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

On May 1st, Weird Nightmare (the new project from METZ frontman, Alex Edkins) will release their stellar new long-player, Hoopla, on CD/LP/DSPs from Sub Pop Worldwide and Dine Alone in Canada. The album was co-produced by Edkins and Spoon’s Jim Eno at Seth Manchester’s Machines With Magnets in Providence, RI. Hoopla was crafted with just the right amount of punk rock fuzz and crunch. The immediate, crisp, unfussy recording brings you right into the studio with Edkins and his band.
 
Today, Weird Nightmare has shared an official video for their introspective and anthemic new song “Where I Belong”. Directed by boy wonder, you can watch this video here. “Where I Belong”, follows the release of the standout singles, “Pay No Mind,” “Forever Elsewhere,” and “Might See You There.”
 
Weird Nightmare has expanded its world tour, announcing additional shows in North America, the UK, and the EU. The North American run begins on Saturday, April 18th in New York City at Indie Plaza for Record Store Day and runs through Sunday, June 28th in Medford, MA, at Deep Cuts. Their UK/EU run will begin on Friday, August 28th, in Malaga, ES, at the Canela Party Festival, with additional shows continuing through Sunday, September 13th, in Asten, NL, at the Misty Fields Festival. See below for a full run of shows.

 
North America
Sat. April 18 - New York City, NY - Indie Plaza
Fri. Apr. 24 -  San Diego, CA - Soda Bar
Sat. Apr. 25 - Los Angeles, CA - Gold Diggers ^
Sun. Apr. 26 - Oakland, CA - Thee Stork Club ^
Wed. Apr. 29 -  Seattle, WA - Baba Yaga
Fri. May 01 - Toronto, ON - Sonic Boom in-store
Sun. May 03 -  Brantford, ON -  zBTFD in-store
Tue. May 12 - Kingston, ON - Broom Factory
Wed. May 13 - Montreal, PQ - Bar le Ritz
Sat. May 16 -  Halifax, NS - Marquee Ballroom #  
Wed. May 27 - St. Paul - Turf Club
Thu. May 28 - Chicago, IL - Cobra Lounge
Fri. May 29 - Pontiac, MI - Pike Room
Sat. May 30 - Cleveland, OH - Grog Shop
Wed. Jun. 17 -  London, ON - London Music Hall #
Thu. Jun. 18 - Hamilton, ON -  Bridgeworks #
Fri. Jun. 19 - Toronto, ON -  Masonic Temple #
Sat. Jun. 20 -  Ottawa, ON - The Bronson #
Wed. Jun. 24 - Richmond, VA - Richmond Music Hall
Thu. Jun. 25 - Washington, DC - Songbyrd
Fri. Jun. 26 - Philadelphia, PA  - Ortlieb’s
Sat. Jun. 27 - Brooklyn, NY - Union Pool
Sun. Jun.  28 -  Medford, MA - Deep Cuts
 
 
UK/EU
Fri. Aug. 28 - Malaga, ES - Canela Party Festival
Sat. Aug. 29 - Brighton, UK - Alphabet
Tue. Sep. 01 - Leeds, UK - The Attic
Wed. Sep. 02  - Glasgow, UK - Hug & Pint
Thu. Sep. 03 - Birmingham, UK -  Hare & Hounds
Fri. Sep. 4th - Southampton, UK - Heartbreakers
Sat. Sep. 5 - London, UK -  The Lexington
Sun. Sep. 6 -  Rotterdam, NL - Rotown
Tue. Sep. 8 - Berlin, DE - Urban Spree
Wed. Sep. 9 - Cologne, DE - Bumann & Sohn
Thu. Sep. 10 - Paris, FR -  Point Ephemere
Sat. Sep. 12 - Lille, FR- Aeronef
Sun. Sep. 13 Asten, NL - Misty Fields Festival
 
^ with Mrs. Magician
# with Wintersleep

 
LP preorders in the US through Sub Pop Mega Mart will receive the limited Loser Edition on Emerald Green-Blue vinyl; preorders through Mega Mart Europe will receive the Loser Edition on Transparent Orange (UK/EU). The Canadian exclusive will be available on Orange/Blue/White Solar Flare from Dine Alone. The limited Loser Editions will also be available at your local record store (All limited vinyl colors available while stock lasts!).

 
What people have said about Weird Nightmare:
“Inspired by the simplicity and ‘big bar chords’ of The Undertones and Protex, [‘Might See You There’] evokes a rose-tinted sense of teenage nostalgia.” - DIY
 
“Weird Nightmare is all about hooks and melody. Still delivered with levels in the red, but these are ultracatchy powerpop songs first and foremost, and really good ones at that.” - Brooklyn Vegan
 
“The debut Weird Nightmare album from METZ guitarist/vocalist Alex Edkins is a hook-filled set of blown-out power-pop with distorted guitars, punchy rhythms and bright pop melodies.” - KEXP
 
“Alex Edkins finally lets those melodies loose, resulting in an irresistibly euphoric blast of feedback spattered garage-pop that is just what the doctor ordered to chase away any lingering post-lockdown blues.’” - The Quietus

Weird Nightmare
Hoopla
 
Tracklisting:
1. Headful of Rain
2. Might See You There
3. Baby Don’t
4. Forever Elsewhere
5. Never in Style
6. Pay No Mind
7. If You Should Turn Away
8. Little Strange
9. Bright City Lights (ft. Julianna Riolino)
10. Where I Belong

The exhilarating French heavy psychedelic rock band SLIFT is returning with Fantasia, their new album, available Friday, June 6th, 2026 worldwide from Sub Pop. The longplayer was produced by the band at Daft Studios in Brussels, Belgium, mixed by Kurt Ballou at GodCity Studio in Salem, Massachusetts, and mastered by Magnus Lindberg at Vrtkl Audio in Stockholm, Sweden. Fantasia features the highlights “The Day of Execution,” the title track, and today’s offering, the soaring “A Storm of Wings”
 
Fantasia is now available for preorder on CD/2xLP/Digitally worldwide from Sub Pop. 2xLP preorders in North America through megamart.subpop.com and in the UK/EU from Mega Mart Europe will receive the limited Loser Edition on Mustard Yellow (North America) and Sparkle Starlight (UK/EU) colored vinyl. The limited Loser Editions will also be available at your local record store while supplies last.
 
SLIFT’s previously announced European tour schedule for the Spring and Summer of 2026 resumes Thursday, April 16th in Bourges, FR at Printemps du Bourges, and runs through Saturday, August 15th in Carhaix, FR at Motocultor Festival. New headlining dates for North America and Europe for 2026 will be announced soon.
 

In the technical sense, every previous album by the radiant and heavy French trio SLIFT has been a fantasia—a composite of genres and forms that allowed the band to improvise, to jam on themes until they seemed to spiral together into space. Their acclaimed third album, 2024’s Ilion, was a sci-fi story built with 10- to 13-minute exploratory escapades, often starting with doom metal or stoner rock before spinning freely into glorious instrumental oblivion. But, in a bit of intentional irony, SLIFT’s fourth album is actually called Fantasia. It’s their leanest and most direct record to date; taken together, its eight songs clock in at less than 50 minutes. It is also their most riveting album yet, a pointed saga about overcoming international upheaval delivered by a band bearing down, not wasting a single second in the process.
 
They wanted to write and render songs that recognized the turmoil of these days and to sing of a more hopeful vision, of a time when a reckoning arrives. SLIFT didn’t want to lose the message by playing too much. To wit, the longest song on Fantasia is the opening title track, a nine-minute preamble in which Jean Fossat screams of his desires for the world: rising above our pain, burying our dread, and finding, individually and collectively, “a fire for your soul.” The songs that follow aren’t lacking the complexity or intensity that have made SLIFT a rising, radical star in heavy music; it’s simply that they’ve found new ways to weave the complexities of their past inside every piece, like a tapestry that reveals a new layer every time you look. In doing so, they offer an affirming and urgent message: Together, we can still change the times in which we live.
 
Though only Jean and bassist Rémi Fossat are related, SLIFT is essentially a band of brothers. They’ve been friends with drummer Canek Flores since high school, and 2026 marks a decade together in this trio. They rehearse with religious regularity in a basement in the countryside near Toulouse, inside the jam room where they’ve long indulged their propensity for longform wonder. But they built the songs of Fantasia differently. Jean started many of the songs by himself, then quickly brought them to basement rehearsals with a clear and concise idea of how he imagined them taking shape. At first, SLIFT struggled to keep the songs tight, old habits making them wonder if this song or that one shouldn’t break the double-digit threshold. By the time they crossed France’s northern border into Belgium to record in the enormous live room at Daft Studios, though, the songs were lean, agile, and punchy. They made most of them in a single take.
 
As Jean Fossat wrote the core of Fantasia, he thought a lot about Jorge Luis Borges, the Argentinian author whose fiction deftly wove elements of magic and surreality into places and plots that almost felt real. He wanted to accomplish the same thing, to add supernatural touches to his contemplations of politics so that the listener might see reality differently, might question what they were missing about this plane. SLIFT even borrowed the song title “Orbis Tertius” from a 1940 Borges short story that uses the idea of subjective idealism—that is, believing the world only exists as far as our minds go—to ask questions of memory, history, possibility, and, ultimately, control. Fantasia, then, is an imagined town plagued by a sense of unknowing and xenophobia, of trying to eliminate anything that disrupts the accepted order.
 
The town first comes into focus on “Corrupted Sky,” where lurid keyboards and a relentless rhythm section illustrate a city of power-hungry wastrels. Jean’s guitar solo feels like an exhilarating chase sequence in a video game, as he tries to dodge doom while arriving in Fantasia. They treat the newcomer like poison incarnate during the prog gem “The Village,” while he predicts their downfall during “A Storm of Wings.” In a mighty, fists-up anthem that suggests Clutch getting wild, SLIFT alludes to John Coltrane, Charlie Parker, and Soviet writer Mikhail Bulgakov to portend the arrival of some great liberating force, some redemptive truth.
 
That slowly starts to emerge during the record’s back half, as memory returns to the masses, as people start to remember that they are more than the oppressive uniformity of their society. “Waiting Man”—a psychedelic ballad that suggests Pink Floyd wandering into the Master of Reality sessions—is the breaking point. The narrator realizes that the world he’s committed to is a lie. “I waited for love, waited my time,” Jean Fossat sings, his voice more vulnerable than it’s ever been. “Waited the seasons of my life.” He knows he must find his own way out of this mess and into something better, so long as it’s not too late.
 
It is dreadfully easy these days to feel powerless. We have instant access to a world of news, and so much of it is so very heavy. SLIFT reckons directly with the modern onslaught of cruelty and absurdity on Fantasia, whether that’s not caring about our home planet or one another. But these eight songs are about trusting in some hidden power for fighting back, for believing in a world where something we cannot yet articulate or define offers not just a way to disrupt the status quo but perhaps to destroy it completely. SLIFT is loud, heavy, and aggressive inside these anthems. They’re preparing for a battle they think we can still win.