Today, Band of Horses announce they will celebrate the 20th birthday of their Gold-certified 2006 debut album Everything All The Time with a newly expanded 20th Anniversary Edition, out on March 20, 2026 via Sub Pop. The expanded 19-track edition is accompanied by an additional LP of bonus tracks, including the 2005 tour EP, a trove of previously unreleased studio and live tracks, and rarities like “The End’s Not Near” (as featured on The O.C.) and a demo version of the double Platinum single “The Funeral.”
The album has been fully remastered for the anniversary edition, with the artwork refreshed and expanded into a gatefold jacket, including new liner notes by the album’s producer, Phil Ek (Fleet Foxes, Built To Spill, Modest Mouse, Father John Misty).
In his liner notes, Ek shares: “I’ve always believed that albums need to feel special and should transcend the recording process. I want records that I produce to feel like you can walk into them, to have a three-dimensional depth. The music should stay as fresh and exciting as the first time you heard it. Achieving this requires a lot of time, trust, and effort in the studio, but it pays off in the end. Twenty years on, I still think Everything All The Time exemplifies this fully.”
Reflecting on the anniversary, Band of Horses’ Ben Bridwell adds: “This album made all of my dreams come true. Forever grateful for the desperation that fueled its inspiration.”
Everything All The Time (20th Anniversary Edition) will be available worldwide on double LP, CD, and digital platforms. The digital edition includes additional bonus tracks not available on the vinyl release. LP preorders in North America via the Sub Pop Mega Mart, the band’s official website, and local record stores will receive the limited Loser Edition on metallic gold vinyl. UK and EU preorders via Mega Mart Europe will receive the Loser Edition on opaque yellow vinyl.
Also out today is the previously unreleased fan favorite “(Biding Time Is a) Boat to Row,” accompanied by a new official video directed by James Ayling of Cape Films. Inspired by the real-life story of the 52-hertz whale, the video stars Josh Whitehouse (Daisy Jones & The Six). Listen to the track HERE and watch the video HERE.
Band of Horses will celebrate the release with a spring headlining anniversary tour. An Evening With Band of Horses: Celebrating 20 Years of Everything All The Time begins Thursday, April 9 in Portland, ME at State Theatre, and concludes on Saturday, May 2 in Columbia, MO at Rose Park.
Fan presales begin today at 12 p.m. EST. Tickets go on sale to the general public Friday, January 16 at 10 a.m. local time.
Ahead of the tour, the band will also perform a series of Seattle anniversary shows surrounding the album’s release, including an all-ages show on Thursday, March 19 at The Vera Project and a two-night stand at The Showbox on Saturday, March 21 and Sunday, March 22.
2026 Spring Tour Dates Thu. Mar. 19 - Seattle, WA - The Vera Project Sat. Mar. 21 - Seattle, WA - The Showbox Sun. Mar. 22 - Seattle, WA – The Showbox Thu. Apr. 09 - Portland, ME - State Theatre Fri. Apr. 10 - Beverly, MA - The Cabot Sun. Apr. 12 - Huntington, NY - The Paramount Tue. Apr. 14 - Philadelphia, PA - The Fillmore Wed. Apr. 15 - Montclair, NJ - The Wellmont Theatre Thu. Apr. 16 - Port Chester, NY - Capitol Theatre Sat. Apr. 18 - Baltimore, MD - Nevermore Hall Sun. Apr. 19 - Buffalo, NY - Electric City Tue. Apr. 21 - Pittsburgh, PA - Roxian Theatre Wed. Apr. 22 - Detroit, MI - The Fillmore Fri. Apr. 24 - Cleveland, OH - Agora Theatre Sat. Apr. 25 - Shipshewana, IN - Bluegate PAC Mon. Apr. 27 - Madison, WI - The Sylvee Wed. Apr. 29 - Minneapolis, MN - The Fillmore Fri. May 01 - Kansas City, MO - Uptown Theatre Sat. May 02 - Columbia, MO - Rose Park
About Everything All The Time:
Achieving musical transcendence is a tricky feat. If it happens - a big if - it does so naturally, and perhaps nobody knows that better than Band of Horses, whose landmark debut Everything All The Time still, after twenty years, feels as vital and, dare we say, transcendent as when it came out in 2006.
Guitarist/vocalist Ben Bridwell formed Band of Horses in Seattle in 2004, after the end of his nearly ten-year run in northwest melancholic darlings Carissa’s Wierd. Carissa’s Wierd trafficked in beautiful orchestral pop, whose songs told unflinching stories of heartbreak and loss, leavened with defeatist humor. Band of Horses rose from the ashes of that well-loved band, buoyed by Bridwell’s warm, reverb-heavy vocals, and woodsy, dreamy songs oozing with tension, longing, and hope. Armed with a fresh Sub Pop deal and a smashing batch of songs, the band recorded their debut full-length, Everything All The Time, with producer Phil Ek at Seattle’s Avast Studios.
At times raggedly epic (“The Great Salt Lake”) and delicately pensive (“St. Augustine,” “Monsters”), Everything All The Time is an album painted gorgeously in fragile highs and lows. That’s part of the genius in Band of Horses: they craft intelligent, classic movements within their songs, perfectly balancing desperation and hope, calmness and mania, love and fear. And of course there’s the massive single, “The Funeral,” which became a defining song of the era, and continues to inspire new generations of fans and artists alike. The song has appeared extensively in film and TV placements, was sampled by Kid Cudi, and was recently reimagined in a 2025 dance edit by acclaimed producer/multi-instrumentalist Gryffin. The enduring Everything All The Time would go on to be certified Gold, and “The Funeral” was recently certified double Platinum by the RIAA.
About Band of Horses:
There might be no other band that was able to channel the generational anxiety in those early millennial years and turn it into such powerful and inclusive art quite like Band of Horses. Band of Horses fashioned gorgeously ragged epics, Ben Bridwell’s high-flying vocals and eccentric enunciation floating like a specter that felt like a prelude to a dream. Full of profundity, truth, and sometimes just homespun advice on how to live, Band of Horses songs have become anthems and touchstones for fans — meditations on change, longing, and what a person will do to make things right. And what you do when you can’t.
The band’s debut Everything All the Time (2006) introduced their sweeping, emotionally resonant sound, embodied by the double Platinum anthem “The Funeral,” now regarded as one of the most enduring songs of the modern indie rock era. The albums that followed, including 2007’s Cease To Begin, cemented their place in the indie rock canon. They’ve released six studio albums, including Infinite Arms (2010), which earned a Grammy nomination. Most recently, the critically acclaimed Things Are Great (2022) finds the band recapturing the raw emotion and unpolished punk-rock spirit of its earlier days.
Band of Horses Everything All The Time (20th Anniversary Edition)
Tracklisting: 1. The First Song 2. Wicked Gil 3. Our Swords 4. The Funeral 5. Part One 6. The Great Salt Lake 7. Weed Party 8. I Go to the Barn Because I Like The 9. Monsters 10. St. Augustine 11. (Biding Time Is A) Boat to Row 12. Part Two 13. Coal Mine 14. Worry Song 15. The End’s Not Near 16. The Funeral (Demo Version) 17. Wicked Gil (Demo Version) 18. Our Swords (Demo Version) 19. I Go to the Barn Because I Like The / Monsters (Live at The Crocodile)
On Friday, March 6th, waterbaby will release her debut full-length on CD/LP/DSP’s from Sub Pop. The 8-track long player features the pre-release singles “Amiss” and “Beck n Call” along with highlights “Sink,” “Clay,” “Srs Ice,” and today’s new offering, an official video for the title track, “Memory Be a Blade,” which was directed by Felix Scheynius.
On Memory Be a Blade, the Stockholm, Sweden-born singer-songwriter’s second release on Sub Pop, the nostalgia runs deep. Her follow-up to 2023 EP Foam is darker, richer, and more personal than ever. She wanted her lyrics to dig deeper and evolve her writing forward, something she accomplishes stunningly across the eight-track project.
To spark inspiration for her new lyrics, waterbaby reflected on a past break-up. She had moved on and was seeing someone new while recording the album. But when the newer relationship ended, she witnessed how much the album took on a new meaning to reflect the heartbreak she hadn’t anticipated experiencing.
“Many of the songs came to mean very different things than what I had thought when writing them in the first place,” waterbaby admits.
In the two years following Foam, waterbaby and her primary collaborator, Marcus White (YG, Anna of the North), took their time to get the album right. They wrote and recorded around Stockholm, the south of Sweden, and even Los Angeles. As it took shape, however, waterbaby began to notice how much she would stiffen up behind the microphone. She admits she gets quite shy in the studio, opting for the familiarity of people like White to stay by her side. But in order to take her words and sound deeper, White encouraged her to improvise what she sang instead of writing it out ahead of time.
Her improvisations were paired with compositions that reflected waterbaby’s classical background. White played piano alongside his lush and ethereal arrangements of string and horn parts. Musicians like violinist Oliva Lundberg, cellists Filip Lundberg and Kristina Winiarski, saxophonist Sebastian Mattebo, trombonist Hannes Falk Junestav, and flutist Pelle Westlin round out the dreamy ensemble (read more at Sub Pop).
waterbaby has confirmed new UK & EU headline dates for 2026 in support of Memory Be a Blade. These shows will begin on March 18th in Gothenburg, Sweden, with additional shows in Stockholm, London, Paris, and Berlin. See below for a complete list of shows.
Thu, Mar. 19 Gothenburg, SE - Nefertiti Fri, Mar. 20 Lund, SE - Mejerlet Sat, Mar. 21 Linköping, SE - Babettes Sun, Apr. 12 Stockholm, SE - Södra Teatern Wed, Apr. 15 London, UK - The Lower Third Thu, Apr. 16 Paris, FR - Popup! Fri, Apr. 17 Rotterdam, NL - MOMO Sun, Apr. 19 Berlin, DE - Frannz
Memory Be a Blade is now available to preorder on CD/LP/all DSPs from Sub Pop. LPs purchased from megamart.subpop.com, MegaMart Europe in the UK + EU, and your local record store will receive the limited Loser Edition on Cosmic Berry (NA) and Pearl / Arctic (UK/EU) vinyl while supplies last.
waterbaby Memory Be a Blade
Track Listing: 1. Sink 2. Memory Be a Blade 3. Clay 4. Beck n Call 5. Minnie 6. Minnie Too 7. Amiss 8. Srs Ice
Lala Lala, the project of Lillie West, releases “Arrow,” the fourth single/video from her new album and Sub Pop debut, Heaven 2, out February 27th. “Arrow” marks a moment of bold joy, capturing the escape that happens when one is freed from pain. The song samples French electro-pop band La Femme and moves fast – its swiftness and pleasure feel like running towards something, not away. “None of this was supposed to happen,” West sings, as the song races away from her. “It’s such a basic spiritual thing,” West reflects. “Resistance is the root of all suffering, and I did not know that. I thought that I could dictate the course of my life.” Of course, like everyone else, she could not. Wherever you go, there you are.
“Arrow” follows “Heaven2,” the “haunting, vocal-and-synth exercise that slowly morphs into a dazzling and funky R&B slow jam,” (FLOOD) the “cosmic” (Stereogum) “Even Mountains Erode,” and the “exquisite” (Stereogum) lead single, “Does This Go Faster?.”
For many years, West lived in Chicago, where she established Lala Lala as an integral part of the city’s indie scene, releasing two albums – The Lamb (2018) and I Want the Door to Open (2021) – on the Sub Pop imprint Hardly Art. They were powerful statements from a curious artist: catchy guitar-pop songs about being stuck in the ups and downs of life, the struggle to stay sober, to leave town, to blow up your life. West left Chicago to search for more, and in the process, wrote Heaven 2. On her journey, she landed off the grid in Taos, Iceland, and London. Following a residency in a tiny Icelandic town, she made her way to Reykjavik and released an instrumental album, If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird (2024), and finally headed to Los Angeles, where she has, almost surprisingly, fallen in love and found herself settled.
West has always made her music in response to an itchiness to always be moving, but as she developed a burgeoning desire to settle, she found the surprise realization that steadiness can beget creativity. That evolutionary tension is what fuels Heaven 2. The album was co-produced by West and Jay Som’s Melina Duterte, who provides a strong punchiness as a bed for West’s warm, rounded vocals. Duterte and West performed almost all of the album’s instruments with a few crucial guests, including Sen Morimoto, Macie Stewart, and Porches’ Aaron Maine.
Heaven 2 is now available to preorder on CD/LP/all DSPs from Sub Pop. LPs purchased from megamart.subpop.com, MegaMart Europe in the UK + EU, and your local record store, will receive the limited Loser Edition on Ocean Blue (NA) and Crystal Clear (UK/EU) vinyl, while supplies last. Lala Lala will embark on a North American tour next month and will support Death Cab for Cutie for two dates in August.
Today is Friday, February 6th, 2026, and you can now hear Oklahoma City noise-rock powerhouse Chat Pile’s two new studio tracks: the original titled “Masks,” and the other a burly reimagining of the early Nirvana song “Sifting.” The songs are from the band’s now sold-out, limited-edition 7” Sub Pop single announced late last year.
Physical media collectors don’t fret - you still have a chance to grab the tour-only version pressed on peach vinyl available at Chat Pile’s live shows. There is also a sick new collaborative logo T-shirt that is still available (7” Single and T-shirt, available while supplies last!).
Sub Pop is thrilled that Chat Pile graced us with these two massive songs, and we couldn’t be happier to add them to the list of greats who have released music for the label. The band kindly shared their perspective on this release, so we’ll let them elaborate further:
“It’s a true dream to put out a single on Sub Pop, and our new song ‘Masks’ hopefully honors the spirit of the mythical, sometimes mystical, city of Seattle. Thanks in part to the movie Hype, we have long been obsessed with Seattle, the American underground of the late ‘80s, and Sub Pop and their tools of world domination. Everything we learned about packaging Chat Pile, we learned from Sub Pop co-founders Jonathan Poneman and Bruce Pavitt.
“We wanted to cover a song from the early Sub Pop era, and something off Bleach seemed the obvious choice. Songs like ‘Paper Cuts,’ ‘Negative Creep,’ and especially ‘Sifting’ are fairly lateral to the type of sounds we make with Chat Pile. (Perhaps next time we’ll take on a TAD song!)
“To mark the occasion, we’ve also donated $3,000 to DREAM Action OK, a community-based organization that aims to empower our local immigrant community through advocacy and education to ensure justice for all immigrants. Learn more about DAOK here.
Thanks to Sub Pop for giving us the opportunity to put this single out - we hope you enjoy it.
“And most importantly, FUCK ICE!”
Chat Pile On Tour Thu. Aug. 06 - Ancora, PT - Sonic Blast Festival Sat. Aug. 08 - Katowice, PL - OFF Festival Fri. Aug. 14 - Col Du Lein, CH - Palp Festival Sat. Aug. 22 - Bristol, UK - Arctangent Festival
Sub Pop has snagged the acclaimed young musician Hayden Pedigo with an unorthodox recording contract. Among other things, this union will spawn a number of new albums, one of which Hayden is currently hard at work on.
In celebration of this news, Hayden is sharing the oddly specific details of his contractual agreement, along with tour dates and details of an upcoming NTS Live residency.
First, the agreement:
Hayden Pedigo and Sub Pop are ever so pleased to confirm that these terms were found mutually agreeable, and this agreement is now law.
Hayden Pedigo’s upcoming international live shows for 2026 include a headlining performance on Thursday, March 26th in Brooklyn, NY at St. John’s Lutheran Church, and festival appearances on Saturday, March 28th in Knoxville, TN at Big Ears Festival, and Thursday, April 9th-12th in The Hague, Netherlands at Rewire Festival.
Hayden Pedigo will also host a new, four-month-long residency titled Amarillo Highway With Hayden Pedigo on NTS Live beginning February 25th.
More on Hayden Pedigo… Hayden Pedigo: man, myth, master of disguise; un-picker, finger-picker, absurdist, perfectionist. The unorthodox contender for Amarillo City Council, subject of the film Kid Candidate, and creator of the acclaimed albums for Mexican Summer: Letting Go (2021), The Happiest Times I Ever Ignored (2023), and his latest release, I’ll Be Waving as You Drive Away (2025).
He’s an innovator of the instrumental genre. A challenger of the stereotypical, son of a truck-stop preacher, he backs up a cherry red Silverado under his own smiling, Brylcreemed and Nudie-Suited billboard. His foot hesitates above the gas pedal as a cloud of dust rises. Where between beaming advert and disillusioned entertainer might his truest self lie? I’ll Be Waving…his intentionally maximalist, genre-resistant work of warped instrumental Americana – is an exclamation point at the end of an accidental trilogy of records. The album was selected for “Best Albums of 2025” lists from All Music, Nialler9, No Ripcord, PASTE, and Pitchfork. The latter says of the record in its “Best New Music” review, “On his most majestic and sincere record yet, the Texas guitarist plays with grace and power, evoking the gentle emptiness of the American West.”
2025 also saw the release of In The Earth Again, the well-received collaborative album with Oklahoma City’s Chat Pile, released on the Computer Students label. That album also saw year-end praise from the likes of Beats Per Minute, The Needle Drop, Treble Zine, and Stereogum, who called the album “…the two acts find a cohesive middle ground in this brutally dystopian guitar music, with Pedigo’s fingerpicking contrasting Raygun Busch’s seared vocals. The result almost feels like a southern gothic novel: devastating, vast, yet oddly warm all the same.”
Caldicot, Monmouthshire, Wales’ finest, The Bug Club, will release Every Single Muscle, their incredible new album on CD/LP/all DSPs worldwide on Friday, May 29th, from Sub Pop. The 18-track longplayer features today’s first single, “Watching the Omnibus,” along with approximately 17 other tight, anxious, and engaging garage-punk numbers like “Yours (If You Want Me),” “A Good Day for Dying,” “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.
Every Single Muscle is available to preorder now on CD/LP/all DSPs from Sub Pop. 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.
The Bug Club has also announced headlining UK dates for May and June 2026, plus a May 23rd support slot opening for Super Furry Animals in London. Additional live dates will be announced soon.
Sat. May 09 - Wrexham, UK - The Rockin’ Chair Sat. May 23 - London, UK - Brixton Academy* Mon. Jun. 01- Norwich, UK - Arts Centre Tue. Jun. 02 - Brighton, Uk - Concorde 2 Wed. Jun. 03 - Bristol, UK - The Lantern Thu. Jun. 04 - Liverpool, UK - Hangar 34 Fri. Jun. 05 - Leeds, UK - Project House Sat. Jun. 06 - Barry, UK - Memo Arts Centre * supporting Super Furry Animals
More on The Bug Club’s Every Single Muscle:
The Bug Club are back with a new album. It’s been a whole eleven months since their last. Where have they been?
Every Single Muscle, the band’s fifth LP, arrives 29th May 2026 via Sub Pop, making it a hat-trick for the Welsh duo and their esteemed Seattle-based patrons. Since Very Human Features, which emerged in June of 2025, the non-stop tour has seen the BBC 6 Music and KEXP favourites ping-pong across the Atlantic like they used to the Severn Bridge. Various festival slots in the summer kept them from having any sort of holiday - who needs one when you live in Wales anyway? - until it was time to head back to the writing room.
So that answers that first question. Not that you’d have otherwise known. Ever self-effacing, songwriters Sam (guitar, vocals) and Tilly (bass, vocals) go as far as to claim that they’ve been sitting around “doing nothing at all” during track “It’s Our Manager David.” That’s clearly a lie. Every Single Muscle gets off to a full-throttle, chugging start with “Miss Wales 2012,” referencing a competition both Tilly and Sam have actually won. Dead serious. It’s the first of many sub-two-minute tracks on the album, setting the tone for The Bug Club’s punkiest offering yet and recalling 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 second track “A Good Day for Dying.” He’s given two seconds.
Not that we’re short-changed, though, because Sam asks again later on and is granted more. Across eighteen tunes there’s enough classic Sam/Tilly guitar interplay to satisfy even the most vociferous Bug Club club member and firmly refute the band’s own claim that they are only “just about technically proficient on our instruments.” “Full Range of Motion” has a choppy rhythm that sits atop drummer Tom’s tight beat and serves to remind us all of Minutemen, for a minute. “Make It Count” brings sweet melody and call and response, while “All My Clothes Fell Off” allows for a slower paced ballad that builds to a crescendo that would not be out of place in the world of classic rock. “Cut to Black” combines a Sparks-esque falsetto and Tilly’s melodic bass playing with a rhythm something close-ish to what Klaus Dinger used to do for Neu! And closer “My Uncle Warren Drives a Passat” sees them doing a bit of a left turn and swapping out guitars for keys. This record’s an exercise in efficient maximalism - the musical equivalent of your dad packing the car for a holiday. Bring what you like; space is tight but they’ll get it in there somehow.
On to the words, because with these guys those are important. While Very Human Features did an excellent job of pointing at everyday things and highlighting their absurdity, on Every Single Muscle The Bug Club look 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. “Look Like Me” sees them singing about their own appearance, while on “How Can We Be Friends” they are preoccupied with others’. “Every Single Muscle” itemises organs as if they belong on a shopping list, and both “Make It Count” and “Pretty as a Magazine” bemoan the fact people don’t know what to do with their own bodies. Altogether, we get a sense of surreal detachment from the self that sets up the ever-present ennui-laden humour; the last song sees Sam announce he’s “bored of being human.” The Bug Club seem almost suspicious of the concept of being a person - as if they’ve woken up in a costume they didn’t want to put on and cannot take off.
Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn 2020 and first single “We Don’t Need Room for Lovin” was released in February 2021, followed by EP Launching Moondream One. It quickly established The Bug Club as the tongue-in-cheek and live-focused antidote to the previous year’s penned-in pandemic drudgery. BBC 6 Music’s Marc Riley was an early champion.
Pure Particles followed, whose vinyl release included a board game brimming with cult references. Fed up with the conventional approach they then released “Intelectuals”: a standalone track that was actually a five-track “song suite” like some kind of streaming-model-snubbing, Telecaster-bashing answer to Bach. Highbrow musos took a lyrical beating for the ages. Second standalone release “Two Beauties” marked release number two for 2022 and built up to the appearance of debut album Green Dream in F# by October. The following January they decided to pull their fingers out, get some disguises and support themselves on tour as Mr Anyway’s Holey Spirits. A live album documented this, then they got abstract with titles and put out the picture disc Picture This! By the autumn of 2023 it was time for forty-seven track, poetry-infused double album Rare Birds: Hour of Song.
During a trip to America they caught the eye of Sub Pop, just in time to get them on board to serve up a beefy slab of garage-punk on On the Inner Workings of the System, gaining an appropriately beefed-up stateside following in the process. The partnership proved fruitful, and with Sup Pop firmly in The Bug Club club they got cracking on Very Human Features. Is three the magic number? Probably not. But Every Single Muscle - number three for The Bug Club and Sub Pop - certainly comes close enough to convince your average strange human person that it might be.
The Bug Club Every Single Muscle
Tracklisting: 1. Miss Wales 2012 2. A Good Day for Dying 3. Make It Count 4. Cut to Black 5. Full Range of Motion 6. Pretty as a Magazine 7. Look Like Me 8. How Can We Be Friends 9. Every Single Muscle 10. Shiny and Wet 11. Semi-Automatic 12. In My Short Life 13. Watching the Omnibus 14. It’s Our Manager David 15. Yours (If You Want Me) 16. All My Clothes Fell Off 17. Third Best Friend 18. My Uncle Warren Drives a Passat
