathedral Apr. 28 - Brighton, UK - St. George’s Church Brighton Apr. 29 - London, UK - St. John at Hackney Church - Apr. 30 - Bristol, UK - Trinity May 02 - Paris, FR - Alhambra May 03 - Cologne, DE - Kulturkirche Köln May 04 - Antwerp, BE - TRIX May 05 - Amsterdam, NL - Paradiso May 06 - Aarhus, DK - Voxhall May 07 - Copenhagen, DK - Vega May 09 - Hamburg, DE - Uebel & Gefährlich May 10 - Berlin, DE - Festsaal Kreuzberg May 11 - Vienna, AT - Wuk May 12 - Bologna, IT - Teatro Duse May 13 - Lausanne, CH- Les Docks May 14 - Zurich, CH - Mascotte
Low HEY WHAT
Tracklisting: 1. White Horses 2. I Can Wait 3. All Night 4. Disappearing 5. Hey 6. Days Like These 7. There’s a Comma After Still 8. Don’t Walk Away 9. More 10. The Price You Pay (It Must Be Wearing Off)
Today, June 16th, Flock of Dimes is releasing Live at Betty’s, a two-song live EP featuring Head of Roses standouts “One More Hour” and “Two,” which is available at all DSPs from Sub Pop. The songs were recorded live with a full band - which includes members of Mountain Man and Sylvan Esso - at Betty’s in Durham, North Carolina in the Spring of 2021. Wasner recorded the acclaimed Head of Roses at the studio in the summer of 2020, and these performances bring the songs to life in the very space in which they were conceived.
The Live at Betty’s EP also celebrates the announcement of Flock of Dimes’ first headlining US tour dates in support of Head of Roses this fall. The tour begins Tuesday, October 5th and runs through Monday, October 11th, and will include stops at Richmond Music Hall in Richmond (VA), Ottobar in Baltimore (MD), Haw River Ballroom in Saxapahaw (NC), Johnny Brenda’s in Philadelphia (PA), and Music Hall of Williamsburg in Brooklyn (NY). Her live band for these shows will include Matt McCaughan (Bon Iver), Alan Good Parker (Natalie Prass, Matthew E. White), and Michael Libramento (Hiss Golden Messenger, Dr. Dog, Floating Action), who also performed on the Live At Betty’s release. See a full list of dates below.
Flock of Dimes’ Head of Roses is available now on CD/CS/DSPs worldwide through Sub Pop. The album was produced by Nick Sanborn (Sylvan Esso) and Wasner, engineered by Bella Blasko with additional engineering by Sanborn, mixed by Ari Picker and Blasko, and mastered by Huntley Miller. The album features appearances from guitarist Meg Duffy, Bon Iver’s Matt McCaughan, Wye Oak’s Andy Stack, and Landlady’s Adam Schatz. Head of Roses follows the release of Like So Much Desire, her acclaimed digital EP released June 2020 on Sub Pop.
Flock of Dimes’ Head of Roses has earned praise from international outlets including New York Times, The Guardian, The Independent, Sydney Morning Herald, NPR’s Weekend Edition, Uncut, PASTE (“Best Albums of April”), NPR Music (“New Music Friday” and “Best Albums of April”), Stereogum, Pitchfork, SF Chronicle, Guitar World, Under the Radar, and more. The album also spent 2 weeks at #1 on the NACC 200 college charts.
Recently, Stereogum included Head of Roses on its “Best Albums of 2021 (So Far),” and said, “We all know Jenn Wasner doesn’t miss, but her new Flock Of Dimes album is particularly masterful…From the scathing churn of “Price Of Blue” to fragile reckonings like “Lightning” or dreamlike yearning in “One More Hour,” she traces the mechanics of heartbreak and the arc of grief. She emerges from loss not just with a new understanding of herself, but one of the best albums of her career.” SPIN included the album on its “30 Best Albums of 2021” (So Far), and offered this, “Shifting away from the electropop of her debut, Head of Roses is full of spacious guitar compositions, designed to draw attention to Wasner’s silky voice — a winsome instrument used to deliver rough truths. “Hope is still keeping my head above water/ ‘Til the moment before I choke,” she sings with Dolly Parton-ish longing on “Awake for the Sunrise.” Wasner may be striving for joy, but roses can’t grow without dirt.”
Tour Dates Fri. Aug. 27th - Charlotte, NC - Metro Credit Union Amphitheatre ^ Tue. Oct. 05 - Richmond, VA - Richmond Music Hall Thu. Oct. 07- Baltimore, MD - Ottobar Fri. Oct. 08 - Saxapahaw, NC - Haw River Ballroom Sun. Oct. 10 - Philadelphia, PA - Johnny Brenda’s Mon. Oct. 11 - Brooklyn, NY - Music Hall of Williamsburg ^ w/ My Morning Jacket
What people are saying about Head of Roses: “More than anything she’s released before, Head of Roses makes room for the multiplicity of Wasner’s artistic voice. None of the singles sound anything alike — not the springy, off-kilter pop of ‘Two’ nor the slow-burning, psych-rock of ‘Price of Blue’ — and none of them quite prepare the listener for the gorgeously subdued second half of the album, which features several of the most stirring ballads Wasner has ever recorded. The common element holding all of these disparate parts together is her luminous, jewel-toned voice.” - New York Times
“Through blistering indie-rock songs and sparse, tender ballads, Head of Roses mines the dissolution of a romantic relationship to reveal the interconnections between loss and love, and between heartbreak and healing.”[“The Best Music of April”] - NPR Music
“An album that is as deeply introspective as it is creatively bold and ambitious (8/10).” - Uncut
“[Head of Roses] sees her incorporating her multifarious musical styles into a bright fusion of organic, dreamy rock and electronic pop.” [“22 albums we can’t wait to hear in April”] - The AV Club
“The album is — as you might expect — strikingly beautiful throughout.” - Stereogum
“Her second full-length outing, Head of Roses, is a triumphant signifier of professional and personal growth.” ★★★★ - The Independent
“A dazzling and harmonious display of styles and influences.” ★★★★ - The Sydney Morning Herald
”Head of Roses feels like an emotional journey where every new feeling, moment of rest and sonic surprise is hard-won.” [8.1/10] - PASTE
“Head of Roses is a journey toward healing and marks another strong entry in Flock of Dimes’ growing catalog of work.” ★★★★ - All Music
“The record is a stylish yet starkly honest amalgam of Wasner’s soul-searching introspection and multi-instrumental wizardry, merging dappled synth lines and woozy six-strings into bright cathartic compositions.” - Guitar World
“A project that ups the ante in her musical complexity… The impact is hypnotic.” - CLASH
“An album of subtle yet emotionally resonant songs.’ - Dusted
“The best material from the North Carolina artist’s prolific musical universe in years.” - SF Chronicle
“Not only a sonic delight, but a lyrical treasure trove full of personal truths that strike a universal chord (83/100)” - Beats Per Minute
“All hail Jenn Wasner. Whether it’s as one half of Baltimore dream pop combo Wye Oak or her solo project Flock of Dimes, Wasner’s songs take their time, fully enveloping you in reverb-drenched vocals and soaring electric guitars. From the first fuzzy riff to the closing staticky feedback breakdown, “Price of Blue” is heavy and immersive, delivering a standout track on an album with zero skips.” - Men’s Health
“Wasner’s command of grace for herself and others ultimately becomes a source of soothing as Head of Roses unfolds. Layers push aside to reveal a core scented with forgiveness and healing. Flock of Dimes has become the vehicle for Wasner’s most personal reflections, which makes it the one to treasure most.” - Under the Radar
“…Jenn Wasner’s second solo album sounds confident. Textural layers of guitar and synth offer depth, yet allow her voice to lead the way.” - Pitchfork
