Sub Pop
Words: Jeff Kleinsmith
Photos: Sub Pop Records
Photos: Sub Pop Records
From the humble beginnings of a fanzine started in 1979, Seattle-based Sub Pop Records would evolve into the one of the region’s premier independent record labels and become a name synonymous with the local music scene. Responsible for introducing the world to such bands as Nirvana, Mudhoney, and Soundgarden, the label would be one of the driving forces behind the explosion and success of the Grunge genre. Today, Sub Pop continues to release relevant music from the region’s most talented artists, including Band of Horses, Sleater-Kinney, and Postal Service. The label’s Art Director, Jeff Kleinsmith, took some time to dig through the vaults and round up some of his favorite cover art from the label’s storied history.
Green River – Dry as a Bone
This was one of the first Sub Pop Records I bought when I was in college and it was a big influence on me, both musically, and as a graphic designer. I wanted to learn how to stretch type SO bad! And I wanted to sing like Mark Arm! This cover has a boldness and immediacy that sums up the age so well.
Dwarves – Blood, Guts, and Pussy
Never a big fan of the Dwarves as a band but I always appreciated their desire to shock (I was a huge fan of the Angry Samoans). How can you go wrong with two strippers, a dwarf, and a rabbit all naked and all covered in fake blood.
Afghan Whigs – Congregation
One of my all-time favorite albums on Sub Pop provides a less shocking, but more thought provoking cover here. I don’t know EXACTLY what it means but I know it’s supposed to mean something deep.
Earth – Special Low Frequency Version
Having listened to my mom’s George Winston albums on Windham Hill Records as a kid, I always loved the (intentional?) parody of Windham Hill’s new age cover art by this cover. While Earth doesn’t play light jazz or instrumentals about Winter, they would weirdly fit in with the Windham Hill posse. 
Rogue Wave – Descended Like Vultures & Out of the Shadows
Both album covers are the product of having a close, creative relationship with the band. On Descended Like Vultures Zach, the song writer, relayed a very elaborate dream that summed up both what the album is about and what the cover should look like. I knew as I was listening to him that there was no way I could visually recreate his dream so I interpreted it the best way I could. Normally bands supply a photo or a drawing or painting for us to work with. In this case it was all up to me.
The Shins – Chutes Too Narrow
This is where Jesse LeDoux took his art to the next level. After all, it was nominated for a Grammy for Christ sake!
Supersuckers – Must’ve Been High
Until this record, the Supersuckers were high-energy, melodic Punk Rock (with a love for Classic Metal). So when they decided to do a Country record I was as surprised as anyone in Seattle. They brought in a couple of old albums as art examples on which fine artist/illustrator Whiting Tennis based his block print ideas. I love the texture and narrative of this one and with Hank Trotter’s back cover and inside it has that classic country album feel combined with all of the humor and sarcasm one expects from the Supersuckers.
Both album covers are the product of having a close, creative relationship with the band. On Descended Like Vultures Zach, the song writer, relayed a very elaborate dream that summed up both what the album is about and what the cover should look like. I knew as I was listening to him that there was no way I could visually recreate his dream so I interpreted it the best way I could. Normally bands supply a photo or a drawing or painting for us to work with. In this case it was all up to me.
The Shins – Chutes Too Narrow
This is where Jesse LeDoux took his art to the next level. After all, it was nominated for a Grammy for Christ sake!
Supersuckers – Must’ve Been High
Until this record, the Supersuckers were high-energy, melodic Punk Rock (with a love for Classic Metal). So when they decided to do a Country record I was as surprised as anyone in Seattle. They brought in a couple of old albums as art examples on which fine artist/illustrator Whiting Tennis based his block print ideas. I love the texture and narrative of this one and with Hank Trotter’s back cover and inside it has that classic country album feel combined with all of the humor and sarcasm one expects from the Supersuckers.
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