Multitalented British vocalist and songwriter Suki Waterhouse confirms the Coolest Place in the World Tour today, a run of North American headline dates with stops in New York, Los Angeles, Chicago and more—see full routing below. General onsale begins at 10am local time on October 21.

Additionally, Waterhouse will share a new EP, Milk Teeth, on November 4 via Sub Pop Records—pre-order/pre-save it here. The EP features five songs from Waterhouse’s early career plus one previously unreleased track “Neon Signs” and will be available on vinyl.

She also recently shared two new versions of her viral song, “Good Looking”—listen to the strippped version here and the remix by Canadian producer BLOND:ISH here. The original version of the track, which went viral on TikTok and peaked at #1 on Spotify’s Viral USA Chart, continues to accumulate more than 700 thousand streams daily across Spotify, Apple Music and Amazon Music.

The new dates follow confirmation of nearly sold out headline dates in the U.K. and Europe—get tickets here—and a recently wrapped North American tour with Father John Misty, which included stops at the legendary Red Rocks Amphitheater, Los Angeles’ Hollywood Forever Cemetery, New York’s Radio City Music Hall and more

Furthermore, Waterhouse recently shared the video for her new song “Nostalgia,” directed by Émilie Richard-Froozan and filmed in Ireland—watch here. “Nostalgia,” which NYLON says “washes over you like a sepia-toned cloud and reverie,” is Suki’s first new music since her debut album, I Can’t Let Go, was released to critical acclaim in May via Sub Pop Records—get it here. The album was executive produced by Grammy-nominated Brad Cook (The War On Drugs, Bon Iver) and features previously released singles “Moves,” “My Mind” and “Melrose Meltdown.”

Growing up in London, multi-talented actress, model and musician Suki Waterhouse gravitated toward music at an early age, finding inspiration in the likes of Alanis Morisette, Missy Elliott, Oasis and more. She initially teased her pivot to music with a series of singles, generating nearly 20 million total streams independently, with critical acclaim from NYLON, DUJOUR, Lemonade Magazine and more.

Today, October 21st, 2022, Frankie Cosmos releases their new record, Inner World Peace via Sub Pop. Inner World Peace, is available on CD/LP/CS/DSPs worldwide from Sub Pop. The album features the standout tracks  “F.O.O.F.”, “Aftershook,” “One Year Stand,” and “Empty Head.” It was co-produced by Frankie Cosmos, Nate Mendelsohn, and Katie Von Schleicher at Figure 8 Recording in Brooklyn, New York, mixed by Mendelsohn and Von Schleicher, and mastered by Josh Bonati at Bonati Mastering. The Inner World Peace album art also features illustrations from band member Lauren Martin.

About Inner World Peace by Katie Von Schleicher:
Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She’s lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she’s funnier, which is a charm endemic to musicians.
 
Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they’d continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta’s songs changed and sculpted by their time together. While Kline’s musical taste at the time was leaning toward aughts indie rock she’d loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite “droning, meditation, repetition, clarity and intentionality,” as well as “‘70s folk and pop” as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their “ambient” or “psych” album. Somewhere between those textural elements and Kline’s penchant for concise pop, Inner World Peace finds its balance.
 
Instant centerpiece “One Year Stand” is a small snowglobe of intimacy recalling the softest moments of Yo La Tengo’s And Then Nothing Turned Itself Inside Out. Lifted by Martin’s drones on Hammond organ and synthesizer, it could be played on repeat in a loop. I like to think it’s obvious how Greta’s vocals were recorded: late at night as we all sat by in low light, transfixed as she sings “I’m not worried about the / rest of my life / because you are here today / I go back in time / I’m a cast iron.” The voices of Kline and Martin, who have sung together since middle school, blend seamlessly.
 
The first order of business upon setting up camp in Brooklyn’s Figure 8 studios was to project giant colorful slides the band had made for each track. Co-producing with Nate Mendelsohn, my Shitty Hits Recording partner, we aimed for FC’s aesthetic idiosyncrasies to shine.The mood board for “Magnetic Personality” has a neon green and black checkerboard, a screen capture of the game Street Fighter with “K.O.” in fat red letters, and a cover of Mad Magazine that says “Spy Vs. Spy! The Top Secret Files.” On tracks like “F.O.O.F.” (Freak Out On Friday), “Fragments” and “Aftershook,” the group are at their most psychedelic and playful, interjecting fuzz solos, bits of percussion, and other sonically adventurous ear candy. An internal logic strengthens everything, and in their proggiest moments, Frankie Cosmos are simply a one-take band who don’t miss. When on Inner World Peace they sound wildly, freshly different, it may just be that they’re coming deeper into their own.
 
Throughout the album there are plays on the notion of feeling seen or invisible, as in “Magnetic Personality” when Kline sings “ask me how I am and I won’t really say,” or in “One Year Stand” when she says “maybe I’m asking myself.” Kline emphasizes that this was her first group of songs in years that weren’t written while on tour, but rather with ample time on her hands. She reflects on past selves in “Abigail” (“that version of myself I don’t want back”) and “Wayne” (“Like in first grade / How I went by Wayne / I always had / another name”). If we’re alone, what becomes of the things we see? As in “Fruit Stand,” Kline asks “If it’s raining and I can’t feel it, is it raining?”
 
Inner World Peace excels in passing on the emotions it holds. When in the towering “Empty Head” Kline sings of wanting to let thoughts slide away, her voice is buoyed on a bed of synths and harmonium as tranquility abounds. When her thoughts become hurried and full of desire, so does the band, and she leaps from word to word as if unable to contain them all. As a group, they carry it all deftly, and with constant regard for Kline’s point of view.
 
Says Greta, “To me, the album is about perception. It’s about the question of “who am I?” and whether or not the answer matters. It’s about quantum time, the possibilities of invisible worlds. The album is about finding myself floating in a new context. A teenager again, living with my parents. An adult, choosing to live with my family in an act of love. Time propelled us forward, aged us, and also froze. If you don’t leave the house, who are you to the world? Can you take the person you discover there out with you?”

Frankie Cosmos
Inner World Peace

Tracklisting
1. Abigail
2. Aftershook
3. Fruit Stand
4. Magnetic Personality
5. Wayne
6. Sky Magnet
7. A Work Call
8. Empty Head
9. Fragments
10. Prolonging Babyhood
11. One Year Stand
12. F.O.O.F.
13. Street View
14. Spare the Guitar
15. Heed the Call

This Friday, October 21st, 2022, Frankie Cosmos will release their new record, Inner World Peace via Sub Pop. In celebration of the album’s release, the group has shared their latest video for “Empty Head,” a new offering from the album.  
 
This song “is about wishing for inner peace, and conversely: spiraling” shares frontperson Greta Kline. “It’s about self-control and the fear of unlocking myself and overflowing. It’s also about finding joy in small moments - walking in circles, hoping to see the neighbor’s dog. I’m so happy we got to work with Sophia Bennett Holmes again for this music video (I last worked with her in 2014 on the “Art School” video). I love the concept Sophia came up with - it tells its own story that fits in with the story of the song, but also takes it somewhere else. To me, the video is about blossoming because of a chill perspective (once I stop trying to jump into flight, I lift off the ground with ease); and then letting go of the need to be perceived, and instead disappearing and floating into the sunset. It perfectly captures the way meditation works - that once you stop focusing and trying too hard, it comes naturally.”

Inner World Peace, will be available on CD/LP/CS/DSPs worldwide from Sub Pop. The album features the standout tracks  “F.O.O.F.”, “Aftershook,” “One Year Stand,” and “Empty Head.” It was co-produced by Frankie Cosmos, Nate Mendelsohn, and Katie Von Schleicher at Figure 8 Recording in Brooklyn, New York, mixed by Mendelsohn and Von Schleicher, and mastered by Josh Bonati at Bonati Mastering. The Inner World Peace album art also features illustrations from band member Lauren Martin.
 
What people are saying about Frankie Cosmos Inner World Peace:
“Minimal and impressionistic — a collection of small features that coalesce into a vivid landscape.” [“One Year Stand”] - PAPER
 
“Instrumentally understated, with cheeky and sweet lyrics sung in Greta’s classic whispery tone. The band stays true to their bedroom indie sound through the song and music video”  [“One Year Stand”] - Brooklyn Vegan
 
“Patient and lush.” [“One Year Stand”] - Uproxx
 
“Dreamy”  [“One Year Stand”] - Consequence of Sound

“The band’s instrumentation feels more substantial, bringing in a loose, psychedelic groove that feels like new ground. Buoyed by a winsome melody and spirited rhythm section, Frankie Cosmos’ latest single “F.O.O.F.” (“Freak Out on Friday”), continues this collaborative streak.  Kline is abuzz with anticipation on the power-pop gem…” - Pitchfork
 
“Robert Smith was in love on Friday, Rebecca Black had to get down on Friday and now Greta Kline — leader of the indie-pop project Frankie Cosmos — freaks out on Friday. That’s what the playful acronym “F.O.O.F.” stands for and, accordingly, the latest single from Frankie Cosmos’s forthcoming album “Inner World Peace” is alive with Kline’s signature wry, muted humor. “It’s still Wednesday, I have to wait two more sleeps ’til I can freak,” Kline sighs, while a mildly noodly guitar solo saves up its most raucous energy. That the brief song ends before that promised freakout is the point: Kline is more interested in capturing that hopeful, anticipatory feeling — usually a comforting fiction — that everything will be all right once the weekend comes.” [“F.O.O.F.”] - New York Times

“Their latest preview of the record, “F.O.O.F.” (short for “Freak Out on Friday”) is a concise song about the way certain feelings are anything but. Over a breezy pop-rock instrumental accented by gently psychedelic guitars and keys, Kline marvels at the elasticity of time…the band’s own history folding in on itself. The song captures, on multiple levels, how the pandemic era has rewritten the rules of societal tension and release, complicating emotional regulation to the point that we each have to get reacquainted with who we really are.” [“F.O.O.F.”]  - PASTE

Frankie Cosmos
Inner World Peace

Tracklisting
1. Abigail
2. Aftershook
3. Fruit Stand
4. Magnetic Personality
5. Wayne
6. Sky Magnet
7. A Work Call
8. Empty Head
9. Fragments
10. Prolonging Babyhood
11. One Year Stand
12. F.O.O.F.
13. Street View
14. Spare the Guitar
15. Heed the Call

Today, the unholy union of Weird Nightmare and Ancient Shapes brings you the double A-Side experience of the year! “I Think You Know” w/ “Bird With an Iron Head” delivers two sides of sing-along power-punk you need to hear to believe. 

This pairing is now available in physical form on a bright red 7”colored vinyl single. Featuring  Weird Nightmare’s “I Think You Know” on side A, and Ancient Shapes’ 3-part suite “Bird With an Iron Head” (+official video), ”Imaginary Agony” and “I’m Against the Wind” on side AA. All four songs are also available digitally on all DSPs from Sub Pop. 

Weird Nightmare and Ancient Shapes have a handful of upcoming Canadian release shows for the new single, as covered below. And Weird Nightmare will also be the main support for select Archers of Loaf east coast shows beginning Tuesday, November 29th in Baltimore at Ottobar and ending Friday, December 2nd in Brooklyn at Warsaw. Please find a complete list of Weird Nightmare shows below.

Weird Nightmare/Ancient Shapes

Thu. Nov. 17 - Hamilton, ON  - Casbah

Fri. Nov. 18 - Toronto, ON - Lee’s Palace

Sat. Nov. 19 - St. Catherines, ON - Warhorse

Weird Nightmare supporting Archers of Loaf

Tue. Nov. 29 - Baltimore, MD - Ottobar

Wed. Nov. 30 - Philadelphia, PA  Underground Arts

Thu. Dec. 01 - Cambridge, MA - The Sinclair

Fri. Dec. 02 - Brooklyn, NY - Warsaw

Weird Nightmare’s self-titled full-length debut is available now on CD/LP/CS/DSPs from Sub Pop. The LP’s limited Loser Edition on transparent cotton candy swirl vinyl, packaged in a special embossed jacket with semi-transparent obi-strip along the spine, can be purchased from megamart.sub pop.com, select independent retailers in North America, and at Weird Nightmare live shows. In the UK, and in EU, the Loser Edition is available on coke bottle clear vinyl (both while supplies last).

Ancient Shapes was spawned in 2015 as a recording side project of Daniel Romano. Here’s Weird Nightmare’s Alex Edkins on Daniel Romano, “I think Daniel is a real treasure and a severely underappreciated genius. He released 11 albums last year! I’m quite tickled to be sharing a release with him.”

Hot Hot Heat’s Make Up The Breakdown: Deluxe Edition is the newly remastered and expanded version of the group’s breakthrough full-length and will be available again on vinyl, just in time for the 20th Anniversary of its release, on Friday, December 2nd, 2022 from Sub Pop.

Make Up The Breakdown was produced by Jack Endino (Nirvana, Soundgarden, Sonic Youth) at Vancouver, BC’s Mushroom Studios with additional engineering and mixing from former Death Cab for Cutie member Chris Walla at The Hall of Justice in Seattle, and released on October 8th, 2002 as a ten-track album.
 
For this deluxe edition, Make Up The Breakdown has been expanded to twelve tracks and now includes “Apt. 101” and “Move On,” two tracks only previously available with a UK-only single for “Bandages.”
 
Make Up The Breakdown earned praise from the likes of AllMusic, who called the album “an addictive, densely packed pop gem that ranks among 2002’s best albums,” and Pitchfork agreed, including it at no. 20 on “The 50 Best Albums of 2002.” The official videos for “Bandages” and “Talk to Me, Dance With Me” saw regular airplay on MTV. Meanwhile the singles saw huge support at Alternative Radio, with both songs going to no. 1 at the KROQ in Los Angeles.
 
Make Up The Breakdown: Deluxe Edition is available now to preorder from Sub Pop. LP preorders from megamart.subpop.com, select independent stores in North America, the U.K., and E.U., will receive the limited Loser edition on yellow vinyl.
 
More on Make Up The Breakdown…
To be lost and naked in the city one time is an embarrassment, a mistake  not to be repeated. Lost and naked in the city, again - that is a lifestyle, a conscientious series of decisions that leaves one vulnerable to all the dizzying highs and brutal hangovers that come with being ready to transcend the limitations of a small town or a parochial punk mindset or just years upon years of repressed self-loathing. Or, as Hot Hot Heat singer/keyboardist Steve Bays puts it, “leaving the womb of teenhood and having no idea what to do with all that freedom.” This is what Make Up the Breakdown sounds like because this is what it was like to be in Hot Hot Heat.
 
This is not a phase of one’s life that can be recreated or even revised; even Bays admits that he had to shelf his fully digitized, “re-envisioned” and technically “better” version of his band’s beloved debut out of respect to its fans. But to hear these songs again and remember is even more powerful with the wisdom of distance, to recognize the little pivots that, unbeknownst at the time, changed everything. If Bays isn’t offered a solo deal after uploading crude solo synth-pop songs to Napster, Hot Hot Heat are only remembered as one of the many promising DIY bands in Victoria, British Columbia that broke up before anyone could take them seriously. If Dante Decaro fails to hold his liquor during one fateful Victoria house party, he never meets Bays; instead, Decaro and Paul Hawley stay up until 1 PM the next day playing Beatles covers and Hot Hot Heat’s classic lineup becomes solidified. If Dustin Hawthorne doesn’t play his bass through a crushingly loud Sunn amp or if they can afford a decent PA, Bays doesn’t develop a high-wire yelp that can cut through the noise. If Sub Pop A&R Tony Kiewel doesn’t hear the band’s name in a coffee shop the day before Bays sends an unsolicited email, Hot Hot Heat are rejected from every indie label that got their demo. If Bays’ mother doesn’t unexpectedly advise him to follow his dreams and sign with Sub Pop, he takes a desk gig as a creative director.
 
The precariousness of Hot Hot Heat’s existence extended to the creation of Make Up the Breakdown itself. If Bays doesn’t have a pen and a cocktail napkin while riding the ferry to Mushroom Studios, the lyrics to “Get In Or Get Out” never get written. If producer Jack Endino doesn’t insist that they record “Bandages” first, Bays probably changes the hook and writes a second verse that robs their hit single of its unstoppable momentum. If the band brings their beloved Juno-6 synthesizer, they never get a chance to use the creaky Hammond organ responsible for their most recognizable riffs - the ones that earned them countless critical comparisons to the excitable, angsty new wave of The Cure and Elvis Costello and XTC, rather than West Coast art-punks like The Locust or The Rapture and Modest Mouse that they are listening to and partying with.
 
Hot Hot Heat stayed true to Hawley’s initial conception of the band - “we can make pop music, but we have to screw it up in some way.” Their past incarnations as hardcore, death metal and second-wave emo found subtle ways to emerge throughout an album that aspired to be Victoria’s Help!. In the past, “the goal was to never play a chord progression that had been played before,” and that melodic ingenuity manifests in the whiplash key change on the chorus of “No, Not Now.” As Bays described the Victoria straight-edge hardcore milieu, “if the crowd’s not moving, you’re not a good band.” The same principles inform the arm-flailing rhythms of “Save Us S.O.S.” and “Talk to Me, Dance With Me.”
 
Over the next two years, Hot Hot Heat went from playing to seven people in Boise to festival crowds of 50,000; being lazily compared to Robert Smith to sharing backstage jokes with Robert Smith about those comparisons; learning multi-track recording on the fly to spending $350,000 in a Los Angeles studio to complete 2005’s Elevator; getting added to BBC Radio 1 and almost immediately banned because the mass delusional hysteria of the Iraq War led grandmas in the UK to believe “Bandages” was endorsing state violence. But to describe Make Up the Breakdown as an “instant classic” is flattering and misleading - nothing was preordained about its success or its resonance, and from the first grinding, giddy notes of “Naked in the City Again,” Make Up the Breakdown is reanimated with the blind, beery exuberance that set them apart from the urban ennui and wasted elegance that would come to define the “New Rock Revolution” of the early 2000s.
 
Though they shared the same stages and magazine covers as The Strokes and Interpol and the Libertines and the Killers, Hot Hot Heat made for convincing underdogs, the people’s champs - what could born rock stars know about the catastrophic romantic rejection of “Oh Goddamnit” or the crippling small-town angst of “Get In Or Get Out”? Though Victoria was largely marooned and could only absorb the essence of the indie scenes in San Diego, Vancouver and Seattle, it’s a microcosm for the widespread culture clashes playing out in Make Up the Breakdown.
 
The past 20 years has flattened the narrative of the early 2000s - one day, it was all nu-metal and rap-rock and goatees and the next, skinny boys from New York and the UK in tight jeans playing tighter songs about sex, drugs and druggy sex (or sexy drugs). Make Up the Breakdown told the truth about those caught up in this awkward growth spurt - cross-armed, straight edge kids were now going out to the bars, trying to get laid, unironically enjoying pop and causing all manner of romantic and idealistic conflict. As much as Make Up the Breakdown was slice-of-life scene reportage, Bays intended it as trenchant cultural criticism - “I was getting tired of the in-fighting and small town mentality,” he recalls. “If you don’t like your hometown, leave and I bet you’ll find the same problems wherever you land. You gotta find your peace.” Most likely, you will find it drunk and naked in the city again - again.
 
Praise for Make Up The Breakdown:
“Every step of the album is a joyously bold, emotionally rounded one all of which betrays a cleverly veiled melancholia. From ‘Get In Or Get Out’’s crypto-jazz keys to the cowbell-driven studied cool of ‘Talk To Me, Dance With Me’, it’s a record that shakes all preconceptions from the tree, and should be talked about in hushed tones by self-congratulatory, music aficionados 20 years from now.” ★★★★ ½ - NME
 
“Crucially, Hot Hot Heat have also learned the art of the three-minute pop song. Make Up the Breakdown zips by in a giddy blur of taut punk-funk grooves and insanely catchy choruses. Highlights such as ‘Bandages’ and ‘Get In or Get Out’ sound like lost classics buried in 1982 and only recently disinterred.” ★★★★  - The Guardian
 
“The Victoria, Canada, quartet’s debut LP is one long indie/new wave rave-up, all spring-loaded guitars, stabbing organs, and footloose drums…the band bashes into every chorus like they’re smacking a pinata full of blood and chocolate (8/10).” - SPIN
 
“This frenetic foursome from Victoria, Canada, presides over a colossal jousting match between synths and guitars that is liable to leave its audience breathless…With Steve Bays’ faux-tortured vocals (Robert Smith on antidepressants?) providing the narration, listeners might want to rage, or they might want to disco. Or maybe both.”  ★★★ ½ - Los Angeles Times