Today, The Bug Club shares the humorously apathetic new single “A Good Day For Dying,” available now on all streaming services from Sub Pop.
 
The track is from Every Single Muscle, which is The Bug Club’s punkiest offering yet. It recalls both the short, sharp snaps of their very first singles and the grunt of recent releases. So packed is the album with wall-to-wall riffs and lyrical hooks rammed into tight confines that Sam actually asks permission to squeeze in a solo during “A Good Day for Dying.” He’s given two seconds.
 
With regard to the lyricism, while Very Human Features did an excellent job of pointing at everyday things and highlighting their absurdity, on Every Single Muscle, The Bug Club looks more closely at themselves. Not so much in an introspective way, though. More in a way an alien might probe a captive specimen on an intergalactic gurney. Horror movies get their “body” subgenre; now, garage rock albums get theirs, too. Self-interested in an entirely new sense of the term, the human form and condition is prodded and inspected from every angle throughout the course of the album.  “A Good Day For Dying” is another excellent example of this.
 
The Bug Club previously announced tour in support of Every Single Muscle begins Saturday, May 9th in Wrexham, UK at The Rockin’ Chair and currently runs through Friday, July 10th in Chicago, IL at Lincoln Hall. Please see a full list of dates below.

 
Every Single Muscle will be out May 29th, 2026 worldwide from Sub Pop, and is available to preorder now on CD/LP/all DSPs. LP preorders from megamart.subpop.com in North America, Mega Mart Europe in the UK + EU, and your local record store, will receive the limited Loser Edition opaque blue (NA) and blue vinyl (UK/EU) (all vinyl color editions whilst stock lasts!). Every Single Muscle also features what is likely the band’s most BONKERS cover art to date, illustrated by Ross Willmett.
 
Every Single Muscle features today’s offering “A Good Day for Dying,” along with approximately 17 other tight and engaging garage-punk numbers like “Watching the Omnibus,” “Yours (If You Want Me),”  “Make It Count,” and “My Uncle Warren Drives a Passat.” Every Single Muscle was produced and mixed by Tom Rees at Rat Trap Studios in Cardiff, Wales, and mastered by Mikey Young.
 
More on The Bug Club here.
 

New 2026 US Shows Include Support Dates With Gang of Four In June, And Headlining Dates For July

Downtown Boys are sharing “You’re a Ghost,”  an anthemic, industrial dance-punk track, which is out today on all digital streaming services. It is accompanied by a powerful animated official video directed by Lebanese artist Khalil (@palpable.image). 
 
Band members Victoria Marie and Joey La Neve DeFrancesco say of the visual: “‘You’re a Ghost’ took shape in the context of the previous and current administrations’ violent suppression of pro-Palestine and anti-ICE protestors, and ICE’s recent, depraved escalations within the always-horrific U.S. deportation regime. In such a time, as a bare minimum, we must continue to demand freedom of migration, movement, and everything for everyone. They can’t distract us with clouds of hate. Our bodies and our history are not a game; this is a power structure. ICE out.”
 
The “You’re a Ghost” visual is the latest offering from Public Luxury, their new album out worldwide on Friday, June 26th, 2026. 

Photo Credit:  Naomi Yang

 
Downtown Boys have pushed relentlessly forward as an artistic and political project since their founding. Singer Victoria Marie and guitarist/singer Joey La Neve DeFrancesco first met at union meetings while working together at a hotel in Providence, RI, writing many of the band’s early songs about labor organizing and exploitative workplaces. The quintet is completed by Joe DeGeorge (sax/synth), Mary Jane Regalado (bass), and Joey Doubek (drums). Over years of touring and three acclaimed albums, including Full Communism in 2015 and Cost of Living, their Sub Pop debut in 2017, Downtown Boys have continued to grow as artists, musicians, and organizers.
 
Now, the band has arrived with Public Luxury, an enthralling album that keeps politics front and center while summoning the band’s most urgent and powerful sound to date. The definition of Public Luxury falls very much in line with that of the title of the band’s second LP, Full Communism. Straight up, Public Luxury means, “everything for everyone.” It’s the stubborn insistence that a better world is possible, while fully recognizing the horrors we witness daily, and the individual and collective responsibility to resist the nihilism and hopelessness we can all feel.
 
Public Luxury was co-produced by DeFrancesco with recording engineer and longtime Downtown Boys supporter Seth Manchester (Lambrini Girls, Lightning Bolt, Model/Actriz) at the Pawtucket, RI studio and arts space Machines With Magnets.  The album was mastered by Heba Kadry.
 
Read more about Public Luxury here.

PISS, the evocative, noisy, genre-bending 4-piece punk band from Vancouver, B.C are announcing today that they have signed to Sub Pop for the world and in Canada with Paper Bag Records. Ahead of the new material we are all eagerly awaiting, PISS has scheduled international headlining and festival dates spanning the spring, summer, and fall of 2026, beginning Saturday, May 2nd, in Liverpool, UK, at Sound City Festival and running through Thursday, November 5th, in Reykjavik, IS, at Iceland Airwaves. 
 
Highlights of this announcement include headlining shows in Glasgow, London, Manchester, and Paris in May, as well as appearances at festivals like The Great Escape, London Calling, Pickathon, End of the Road, and Brighton Psych Festival. Additional live dates to be announced soon. Please find a current list of dates below.
 
Post-Trash says of the band, “PISS are a lightning bolt. The Vancouver-based punk band’s debut three demos blurs the lines between hardcore, art-rock, and experimental poetry. PISS hits with the same onslaught of being thunderstruck.” DIY offers this, “The group combine their music with spoken word poetry, visual art, and experimental performance, putting on a show that blurs the lines between wildly complex interpersonal and political themes, with a beautifully human feel to it.” Meanwhile, Exclaim says, “More than any other local hardcore band today, PISS place crucial emphasis on words, those of both singer and poet-at-heart Taylor Zantingh’s and, through audio samples, feminist activist Andrea Dworkin’s (ever committed to accessibility, the quartet also includes captions in its videos). Over corrosive noise and riffs that clench, wrench and tear like the jaws of life, Zantingh unpacks her experiences with body image issues and codependency as she shouts, growls, and shrieks in protest against enculturated ideas about female sexuality and the subjugation of women…with iron determination, PISS are putting in the work, learning skills and habits that can nourish anyone. Pay attention and follow along.” Finally, The Line of Best Fit says of the band’s music and live show, “Weeks after getting to chat with the members of PISS online, I am now here witnessing their live power. It is like nothing I have ever seen before… a sound that’s entirely new and stunningly raw.”
 

 
PISS combines music, poetry, sound collage, performance art, and various mediums of visual art to address complex themes that blur the line between personal and political. Powered by a combination of thoughtful musicianship, energetic live performances, and a crystal-clear vision of a safer underground community, PISS writes punk music that aims to transcend the limitations of a well-established genre by pulling inspiration from a wide range of unexpected influences: literary giants, philosophers, filmmakers, painters, psychoanalysts, activists, children, members of a German anarcho-feminist militant group, and audience members from their shows, to name a few. These voices represent varying ideological beliefs about gender-based violence and enable PISS to create art that depicts challenging and controversial issues such as sexual violence and enculturated gender norms without reduction, romanticization, polemics, or dogmatism.
 
PISS comprises poet and teacher Taylor Zantingh on vocals, filmmaker Tyler Paterson on guitar, Gavin Moya on bass, and Garreth Roberts on drums.

In the official video for Telehealth’s “Donor Country (A gOoD cAuSe),” the band presents Telehealth’s Top Talent, an unreal new talent show competition featuring an assortment of witches, hedge trimming artists, magicians, “air” DJs, and bubblegum blowers all vying for their 15 minutes of fame. The visual was directed by Eleanor Petry, and the song is available today on all streaming services.
 
Telehealth offers this on the song and its accompanying visual, “‘Donor Country (A gOoD cAuSe)’ examines how modern philanthropy blurs survival, cultural status, and compromise. In the absurd American financial landscape where nearly every day to day activity (from checkout charity prompts at Safeway to GoFundMe campaigns to afford medical bill) relies on some form of patronage, the song sits in a gray space, tracing the interdependence between funding that keeps life (and art!) afloat while quietly shaping their limits, turning generosity into both necessity and a performance.
 
“The video stages this absurd reality as Telehealth Top Talent, a parody talent show where contestants push themselves into increasingly exaggerated, court-jester extremes (cue the singing, dancing, and self-mythologizing!!) for a shot at money and fleeting fame. Blending satire with discomfort, the video turns the spectacle of opportunity into an observation of cultural survival under patronage… asking not just who is being exploited, but who is benefiting from this? In the end, it’s less about a single oppressor than a shared dependency - one that leaves open the question of who holds power once the check clears, and where that money comes from in the first place?”

“Donor Country (A gOoD cAuSe)” follows the official videos and singles for “Things I’ve Killed” and “Cool Job,” and is another highlight from Green World Image, the band’s forthcoming Sub Pop debut, out Friday, May 15th, 2026.   Telehealth begins their North American headline tour in support of Green World Image this Sunday, April 26th in Cleveland, OH at Happy Dog. The 19-date trek continues through Wednesday, May 27 in Reno, NV at Holland Project. See below for a full list of dates.   Sun. Apr. 26 - Cleveland, OH - Happy Dog * Mon. Apr. 27 - Chicago, IL - Empty Bottle ^ Tue. Apr. 28 - Detroit, MI - Outer Limits Lounge ! Wed. Apr. 29 - Pittsburgh, PA - Bottle Rocket @ Thu. Apr. 30 - Philadelphia, PA - Launderette # Sat. May 02 - Boston, MA - Deep Cuts % Sun. May 03 - New York, NY - NightClub 101 $ Thu. May 14 - Seattle, WA - Neumos + Fri. May 15 - Portland, OR - Swan Dive ** Sat. May 16 - Boise, ID - Shrine Basement ^^ Sun. May 17 - SLC, UT - The DLC !! Mon. May 18 - Denver, CO - Hi-Dive @@ Tue. May 19 - Albuquerque, NM - Sister Bar ## Thu. May 21 - Phoenix, AZ - Linger Longer Lounge %% Sat. May 23 - Los Angeles, CA - Permanent Records $$ Sun. May 24 - San Diego, CA - Banshee Bar ++ Tue. May 26 - Oakland, CA - Stork Club *** Wed. May 27 - Reno, NV - Holland Project ^^^   * w/ Axis Sova ^ w/ Dr. Fang And The Bats, The Pop Cult ! w/ Dori, Credit Card @ w/  valleyview, Phloc # w/ Positronix, Gripper % w/ Perennial, Pink Lids $ w/ Mary Shelley + w/ Coral Grief, Buddy Wynkopp ** w/ Buddy Wynkopp, Nonbinary Girlfriend ^^ w/ Deep Heaven !! w/ The Fever Drift, more TBA @@ w/ Chroma Lips, Video Daze ## w/ TBA %% w/ The Sheaves, DOMS $$ w/ Tube Alloys, Agender ++ w/ Blair Gun, Ghee *** w/ Street Eaters, Squiggle ^^^ w/ Clarko, Charity Kiss   Green World Image is now available for preorder worldwide from Sub Pop. LP preorders in North America through Sub Pop Mega Mart and in the EU and UK through Mega Mart Europe will receive the Loser Edition on Crystal Clear vinyl. The limited Loser Editions will also be available at your local record store (All vinyl colors available whilst stock lasts!).   Read more on Telehealth’s Green World Image at Sub Pop.   What People Are Saying About Telehealth: “It’s satirical Seattle poetry, set to an anxious, punked-up rhythm and a weirdly cathartic stream of buzzwords and industries millennials have supposedly “killed,” per a ludicrous Reddit thread.” [“Things I’ve Killed”] Seattle Times   “Telehealth make great new wave inspired art punk that’s as catchy as it is clever.” [“Cool Job”] Post-Trash   “A wacky lead single…sounds like ‘a modern update on a B-52s B-side’” [“Cool Job”] STEREOGUM   “Nervy” [“Cool Job”] BROOKLYN VEGAN   “It’s fun, squirly stuff.” [“Cool Job”] Loud & Quiet Weekly Telehealth Green World Image   Tracklisting: 1. [user onboarding sequence] 2. The Telehealth Shuffle 3. Kokomo 2 4. Donor Country (A gOoD cAuSe) 5. Age of Muralcide 6. Things I’ve Killed 7. Cost of Inaction 8. Silver Spoon 9. Cool Job 10. Yassify Me 11. Maria, Machine 12. Villain Era 13. Living, Laughing, Loving, Trying