Today, singer-songwriter, musician, and producer Sera Cahoone is sharing details on behalf of I’ve Missed You All These Years, her forthcoming new album, available worldwide on Friday, August 28th from Sub Pop. She is also sharing the official video for her new single “Pulling Up Roots,” directed by E. Ryan McMackin (watch here).
Sera says of the track, “‘Pulling Up Roots’ is about getting to the other side and experiencing growth and momentum after a challenging time.”
The eight years that shaped I’ve Missed You All These Years were marked by profound change: Sera Cahoone lost her best friend, her father, and her dog all within a short time period. But this record is emphatically not about the darkness; it’s about what happens after the storm clears, the moment when you begin to come back into your body after a dark winter. This sense of lightness is evident on the piano and electric guitar that rev to life on “Say Something” and the intricate portrait of “Hits Right.”
I’ve Missed You All These Years captures the sound of ecstatic collaboration between exceptionally talented friends. You can hear it in the barroom swing of “Pulling Up Roots,” the sigh of a pedal steel on “Not How I Had Hoped,” the breezy falsetto on “Say Something.” It’s a record about finding comfort in community; about rediscovering yourself by connecting with the people you love.
On her sixth record, Cahoone is in full command of her powers. In its ability to hold loss and connection in the same hand, I’ve Missed You All These Years is triumphant, a celebration of life rooted in the knowledge of its fleeting nature. The product of a lifetime spent performing and producing music, the album traverses blues, folk, pop, and country, evoking Loretta Lynn in one song and Lucinda Williams in the next. It’s a testament to the strength that creativity and community brings, a portrait of an artist who knows herself completely.
I’ve Missed You All These Years was co-produced by Sera Cahoone and John Morgan Askew at Bear Creek Studios in Woodinville, WA, mixed by Askew at Scenic Burrows in Vancouver, WA, and mastered by JJ Golden at Golden Mastering.
I’ve Missed You All These Years will be available on CD/LP/Digitally from Sub Pop. LP preorders from megamart.subpop.com in North America, Mega Mart Europe in the UK and EU, and your local record store will receive the limited Loser edition on Metallic Gold vinyl (while supplies last).
To celebrate the I’ve Missed You All These Years announcement, Seattle fans can catch a free, intimate in-store performance from Sera Cahoone at Sub Pop’s new retail location on the Seattle Waterfront later today at 5:00PM. Cahoone will be joined by longtime collaborator, guitarist Jeff Fielder (who also appears on the album).
Sera Cahoone recently celebrated her return to Sub Pop with “Say Something,” which is also on I’ve Missed You All These Years and available now on all streaming services. Gold Flake Paint says of the track, “Shaped by a gorgeous backing of guitar, piano, and Hammond organ, the rich-n-swaying ballad finds Cahoone singing with a well-worn smile flickering at the edges, a flash of light that balances the heavy-hearted nature of the lyrics. Framing a portrait of strained but wholly vital domesticity, Cahoone’s voice is full of tenderness, holding a sense of yearning that is palpable in the weight it carries.”
Tracklisting: 1. High and Low 2. Say Something 3. No One Like You 4. Not How I Hoped 5. Horse Runnin’ 6. Pulling Up Roots 7. Supposed To Be 8. Hits Right 9. Tangled Nights 10. I’m No Fool 11. Something Good
Today, July 15th, Sweeping Promises share the pulsating ripper “Accent”, available now on all streaming services from Sub Pop.
The band describes “Accent” as a, “…cacophony of routine, the plight of a lowly drone who dreams of breaking out of an instinct-born & increasingly restrictive flight path. It’s got a flapping, insectoid rhythm, which is misery to play. We call it ‘cicadence.’ It’s a succession of bee-sting realizations from an individual dangerously at risk of becoming feral, independent, an outsider.”
“Accent” follows previously released singles “Cocoon” and “Shooting Shadows” from their forthcoming album, YouSay I Romanticize, available Friday, August 14th from Sub Pop.
Sweeping Promises has also confirmed a four-date run of in-store appearances at independent record stores across the Midwest. In-store performances begin on August 13th at Euclid Records in St. Louis, followed by performances at Goner Records in Memphis, Feel It in Cincinnati, and Bric-a-Brac Records & Collectibles in Chicago. These in-store performances are FREE to the public, and you can grab a Loser Edition of the new record on Black and Yellow Confetti vinyl while supplies last.
Sweeping Promises embark on a North American headlining tour in the fall of 2026. The first leg begins on Wednesday, September 9th, in Oklahoma City, OK, and runs through September 29th, culminating in a hometown show at White Schoolhouse in Lawrence, KS. The second leg begins on October 27th in Omaha, NE, and ends on November 18th in Nashville, TN. Further live dates, including international touring, will follow soon. Tickets available at sweepingpromises.com.
YOU SAY I ROMANTICIZE IN-STORES WITH LIVE PERFORMANCES Thu. Aug. 13 - St. Louis, MO - Euclid Records @ 6:00 PM Fri. Aug. 14 - Memphis, TN - Goner Records @ 6:00 PM Sat. Aug. 15 - Cincinnati, OH - Feel It @ 5:00 PM Sun. Aug. 16 - Chicago, IL - Bric-a-Brac Records & Collectibles @ 4:00 PM
YOU SAY I ROMANTICIZE NORTH AMERICAN HEADLINE TOUR Wed. Sep. 09 - Oklahoma City, OK - Resonant Head Thu. Sep. 10 - Denton, TX - Rubber Gloves Fri. Sep. 11 - Austin, TX - LEVITATION Sat. Sep. 12 - San Antonio, TX - Paper Tiger Tue. Sep. 15 - Phoenix, AZ - Rebel Lounge Wed. Sep. 16 - San Diego, CA - Casbah Thu. Sep. 17 - Los Angeles, CA - Sid the Cat Auditorium Fri. Sep. 18 - San Francisco, CA - Rickshaw Stop Sun. Sep. 20 - Portland, OR - Mississippi Studios Tue. Sep. 22 - Vancouver, BC - Fox Cabaret Wed. Sep. 23 - Seattle, WA - Baba Yaga Fri. Sep. 25 - Boise, ID - Shrine Social Club Basement Sat. Sep. 26 - Salt Lake City, UT - The DLC at Quarters Sun. Sep. 27 - Denver, CO - Hi-Dive Tue. Sep. 29 - Lawrence, KS - White Schoolhouse Tue. Oct. 27 - Omaha, NE - Slowdown Wed. Oct. 28 - St Paul, MN - Turf Club Thu. Oct 29 - Milwaukee, WI - Cactus Club Fri. Oct. 30 - Chicago, IL - Empty Bottle Sat. Oct. 31 - Detroit, MI - Lager House Tue. Nov. 03 - Toronto, ON - Monarch Wed. Nov. 04 - Montreal, QC - La Sala Rossa Thu. Nov. 05 - Boston, MA - Deep Cuts Fri. Nov. 06 - Boston, MA - Deep Cuts Sun. Nov. 08 - Troy, NY - No Fun Tue. Nov. 10 - New York, NY - Night Club 101 Wed. Nov. 11 - Brooklyn, NY - Baby’s All Right Thu. Nov. 12 - Philadelphia, PA - First Unitarian Church Fri. Nov. 13 - Washington, DC - Union Stage Sat. Nov. 14 - Richmond, VA - Cobra Cabana Mon. Nov. 16 - Durham, NC - The Pinhook Tue. Nov. 17 - Atlanta, GA - The Masquerade (Purgatory) Wed. Nov. 18 - Nashville, TN - DRKMTTR
Sweeping Promises’ YouSay I Romanticize was recorded over an 18-month period and is a tribute to the chaos of creation and collaboration under shifting circumstances. Guitarist Caufield Schnug and bassist/vocalist Lira Mondal found and tested themselves in their combination tour house and recording studio in Kansas, annually working on dozens of albums from other bands, hosting tour stops, planning shows, and the like. After an immersive process of tracking and whittling down YSIR demos and carving out an idiosyncratic chamber-recording method for the album’s intentional wall-of-sound, the duo brought in touring drummer Spenser Gralla to play the songs as the band would on stage.
Sweeping Promises’ YouSay I Romanticize is available to preorder now on CD/LP/Digitally worldwide from Sub Pop.
Sweeping Promises YouSay I Romanticize
Tracklisting: 1. Shooting Shadows 2. My Friend’s An Entomologist 3. Last Man 4. Rapture, Or… 5. Abduction On Camera 6. My Anchoress 7. Cocoon 8. Accent 9. Does He Want To Be The Weatherman? 10. Write Lightly
Today, Friday, June 26th, Downtown Boys have released Public Luxury, their enthralling new album, out now worldwide from Sub Pop. The band is celebrating the album’s entry into the world with a poignant new video from animator Romy Matar for album standout “Yellow Sun,” which The Skinny notes, “there’s a melodic softness that reveals a fragility under the surface, something which might even appeal to fans of The Killers.”
Band member Joey La Neve DeFrancesco elaborates further on the song and visual: “‘Yellow Sun’ is a song for Lebanon, written as Israel’s ongoing invasion and occupation of the country began in 2024. The lyrics were inspired in part by the work of Lebanese poet and painter Etel Adnan, especially the poems “Beirut 1982” and “The Arab apocalypse,” which she wrote during Israel’s earlier occupation of Lebanon from 1982-2000. As with Ednan’s work, the song is meant to name the horrors (“phosphorous skies,” “every day an angel explodes”) while also insisting on the possibility of a new day: “The trees grow in every direction / I’m still heavy with love…
“The accompanying video by Lebanese animator Matar is a fable-like tribute to the decades of displacement and hostility faced by the indigenous shepherds and rural communities of Palestine and Lebanon since 1948. It also contains visual references to Adnan’s paintings.”
Downtown Boys are announcing a new UK and EU late fall/winter headlining tour, which begins on December 4th in Amsterdam, NL at Paradiso, and runs through December 21st in Rome, IT at Monk. Tickets for these shows are on sale now.
Downtown Boys’ previously announced US live dates for summer and fall 2026 are underway, with an album release show and benefit tonight, June 26th, organized by Willimantic Records for the Covenant Soup Kitchen & Food Pantry at St. Paul’s Episcopal Church in the band’s second “hometown,” Willimantic, CT. The band’s US touring schedule continues through Saturday, September 26th in Mississauga, ON at Second Summer Festival.
Please find a current list of dates below.
US, Summer 2026 Fri. Jun. 26 - Willimantic, CT - St. Paul’s Episcopal Church Sat. Jun. 27 - Portland, ME - State Theater* Sun. Jun. 28 - East Greenwich, RI - Odeum* Wed. Jul. 15 - Columbus, OH - Spacebar # Thu. Jul. 16 - Detroit, MI - Third Man Records # Fri. Jul. 17 - Chicago, IL - West Fest Chicago Sat. Jul. 18 - Cleveland, OH - Happy Dog # Sun. Jul. 19 - Pittsburgh, PA - Bottlerocket Social Hall # Tue. Jul. 21 - Philadelphia, PA - Johnny Brenda’s # Wed. Jul. 22 - Washington, DC - DC9 Nightclub # Thu. Jul. 23 - Brooklyn, NY - Baby’s All Right % Fri. Jul. 24 - Somerville, MA - NICE, A Fest Sat. Jul. 25 - Burlington, VT - Foam Brewers
Fri. Jul. 31 - Pratsville, NY - Pratsville Arts Center Fri. Sep. 25 - Buffalo, NY - Rec Room Sat. Sep. 26 - Mississauga, ON - Second Summer Festival
* with Gang of Four # with Pop Music Fever Dream % with Ratas en Zelo
UK/EU, Late Fall/Winter 2026 Fri. Dec. 04 - Amsterdam, NL - Paradiso Sat. Dec. 05 - Nijmegen, NL - Zeitgeist Fest Sun. Dec. 06 - Diksmuide, BE - 4AD Mon. Dec. 07 - London, UK - Moth Club Tue. Dec. 08 - Cambridge, UK - Portland Arms Wed. Dec. 09 - Edinburgh, UK - The Mash House Thu. Dec. 10 - Glasgow, UK - Stereo Fri. Dec. 11 Nottingham, UK - The Old Bus Depot Sat. Dec. 12 - Bristol, UK - Exchange Bristol Mon. Dec. 14 - Paris, FR - Le Chinois Tue. Dec. 15 - Brussels, BE - Botanique Wed. Dec. 16 - Trier, DE - Mergener Hof Thu. Dec. 17 - Düdingen, CH - Bad Bonn Fri. Dec. 18 - Ravenna, IT - Bronson Sat. Dec. 19 - Verona, IT - Kroen Sun. Dec. 20 - Busto Arsizio, IT - Gagarin Mon. Dec. 21 - Roma, IT - Monk
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.
What People Are Saying About Downtown Boys Public Luxury: “A decade in the making, Public Luxury is an unashamedly political exercise that never strays into preaching to the converted. Delivered mostly in Spanish, it’s a blast of heat and light in dark times. Imagine early Pixies but they’re only playing Isla de Encanta and Kim isn’t letting Black Francis near the mic.” ★★★★ The Skinny
“Recalling the late, great Poly Styrene at times, frontwoman Victoria Marie radiates fearsome charisma, switching between English and Spanish on several tracks, from the thunderous garage-punk beast “No Me Jodas” to the feverish tropical synth-metal jam “Mi Concha”. The fury running through these songs is mostly the joyous, exhilarating kind, while the incongruously melodic guitar-jangler “Yellow Sun” already sounds like an arena-rock anthem. Anger is an Energy.” UNCUT
“There’s a tangible concerted effort from all involved, bursting with frivolity and passion that it’s hard to not get swept away with the waves. Downtown Boys are a band whose lived experience says a lot about the state of where we are now, backed by an evolving sound that’s throttling down other colorful avenues to bring their causes to light.” Treble
“The guitar-driven ferocity of ‘Sirena’ is intermittently cracked open by a synth line used perfectly and unexpectedly, illuminating a new dimension. ‘Yellow Sun’ reveals a tender core and a different kind of strength that sparkles from the vibraphone. A gargling version of a ‘Neat Neat Neat’ bassline, crazed saxophone and feral drumming run riot in ‘You’re A Ghost’. This album is essential listening for any music venue looking to correctly prepare to host this kind of energy.” Electronic Sound
Downtown Boys Public Luxury
1. No Me Jodas 2. The City Begins 3. Sirena 4. Yellow Sun 5. Viva La Rosa 6. Enemy Without 7. You’re a Ghost 8. Albuterol 9. Mi Concha 10. Public Works 11. Public Luxury
Having fearlessly plumbed the murky depths of our archives, Sub Pop’s crack team of archivists have resurfaced with glad tidings! The Go’s Free Electricity, the group’s storied, long-lost album, will finally see worldwide release on Friday, September 4th, 2026! The ten-track long player was written, composed, and arranged by Bobby Harlow (except track one, which was written by Harlow and Dion Fischer; and track five, written by Harlow and Cary Loren).
Free Electricity was mixed and produced by Matthew Smith, engineered by Jim Diamond at Ghetto Recorders, and mastered by Jim Kissling at Jim Kissling Mastering in Detroit, Michigan.
The Go’s Free Electricity features highlights such as the title track, “All Dimensions Are Loose,” and “Secular Century Man,” and is available now to preorder on CD/LP/Digital from Sub Pop. LP preorders from megamart.subpop.com in North America, Mega Mart Europe in the UK and EU, and your local record store will receive the limited Loser edition on Metallic Gold vinyl (while supplies last).
More on The Go’s Free Electricity by Matthew Smith: The Go appeared in Detroit in 1998, and I immediately became a fan. I’d been waiting for Detroit to produce a group this good since Brownsville Station broke up, and here they were, except I liked The Go even more than all their hometown predecessors. I eventually was asked to produce their first two albums, so I was granted the rare opportunity to be the producer of my favorite rock and roll group.
The first was the debut album Whatcha Doin’, and the second was the mysterious, legendary “lost” album, Free Electricity.
After a few bass and lead guitar personnel shakeups, and a lot of touring in the U.S. following the release of Whatcha Doin’, The Go were back in Detroit with a bunch of new songs which they wanted to record immediately. We again went to Ghetto Recorders, and were in there for a week, maybe two weeks? The Go played these songs at full blast in the studio, getting them all on tape in just one or two takes. The atmosphere surrounding these sessions was one of openness and creativity, so the overdubbing process was an avalanche of ideas, coming down really fast, and going to tape effortlessly.
The title track might have ended up sounding like a more traditional rock and roll song, but I suggested they do a take with the lead guitar blasting non-stop, something which made the dynamics more like that of a free jazz ensemble. When I sat down to mix the track, the reverb tank seemed to open up like a giant hole in the earth’s crust and suddenly what came out of the speakers was a big, cavernous sound, like some haunted frequency beamed across the time barrier from the Grande Ballroom circa 1968. At this point, the mixing board felt more like a Ouija board. We were going where the music was leading us, and the strange sounds just kept on coming.
There’s a heavy jazz influence on this record. We were all listening to a lot of ‘60s free jazz, so it seemed quite normal (to some of us) that the mixes tended to sound a bit more like records by Pharoah Sanders and Sun Ra than the records being made by our peers in the rock and roll scene.
Perhaps this was perceived as a strange approach back in the year 2000, and there certainly were some people who felt we were totally out of control and maybe a bit crazy, but The Go were only as out of control as their musical and literary heroes, like the Fugs and Allen Ginsberg and the Bonzo Dog Band and Nilsson and lots of other individualists who inspired them.
Guest appearances by Cary Loren from Destroy All Monsters and John Olson from Wolf Eyes only reinforced the album’s musical direction. Anyway, “weird” or not, this was an inspired recording made by an inspired group of musicians. There was a feeling of excitement and adventure happening at these sessions, and I think we captured that feeling on tape.
The Go Free Electricity
Tracklisting: 1. Free Electricity 2. Secular Century Man 3. All Dimensions Are Loose 4. Peacock Angel 5. Pharaoh’s Tomb 6. Into Outer Space 7. Turnin’ On 8. Blood Red Sun 9. Muthers of the Earth 10. Golden Dawn
On Friday, November 13th, 2026, Clipping will release Splendor & Misery (Anniversary X), the tenth anniversary edition of their Hugo Award-nominated sci-fi opus, on a double LP, originally released on Sub Pop and Deathbomb Arc in 2016. The deluxe anniversary edition features the acclaimed album’s original fifteen-song tracklist along with eight new, previously unreleased songs and alternate takes.
Splendor & Misery is an Afrofuturist, dystopian concept album that follows the sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. Thinking he is alone and lost in space, the character discovers music in the ship’s shuddering hull and chirping instrument panels. William and Jonathan’s tracks draw an imaginary sonic map of the ship’s decks, hallways, and quarters, while Daveed’s lyrics ride the rhythms produced by its engines and machinery. In a reversal of H.P. Lovecraft’s concept of cosmic insignificance, the character finds relief in learning that humanity is of no consequence to the vast, uncaring universe. It turns out, pulling the rug out from under anthropocentrism is only horrifying to those who thought they were the center of everything to begin with. Ultimately, the character decides to pilot his ship into the unknown—and possibly into oblivion—instead of continuing on to worlds whose systems of governance and economy have violently oppressed him.
Splendor & Misery is one of Clipping’s most beloved releases, having earned praise from the likes of The New York Times, Bandcamp Daily, CLASH, The Line Of Best Fit, All Music, The Needle Drop, and Uproxx to being selected for year-end lists from the likes of PopMatters (“Best Hip Hop Albums of 2016”), The Observer (“10 Best Hip Hop Albums of 2016”), and Stereogum (“Best Rap Albums of 2016”).
Splendor & Misery would also be nominated for a Hugo Award for “Best Dramatic Presentation, Short Form,” in 2017, being the second album to do so in the awards ceremony’s history. In 2019, Pitchfork ranked Splendor & Misery as one of “The 33 Best Industrial Albums of All Time.”
Clipping would also perform songs from Splendor & Misery on late-night TV, with appearances on former shows The Late Late Show with James Corden (“A Better Place”) and Conan (“Air Em Out”). Recently, the band performed the song “True Believer” (with special guest vocalist Sharon Udoh aka Counterfeit Madison) for NPR Music’s Tiny Desk series.
Splendor & Misery (Anniversary X) is now available to preorder on vinyl and digitally from Sub Pop and Bandcamp. LP preorders from megamart.subpop.com in North America, Mega Mart Europe in the UK and EU, and your local record store will receive the Metallic Silver colored vinyl (while supplies last).
Clipping is also curating Splendor & Misery Fest 2026 at Flushing, NY’s Knockdown Center in celebration of the album, tomorrow night, Thursday, August 13th. The lineup will feature a headlining performance from Clipping, along with sets by SPELLLING, Sub Pop labelmates Shabazz Palaces, ELUCID, Fatboi Sharif, evicshen, and Maria Chavez. Tickets are on sale now.
What People Have Said About Clipping’s Splendor & Misery: “The minimalistic, ice-cold production of Splendor & Misery feels like it’s been pulled back into the present from the future.” FLOOD
“…A fervent, chaotic and uncommonly beautiful noise-rap allegory about slave rebellion and computer love told through a futurist narrative that takes place in outer space.” New York Times
“A magnificent, nerve-jangling and altogether rather riveting blast of unflinching white noise and throb, virtuoso rapping and, most improbable of all, richly romantic gospel-choir interludes designed as much to disconcert as to offer tuneful respite from and guidance through the surrounding sonic shrapnel.” [9/10, Album of the Week] Loud & Quiet
“A hugely inventive slab of sonic theatre plotted to the tiniest detail..” ★★★★MOJO
“Replete with sci-fi references and nudges to Afrofuturist musicians before them, the album confronts the crushing darkness inherent to the alienation of black diaspora and speculates on the identity as an intrinsically fluid process. Splendor & Misery is sincere and staunchly ambitious. With it, clipping. Have solidified their position at the forefront of experimental music.” 8.6/10, Northern Transmissions
“The production, helmed by dual composers William Hutson and Jonathan Snipes, make use of field recording techniques only instead of chimes and sampled radio alarms, the sharp clangs of breached hulls and airlocks closing are the content used to create these paranoia inducing and dissonant instrumentals. What makes Splendor & Misery beckon for repeat listens, bar Daveed Diggs torrential flow, is how concise and dense the record is. It flows like a satellite in orbit, emerging over horizons witnessing serene beauty only to encounter disruptive asteroid belts moments later like the three ‘Interlude’ tracks where Daveed spits over broken and static-laced connections.” 8/10, CLASH
“Utterly uncomfortable, but with such an imaginative foundation that you can’t help but feel invited back to try to learn a little more about the strange and beautiful world of Clipping.” 8/10,Under the Radar
“Spirits are present in clipping.’s video for “Air ‘Em Out.” We open on frontman Daveed Diggs settling in to another shift at his jumpsuit-requiring place of employment. As the beat builds, however, mysterious tremors start to unsettle Diggs and the litany of office supplies at his desk. It’s another top-quality video from a group that has made a habit of just that, a simple idea perfectly executed.” [“Air ‘Em Out,” Best Videos of August 2016] Pigeons & Planes
“”Baby Don’t Sleep” is noisy, layered and absolutely frightening.” [“Baby Don’t Sleep”] NPR Music
“Beatmakers Snipes and Hutson send you plummeting into the mainframe with a musique concrète cut-up beat of television fuzz and white noise. Negative space sucks the air out of your chest as Diggs raps in an arresting staccato, deconstructing the hegemony in a most deliberate manner: “Saviors are fiction / memories are fading like ghosts.” [“Baby Don’t Sleep”] Passion of the Weiss
Clipping Splendor & Misery (Anniversary X)
Tracklisting: 1. Long Way Away (Intro) 2. The Breach 3. All Black 4. Interlude 01 (Freestyle) 5. Wake Up 6. Long Way Away 7. Interlude 02 (Numbers) 8. True Believer 9. Long Way Home (instrumental) 10. Air ‘Em Out 11. Interlude 03 (Freestyle) 12. Break The Glass 13. Story 5 14. Baby Don’t Sleep 15. A Better Place 16. Long Way Away (Theremin & Piano) 17. Wogglebug (Instrumental) 18. Where Shall I Go 19. Machine Loop (Instrumental) 20. Story 5 (Harp) 21. Distant Radio Freestyle 22. Blerg (Instrumental) 23. Story 5 (Demo)
Today, Tuesday, July 14th, Deep Sea Diver is releasing an inspired, revved-up new take on “Teardrop,” the beloved Massive Attack hit featuring Elizabeth Fraser, across all streaming services.
Deep Sea Diver’s Jessica Dobson offers this on the cover: “We have always loved the voice and spirit of Elizabeth Fraser; her collaboration with Massive Attack is one of my all-time favorite songs. I was stopped in my tracks as a kid the first time I heard it. It has a magic that is undeniable, and we wanted to live in that magic for a while and to show it to our audience. Doing covers brings us back to connecting us to what we love and as we are writing new songs, we are really trying to purely focus on things that we love and are drawn to, even if mysteriously, like this one. A mysterious beauty.”
This new version of “Teardrop” was produced by Deep Sea Diver’s Jessica Dobson and Peter Mansen at High Beam Studio, mixed by Andy Park at The Crumb Studio in Seattle, and mastered by Steve Fallone at Sterling Sound.
This weekend, Deep Sea Diver teams up with Sub Pop labelmates Nation of Language for two Pacific Northwest co-headlining shows: Friday, July 17th in Forest Grove, OR at Grand Lodge, and Saturday, July 18th in Carnation, WA at Remlinger Farms. Tickets are on sale now.
The new cover of “Teardrop” follows the release of Deep Sea Diver’s Billboard Heart, the band’s internationally acclaimed 2025 album, which is also available now on CD/LP/All DSPs worldwide from Sub Pop.
What People Are Saying About Deep Sea Diver “Frontwoman Jessica Dobson’s powerful voice and gnarled guitar solos grant the Seattle band’s propulsive, riff-laden indie rock a new level of yearning intensity.” [Billboard Heart] Pitchfork
“Billboard Heart could propel Deep Sea Diver to the greatest of heights: mild indie stardom. Or at least it should, because this record is very good. But even if they aren’t headlining Pearl Jam-sized arenas this time next year, the sounds of Billboard Heart could fill one.” PASTE
“There is plenty to unpack with plenty of anthemic moments but also moments of calm that help the epic tracks to soar even more. Dobson’s vocals and guitar work are both captivating throughout in a record that rarely has a dull moment and is full of spirit and spark from start to finish.” [Billboard Heart] CLASH
“The sleek, dramatic title track sets the stage with a lush, grooving indie rock bolstered by shimmery synths, textured guitar effects, and a somewhat oversaturated sound that permeates and distinguishes the album.”[Billboard Heart] ★★★★ All Music “Dobson’s slightly wounded vocals and scuzzy guitar; a slick, keyboard-festooned backdrop and, even on the straightforward hushed ‘Loose Change’ and the relatively spartan ‘Always Waving Goodbye,’ a sense of galloping ur-gency. Madison Cunningham drops in to add guitar and Pierces-style harmonies on ‘Let Me Go,’ but Dobson is the star of her own show, from the cascading choruses of ‘See In The Dark’ to the title track’s stylish chimes, and in ‘What Do I Know’ she may have found Deep Sea Diver’s key to crossover.”[Billboard Heart] ★★★★ MOJO
“…Earmarked by crunchier guitars, soaring synths, and the occasional heavy drum fill (often explosion-like, as on ‘What Do I Know’). What results is a record of vast diversity and glittering dream pop, the unifying feature being Dobson’s excellent solo playing on guitar.” [Billboard Heart] 8/10, Under the Radar
“Pop grandeur, gnarly fundamentalist hardcore, iridescent psych, gothic elegance, electro-rock drama and anthemic tunes with a cathedral-like grandeur - Jessica Dobson’s band serve up all of them here, so you wonder why DSD aren’t as big as Florence + The Machine…songs such as ‘Shovel,’ ‘See In The Dark’ and ‘Emergency’ punch and swagger with a defiant dose of rock’n’roll pomp and circumstance.” [Billboard Heart] UNCUT
