A subjective list of the 20 best Sub Pop albums. I'm happy to see the Spinanes' Manos, which I've recently rediscovered, make the list.
1993's Manos wasn't a purist affair: featuring multitracked guitars and vocals, it could have been the work of a bigger group. Sonically, though, it was all about the jam econo. Gates' spindly guitar lines, just on the cusp of overload, bristle like a field of thistles, honeyed and forbidding; Plouf's drumming seems to explode out of a small, confined space. Here as on later albums, Gates' voice-- close harmonized in a virtual duet with herself—takes center stage, tying up bittersweet in shiny ribbons that simply beg to be undone. At the time, the Spinanes sounded like a departure for Sub Pop, uncharacteristically sweet and worlds away from other, more macho, records—from Tad, Dwarves and, uh, House of Pain-- that appeared around the same time. But looking back, Manos looks more like the climbers' grip that helped pull the label into the post-grunge era.
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