Sub Pop: Американдық жазбалар компаниясының тарихы

American record label

Sub Pop is a record label founded in 1986 by Bruce Pavitt and Jonathan Poneman. Sub Pop achieved fame in the early 1990s for signing Seattle bands such as Nirvana, Soundgarden, and Mudhoney, central players in the grunge movement. They are often credited with helping popularize grunge music. The label's roster includes Fleet Foxes, Tad, Beach House, The Postal Service, Sleater Kinney, Flight of the Conchords, Foals, Blitzen Trapper, Father John Misty, clipping., Shabazz Palaces, Weyes Blood, Guerilla Toss, Bully, Low, METZ, Rolling Blackouts Coastal Fever, Kiwi Jr., TV Priest and The Shins. In 1995, the owners of Sub Pop sold a 49% stake of the label to the Warner Music Group.

The origins of Sub Pop can be traced back to the early 1980s, when Bruce Pavitt started a fanzine called Subterranean Pop that focused exclusively on American independent record labels. Pavitt undertook the project in order to earn course credit while attending Evergreen State College in Olympia, Washington. By the fourth issue, Pavitt had shortened the name to Sub Pop and began alternating issues with compilation tapes of underground rock bands. The Sub Pop #5 cassette, released in 1982, sold two thousand copies. In 1983, Pavitt moved to Seattle, Washington, and released the ninth and final issue of Sub Pop. While in Seattle, he wrote a column for local music magazine The Rocket titled "Sub Pop U. S. A. ", a column he ended in 1988. In 1986, Pavitt released the first Sub Pop LP, the compilation Sub Pop 100, which featured material by artists including Sonic Youth, Naked Raygun, Wipers, and Scratch Acid. Seattle group Green River chose to record their Dry as a Bone EP for Pavitt's new label in June 1986; Pavitt couldn't afford to release it until the following year. When finally released, Dry as a Bone was promoted by Sub Pop as "ultra loose grunge that destroyed the morals of a generation". Also in 1987, Jonathan Poneman provided $20,000 in funding for Sub Pop to release the debut Soundgarden single "Hunted Down"/"Nothing to Say" in July 1987, followed by the band's first EP Screaming Life that October. Poneman soon became a full partner in the label. Pavitt focused on the label's artists and repertoire aspects, while Poneman dealt with the business and legal issues. Both men decided they wanted the label to focus on "this primal rock stuff that was coming out," according to Pavitt.

In early 1988, Pavitt and Poneman quit their jobs to devote their full attention to Sub Pop. Raising $43,000, they incorporated that April. "Of course that was spent in, like, thirty days", Pavitt recalled. "We almost went bankrupt after a month". That August Sub Pop released the first single by Mudhoney, a band featuring former members of Green River. Sub Pop released the Mudhoney single "Touch Me I'm Sick" in an intentionally limited first pressing of 800 copies to create demand. The strategy was later adopted by other independent labels. Pavitt and Poneman studied earlier independent labels ranging from Motown to SST Records and decided that virtually every successful movement in rock music had a regional basis. The pair sought to create a cohesive brand identity for Sub Pop. The label's ads promoted the label itself more than any particular band. The label also sought to market a "Seattle sound", which was accomplished with the help of producer Jack Endino, who produced 75 singles, albums, and EPs for Sub Pop between 1987 and 1989. Endino recorded cheaply and quickly; in order to operate this way, he utilized some consistent studio techniques, which gave the records a similar sound. In November 1988, Sub Pop released "Love Buzz", the debut single by Aberdeen, Washington band Nirvana, as the first entry in the Sub Pop Singles Club, a subscription service that would allow subscribers to receive singles by the label on a monthly basis by mail. At its peak in 1990, the club had two thousand subscribers. The club made Sub Pop a powerful force in the Seattle scene, and effectively made the label's name synonymous with the music of the Seattle area—much in the same way Motown Records was to Detroit—and helped to secure the label's cash flow. The original series was discontinued in 1993, followed by Singles Club V.2, launched in 1998 and discontinued in 2002. Some commentators have argued that Sub Pop reframed the history of Seattle's music scene as part of their marketing campaign. Even in the late 1980s, the peak of grunge as a regional scene, Seattle's bands could not easily be confined to a single genre, since groups often blended musical styles and techniques, drawing, for example, on folk rock, psychedelic rock, garage rock, and pop hooks. The "Seattle sound" cultivated and marketed by Sub Pop became known as grunge, while other Seattle bands like The U Men, who preceded Sub Pop, became pioneers of avant garde post punk. Mindful that garnering the attention of the American mainstream music press was difficult for all but the largest indie label, Pavitt and Ponemen took inspiration from alternative bands like Sonic Youth, Butthole Surfers, and Dinosaur Jr. and sought to publicize the label via the British music press. In March 1989, Pavitt and Poneman flew Melody Maker journalist Everett True to Seattle to write an article on the local music scene. As Pavitt had anticipated, the British press became enamoured with Sub Pop and the grunge sound. Pavitt said, "I really felt that the Brits and the Europeans wanted to see something that was unruly and that was more of an American archetype something that was really primal and really drew from the roots of rock & roll, which was very American." Poneman explained the label's success: "It could have happened anywhere, but there was a lucky set of coincidences. Charles Peterson was here to document the scene, Jack Endino was here to record the scene. Bruce and I were here to exploit the scene." The split between Pavitt and Poneman was not amicable, and they did not speak for seven years. In early 2007, Sub Pop started a sister label by the name of Hardly Art. This label is also partially owned by Warner Music. In August 2008, Sub Pop relaunched the singles club for one year to celebrate its twentieth anniversary. In 2009, they signed their second hip hop group, Seattle based Shabazz Palaces – the first being The Evil Tambourines in 1999. Ishmael Butler, one half of Shabazz Palaces and former member of jazz rap group Digable Planets became A&R for Sub Pop.

Domestically, Sub Pop has released three albums that have been certified as platinum, for sales of over 1 million units, by the Recording Industry Association of America: Bleach by Nirvana, Give Up by The Postal Service, and Oh, Inverted World by The Shins. Ten albums released by the label have been certified gold for sales of 500,000 copies: Chutes Too Narrow and Wincing the Night Away by The Shins, Fleet Foxes and Helplessness Blues by Fleet Foxes, The Head and the Heart by The Head and the Heart, Everything All the Time and Cease to Begin by Band of Horses, Our Endless Numbered Days and The Shepherd's Dog by Iron & Wine, and Depression Cherry by Beach House. In David Fincher’s The Killer, the central villain, played by Arliss Howard, wears a Sub Pop T shirt.