Today, Ya Tseen (pronounced Yacht Seen) has shared a new single, entitled “Ixwsiteen (I See You)”, a standout new track off the band’s forthcoming release, Stand On My Shoulders, out Friday, January 16th, 2026 worldwide from Sub Pop Records. Led by multi-disciplinary artist Nicholas Galanin, Stand On My Shoulders is an incandescent exploration of existence, a celebration of love and connection to Land.
“Ixwsiteen (I See You)” was written for Aaron Bushnell, shares Galanin. “A reflection on witnessing, complicity, and the cost of conscience in an empire that erases what it fears. The song holds space for his act of protest, a flame against indifference, awareness is ceremony; once opened, it resists forgetting.”
Ya Tseen will embark on a 10-date tour supporting Portugal. The Man. These dates will begin on November 6th in Portland, OR, and end on November 19th in Denver, CO. See below for a complete list of shows.
Thu. Nov. 06 - Portland, OR- Revolution Hall # Fri. Nov. 07 - Portland, OR - Revolution Hall # Sat. Nov. 08 - Tacoma, WA - The Spanish Ballroom # Sun. Nov. 09- Seattle, WA - Showbox (SoDo) # Tue. Nov. 11 - Oakland, CA - Fox Theater (OAK) # Fri. Nov. 14 - Los Angeles, CA - Troubadour # Sat. Nov. 15 - Pomona, CA - Glass House, # Sun. Nov. 16 - Los Angeles, CA - Wiltern # Tue. Nov. 18 - Boulder, CO - Fox Theater # Wed. Nov. 19 - Denver, CO - Mission Ballroom #
# w/ Portugal. the Man
Stand On My Shoulders is now available for pre-save on all participating DSPs. Click here to pre-save the entire album.
Galanin is a musician and visual artist who has been creating music, customary Tlingit carving, and interdisciplinary art for over two decades. His sculpture and video work have been shown at the Public Art Abu Dhabi Biennial, Whitney Biennial, Sydney Biennial, Desert X, Art Week Miami Beach, and by the New York Public Art Fund. Galanin’s visual and sonic work are interconnected streams of creative flow, integral to the watershed of his work.
Ya Tseen Stand On My Shoulders
1. Ircenrraat (feat. Ashley Young)
2. Twilight (feat. Pink Siifu, Sidibe)
3. Perfect Combo (feat. dreamcastmoe)
4. Taste On My Lips (feat. Portugal. The Man, Meshell Ndegeocello, Sidibe)
Today, November 4th, Stockholm-based artist waterbaby has shared an exuberant new single for her staccato-laced neo-soul-pop track, “Beck n Call.” Featuring guest rapper ttoh, this song was written by waterbaby, her regular collaborator Marcus White, and ttoh, and produced and mixed by White. “Beck n Call” is now available worldwide on all streaming services from Sub Pop.
“Beck n Call” follows the release of her spring 2025 single “Amiss” and the 2023 Sub Pop debut EP, foam. The latter release led to international acclaim, including a cover of Sweden’s music magazine GAFFA, and coverage from the likes of Bandcamp Daily, CLASH, The FACE, The FADER, The Guardian, The Line of Best Fit, The New York Times, NPR Music, PASTE, Stereogum, and more. Foam also earned waterbaby two 2024 Swedish Grammy Nominations, including “Newcomer of the Year” and “Composer of the Year” (for collaborator White).
What people have said about waterbaby: “waterbaby makes music that is funny, heartfelt and intimate, cramming earworm hooks into warped bedroom pop production.” The Guardian
With themes about love and loneliness, Egerbladh’s songs both break you and build you back up.” “Essential Releases” - Bandcamp Daily
“Under the gaze of auto-tuned vocals and alt-rock textures, waterbaby has forged something wholly original and awing.” [“911”] PASTE
“I was a big fan of ‘Airforce blue,’ the indie-pop-ish, R&B-ish Stockholm singer waterbaby’s first single for Sub Pop. I’m an even bigger fan of the next one. “911,” out today, heralds the impending arrival of waterbaby’s Foam EP. It’s a low-key love song built around a cozy little acoustic guitar figure that plays as a nest for waterbaby’s soft, digitally affected vocals.” STEREOGUM
“The emergency number in Stockholm, the home of the songwriter who calls herself waterbaby, is 112. But in this drowsily understated bedroom-pop song, she clearly has an eye on an American audience: “Call me when you need someone/I could be your 911,” she sings, adding “we-ooh, we-ooh” like a two-note emergency siren. It’s a tentative, guarded offer of affection — “Maybe we could go somewhere/Maybe we could be something” — sung breathily and hesitantly, trying to keep expectations modest.” [“911”] “The Playlist,” THE NEW YORK TIMES
“Airforce blue” flips waterbaby’s indie R&B into an electrified, auto-tuned collage with an easy intimacy.” BROOKLYN VEGAN
“An unguarded DIY R&B moment coming out of the Swedish capital.” [“Airforce blue”] THE FADER
“…a real jewel, a thrilling and evocative slice of future-facing pop.” [“Airforce blue”] “Track of the Day,” CLASH
“A black girl freeing herself through experimentation is inherently groundbreaking, and waterbaby is making comfortable room for herself in the lo-fi realm. Delivering wistful vocals and melancholic indie-pop on her latest EP Foam, we’re getting to know the singer through open veins and a raw lens.” Ones to Watch
On Friday, March 27th, 2026, Sub Pop will digitally release Rogue Wave’s Out of the Shadow(Deluxe Edition) and Descended Like Vultures(20th Anniversary Director’s Cut) on all streaming services. Digital formats for each release include rare and unreleased bonus material from each album’s era.
Rogue Wave began almost by accident. In early 2002, faced with the sort of existential crisis unique to the newly unemployed, Zach Rogue decided to take some time off from his home base of San Francisco. He set off with a one-way ticket to New York in March with the intention of recording one or two songs with a friend, in an effort to exorcise his demons both artistically and personally. He came away with both a new lease on life and an album’s worth of material that would later become Rogue Wave’s stunning debut, Out of the Shadow. At the end of 2002, while preparing the album for self-release, Zach rounded out the band’s lineup with the addition of Pat Spurgeon (drums/keys/samples/vocals), Sonya Westcott (bass/vocals), and Gram LeBron (guitar/keys/vocals). Zach soon realized that together the group started to “light up like fireworks” and “liked hugging each other.” Effortless friendship spawned the refreshingly organic actualization of Rogue Wave, a band whose commitment to song-craft and to each other is nothing short of astounding.
Out of the Shadow was originally released in a limited quantity on the band’s own Responsive Recordings label in early 2003. It is a gentle, undeniable charmer full of the naturally timeless sophistication and fierce, penetrating hooks that define a classic album. Rogue Wave’s climactic payoffs aren’t what this band is solely about, though. Live, Zach Rogue’s aberrant pop is realized here together with Pat, Sonya, and Gram with exacting precision and infectious enthusiasm that is as subtle and fluid as it is insistent. As a unit, the band’s preternatural ability to effortlessly highlight the finer points—spectral layers of delicately placed pedal steel, understated moog and upright bass—makes their moving arrangements all the more enchanting.
Soon after their formation, Rogue Wave found themselves invited to play shows with bands like Spoon, Destroyer, Mates of State, Super Furry Animals, The Clientele and The Shins. “Rogue Wave seems like a classic Bay Area band, in the tradition of Thinking Fellers and Barbara Manning—they’ve just got that vibe,” gushed Carl Newman, The New Pornographers’ vocalist and songwriter. And he’s right—the quartet effused vitality, all the while infusing their damaged melodies with casual charm.
Released in 2005, Descended Like Vultures is Rogue Wave’s second album for Sub Pop. It would be the first time the band’s leader made a record with a whole group – Rogue, Spurgeon, Le Bron, and new bass player Evan Farrell – in the studio. They spent 10 days with Bill Racine (who also produced Out Of The Shadow with Rogue) at Supernatural Sound in Oregon City, OR, resulting in the creation of 11 tracks that journey through a dreamy landscape inspired by several decades of classic rock and pop (from Fleetwood Mac to Neil Young to My Bloody Valentine.)
For the first time as an entire unit, Rogue Wave went out of its way to create a free-flowing album that includes equal amounts of tension, release and resolution. In the process, they made a brilliantly layered, expertly crafted album that changes shape with repeated spins.
Zach Rogue offers this on Out of the Shadow: “There’s an innocence and openness to this album, probably because I had literally no idea what I was doing. I made sketches of the songs on 4-track, and by and large, the structure of the songs didn’t change too much in the studio.
“Largely recorded under the cover of very late night at Bearsville because I didn’t have the money to officially record in a studio, I thought Bill and I were making better-sounding demos. But the more we tracked, the more it seemed like it could be a real album. While it felt like the most exciting thing that ever happened to me, I didn’t exactly think it would be heard by anyone except maybe my friends and family. When it was done, I used it as a way to recruit a band on Craigslist. I wish I could remember what I wrote in that posting.
“These 4-track demos are some other song ideas I was kicking around at the time. I’m really fond of the live version of that Neil Young song (“Wrecking Ball”) we did with the Helio Sequence. We got along so well with those guys and I loved it when Pat and Benjamin shared the drum kit. Controlled chaos.”
As for Descended Like Vultures, Zach Rogue had this to say, “This is the sound of a road weary but energized band. Once Rogue Wave started touring on Out of the Shadow, we seemingly never stopped. And when we weren’t touring, we were knocking out new song ideas at our rehearsal space in Oakland. Descended was recorded in two parts: Pat and I tracked a handful of songs with Bill (Racine) at Tarbox, where he was House Engineer. We were obsessed with the Flaming Lips and hoped we could through osmosis absorb some of that Dave Fridmann magic. All we wanted to do was experiment in the studio. Some nights I slept in the live room under the piano. The rest we did as a full band at Supernatural, just south of Portland, OR. When we first submitted the LP to Sub Pop, they said we needed to trim it down. This 20th Anniversary version is as we originally intended it, with weird autoharp pieces I wrote in the studio and some of the other songs we wanted in there.
“When I wrote and tracked “Eyes” at my house in Oakland, I demoed some other songs as well, which is where the demos for “Dropout” and “Desperate” come from. “When We Begin” is a song we were asked to submit for the Olympics, but the committee, in their wise judgement, rejected. We were asked to record a cover of the Pixies’ “Debaser” for the TV show The OC. After we finished that more rocking version, we stayed in the studio and tried playing it a different way live. It took us about a hundred takes to play it without messing it up, but we finally got it.”
Earlier this year, Rogue Wave’s “Eyes,” which is included here with the bonus material for Descended Like Vultures, was certified as a Gold-selling single by the RIAA.
What People Have Said About Rogue Wave’s Out of the Shadow & Descended Like Vultures: “Think Doug Martsch fronting the Shins and playing the sweetest Carl Newman jams ever.” [Out Of The Shadow] 5/5,Alternative Press
“Out of the Shadow’s blissful indie-pop tunes are as affecting as they are catchy.” Dusted
“Their Sub Pop debut overflows with breezy, Pacific Northwest harmonies, lush vocals and strummed guitar work that beats a path similar to The Shins’ Oh, Inverted World and Elliott Smith’s XO.” [Out of the Shadow] Pitchfork
“The bicoastal milieu of Out of the Shadow is apparent: It reflects both a lush, sunny “California Dreamin’” temperament, and Gotham’s grimy, melancholic disposition.’ 7.8/10, Pitchfork
“Not a weak link or bit of filler to be found anywhere, either. Out of the Shadow is an indie dream come true.” 4.5/5,All Music
“Deceptively inventive, darkly melodic Simon & Garfunkel and (Elliott) Smithisms.” [Out of the Shadow] NME
“Tightly packed with ‘Eight Days A Week’-style harmonies and immaculate, 12-string strumming” [Out of the Shadow] MOJO
“Rogue’s high, gentle vocals and halcyon harmonies mask lyrics that are occasionally dark and cynical–but never mushy.” [Descended Like Vultures] A-,Entertainment Weekly
“One of the year’s best.” [Descended Like Vultures] Billboard
“A perfect mix of tender melodies and rock and roll.” [Descended Like Vultures] 8/10, Under the Radar
“a more visceral, immediate effort.” [Descended Like Vultures] 7.8/10, Pitchfork
“…a musical ambition that flirts with the experimental, but remains joyously within reach of the FM dial.” [Descended Like Vultures] 8/10, Uncut
Digital Tracklisting: 1. Every Moment 2. Nourishment Nation 3. Be Kind + Remind 4. Seasick On Land 5. Kicking The Heart Out 6. Postage Stamp World 7. Sewn Up 8. Falcon Settles Me 9. Endgame 10. Endless Shovel 11. Man-Revolutionary! 12. Perfect 13. Everyday 14. Every Moment (4-track Demo) 15. Kicking the Heart Out (4-track Demo) 16. Angela (4-track Demo) 17. Do I Really Wanna Die For You? (4-track Demo) 18. Wrecking Ball (feat. The Helio Sequence; Live at Bowery Ballroom 06/15/2005)
Digital Tracklisting: 1. Vulture’s Reprise 2. Bird on a Wire 3. Catform 4. Loves Lost Guarantee 5. Salesman at the Day of the Parade 6. My Will 7. Publish My Love 8. Are You on My Side 9. Vulture’s Return 10. You 11. Interruptions 12. Medicine Ball 13. 10:1 14. California 15. Vulture’s Reprieve 16. Eyes 17. Desperate (Demo) 18. Dropout (Demo) 19. When We Begin (Demo) 20. Debaser (Live at Russian Recording 2006)
Today, Hannah Jadagu is sharing a new lyric video for “Normal Today,” an electric new standout from Describe, her forthcoming sophomore album out this Friday, October 24th, 2025 worldwide through Sub Pop. The track was co-produced by Jadagu, Sora Lopez, and Max Baby and mixed by Blue May in Los Angeles, and mastered by Heba Kadry in Brooklyn.
On Describe, Hannah Jadagu learns the hard way that distance is relative. After 2023 debut album Aperture garnered glowing praise from outlets like The New York Times and NPR, Jadagu’s promising career took her away from her blossoming relationship in New York. “I was feeling love and gratitude, but also guilt about being away for my job,” she recalled. “Being a musician requires sacrificing time–And one thing about me, I’m a quality time girlie.” Her expansive second album sees her grappling with that separation, finding connections that extend beyond the physical and strengthening her own voice in the process. Describe verberates with that tension, between wanting connection and craving space. Its lyrics, as on her debut, ache with an emotional specificity that can only be pulled from lived experience.
But that distance also pushed Jadagu to explore new dimensions of her sound. “I’m super into artists that are able to mix analog with modern,” she said, and moving to California for the summer gave her the opportunity to meet new collaborators and experiment with analog synthesizers and drum machines. And while the warm hum of her guitar was her primary instrument for Aperture, she began to feel that her muscle memory of the instrument was holding her back. “It was freeing to be able to sit at a synth and drone on one note while I explored my vocals,” she said. ”I found that to be a bit more freeing than playing on a guitar.” Working with her co-producer Sora at his studio in Altadena and remotely on a few songs with Aperture co-producer and collaborator Baby out of Paris, Jadagu carved out a sound on Describe that is both distinctively hers and a total departure from the distorted guitar melodies of her debut (read more about Hannah Jadagu over here).
DIY says Decribe is “An album that’s brimming with solid songwriting and expansive production, there’s an enormity to this second outing – even at its most brooding – that makes for a compelling, colossally dynamic pop record (4/5).” Meanwhile, Aesthetica Magazine offers this, “she keeps her signature silky vocals bur expands her craft to encompass a variety of styles… with this sophomore album, she will be difficult to forget.” Dork Magazine has this to say, “Each song feels like a small experiment that clicks into place… ‘My Love’ is a clear standout, a glowing, romantic rush that flirts with The 1975’s sentimental side but keeps Jadagu’s warmth at the centre (4/5).”
Hannah’s fall tour dates for 2025 in support of Describe are currently underway, with a show closing out Gigi Perez’s fall headlining run tonight, Tuesday, October 21st at The Wiltern. She has also scheduled an album release show at Brooklyn’s Public Records on Friday, October 24th.
Hannah will then head overseas for a short EU/UK tour beginning October 29th in Berlin at Kantine am Berghain, and closing the tour with appearances at Pitchfork Music Festival Paris on November 4th and Pitchfork Music Festival London on November 5th.
Hannah has also been announced as direct support on Del Water Gap’s forthcoming 2026 late winter tour, which begins Thursday, January 15th in Raleigh, NC at The Ritz and runs through Saturday, February 28th in Atlanta, GA at the Buckhead Theatre.
Tickets for these shows are on sale now. Additional live dates to be announced soon.
Fall 2025 Tour Dates Tue. Oct. 21 - Los Angeles, CA - The Wiltern ^ Fri. Oct. 24 - Brooklyn, NY - Public Records Wed. Oct. 29 - Berlin, DE - Kantine am Berghain Fri. Oct. 31 - Brussels, BE - Les Nuits Weekender @ Botanique (Orangerie) Sat. Nov. 01 - Amsterdam, NL - London Calling @ Paradiso Tue. Nov. 04 - Paris, FR - Pitchfork Paris @ Le Trianon Wed. Nov. 05 - London, UK - Pitchfork London @ 93 Feet East
^ w/ Gigi Perez
Late Winter 2026 Tour Dates Thu. Jan. 15 - Raleigh, NC - The Ritz * Fri. Jan. 16 - Charlotte, NC - The Fillmore Charlotte * Sat. Jan. 17 - Richmond, VA - The National * Mon. Jan. 19 - Washington, DC - 9:30 Club * Thu. Jan. 22 - Brooklyn, NY - Brooklyn Paramount * Sat. Jan. 24 - Philadelphia, PA - The Fillmore Philadelphia * Mon. Jan. 26 - New Haven, CT - College Street Music Hall * Tue. Jan. 27 - Boston, MA - Roadrunner * Fri. Jan. 30 - Montreal, QC - Theatre Beanfield * Sat. Jan. 31 - Toronto, ON - The Danforth Music Hall * Sun. Feb. 01 - Royal Oak, MI - Royal Oak Music Theatre * Tue. Feb. 03 - Chicago, IL - Riviera Theatre * Wed. Feb. 04 - Minneapolis, MN - First Avenue * Sat. Feb. 07 - Denver, CO - Ogden Theatre * Mon. Feb. 09 - Salt Lake City, UT - The Depot * Wed. Feb. 11 - Portland, OR - McMenamins Crystal Ballroom * Thu. Feb. 12 - Vancouver, BC - Vogue Theatre * Fri. Feb. 13 - Seattle, WA - Showbox SoDo * Sun. Feb. 15 - San Francisco, CA - The Masonic * Tue. Feb. 17 - Los Angeles, CA - The Wiltern * Fri. Feb. 20 - San Diego, CA - Soma (Mainstage) * Sat. Feb. 21 - Phoenix, AZ - The Van Buren * Mon. Feb. 23 - Austin, TX - Stubbs Waller Creek Amphitheater* Tue. Feb. 24 - Dallas, TX - House of Blues Dallas * Wed. Feb. 25 - Houston, TX - White Oak Music Hall * Fri. Feb. 27 - Nashville, TN - Marathon Music Works * Sat. Feb. 28 - Atlanta, GA - Buckhead Theatre *
* w/ Del Water Gap
Describe is available to preorder now on CD/LP/all DSPs from Sub Pop. LPs purchased from megamart.subpop.com in North America, MegaMart Europe in the UK + EU, Hannah’s live shows, and your local record store, will receive the limited Loser Edition on Clear Pink (NA) or Bio Pink (UK/EU) vinyl (all vinyl color editions whilst stock lasts!)
“Lala Lala’s songs needle and probe: they’re emotional, sure, but they’re also exacting, and that’s why they can feel so visceral.” - The FADER
Lala Lala, the project of Lillie West, announces her signing to Sub Pop and releases the new single/video, “Does This Go Faster?.” Set against a backdrop awash in synths and distorted drum beats, “Does This Go Faster?” is existential and propulsive. With airy vocals, West sings: “Nothing on earth is free // Even in ecstasy // Hell is the day after the party // Nothing on earth is free // Oblivion seems heavenly, but // Hell is the day after the party.” The song was co-produced by West (vocals, guitar, synths) and Melina Duterte (bass, synthesizers, guitar), and features Abby Black on drums and Sen Morimoto on saxophone. It’s the first taste of new music from Lala Lala since the release of 2024’s instrumental album, if i were a real man i would be able to break the neck of a suffering bird, and the first vocal track since the 2023 singles “HIT ME WHERE IT HURTS” and “Armida.”
Commenting on the song, West says, “I blew up my life and spent two years with my things in storage, traveling around. I wrote this in Iceland during the time I started to feel a little like… What did I do? What happened? What now?” The song’s accompanying video was directed by Jackson James.
On the heels of a packed Millennium Park Summer Music Series concert in August, Lala Lala will support Current Joys on their North American tour, kicking off on Saturday. A full list of dates is below.
