This past weekend, musician and actress Suki Waterhouse made her Coachella debut, headlining the Gobi Stage to a massive crowd of adoring fans. She premiered new songs live, delivered a spot-on Oasis cover, and even gave an adorable gender reveal on stage. You can now watch a live performance of “Faded,” her new song released last week worldwide on Sub Pop.
 
Of her Coachella set, Billboard said, “…She was embedded in one of the more luxurious sets the Gobi tent has likely ever seen (the aesthetic could perhaps best be described as “English teatime in the park”). In addition to performing fan-favorite tracks like “Johanna” and “Nostalgia” as well as newer songs like “Faded” and “OMG,” the singer-songwriter surprised the crowd by debuting a pitch-perfect cover of Oasis‘ “Don’t Look Back in Anger” so solid even the Brothers Gallagher themselves may have approved.”
 
Suki Waterhouse will perform at the Coachella Valley Music and Arts Festival, again closing out the Gobi Stage on Friday, April 19th.
 
Suki Waterhouse’s “Faded” was released with the ebullient “My Fun” late last week. Teen Vogue called the songs “vibey, summery, and chilled.” Rolling Stone said “‘My Fun’ is a laidback spring stunner, while ‘Faded’ is a mellow rocker backed by acoustic and strings. It features one hell of an opening from Waterhouse.” Meanwhile, PASTE included “My Fun” in its “Best New Songs” column, saying, “Beached out and carefree, Suki’s feel-good lyrics gleam through the bubblegum-sweet production.”
 
“My Fun” was composed by Suki Waterhouse, Natalie Findlay, and Jules Apollinaire, with lyrics by Waterhouse and Findlay, and produced by Apollinaire. “Faded” was composed by Waterhouse, Raj Jain, and Peter Labberton, with lyrics by Waterhouse and Jain, and produced by Jain, Labberton, Eli Hirsch, and apob. Both songs were mixed by Blue May and mastered by Matt Colton at Metropolis Studios. “My Fun” and “Faded” will be on her forthcoming album, due out later this year.
 
Later this summer, she’ll appear at Seattle’s Day In Day Out on Saturday, July 13th.
 
Suki Waterhouse has been working nonstop as a musician since the 2022 release of her Sub Pop debut, I Can’t Let Go. She followed the album with the standalone single and official video for “Nostalgia” and the Milk Teeth EP (featuring the Gold-certified single “Good Looking,” which went viral on TikTok and peaked at #1 on Spotify’s Viral USA Chart). In 2023, Suki released the single and official video for “To Love,” the song “Everyday’s A Lesson in Humility,” a summery collaboration with Belle and Sebastian, and in August, joined Local Natives on a reimagining of their single, “NYE.”
 
Last year, Suki played to some of the largest crowds of her career in South America (Lollapalooza in Argentina, Brazil, and Chile), the US (Governor’s Ball, Ohana, Lollapalooza, and Austin City Limits Festivals), and Mexico (at Corona Capital). Suki also starred as Karen Sirko in “Daisy Jones & The Six,” the Emmy-nominated Amazon Prime Video limited series based on the popular book by Taylor Jenkins Reid.

How Will I Live Without A Body? was produced and recorded by Loma in England, Texas, and Germany, mixed by Dan Duszynski and mastered by Steve Fallone at Sterling Sound in New York. All songs were composed by the group—with a few nudges from a unique AI (see below).
 
How Will I Live Without a Body? is a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we’re all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away.

Throughout, the core of Loma’s sound remains intact: earthy, organic and deeply human, anchored by Cross’s cool, clear voice. Loma’s previous album, Don’t Shy Away, was galvanized by the encouragement of Brian Eno. This time, they were inspired by another hero, Laurie Anderson, who offered a chance to work with an AI trained on her work. Meiburg sent two photos; Anderson’s AI responded with two haunting poems. “We used fragments of these poems in ‘How It Starts’ and ‘Affinity’,” he says. “And then Dan noticed that one of AI-Laurie’s lines, ‘How will I live without a body?’ would be a perfect name for the album, since we’d nearly lost sight of each other in the recording process.” [See longer bio below].
 
As for How Will I Live Without A Body?’s cover art, returning collaborator Lisa Cline took inspiration from the histories of “bog people,” human cadavers found naturally mummified in peat bogs. (From Wikipedia: “These “bodies” are both geographically and chronologically widespread, having been dated to between 8000 BCE and the Second World War.”).
 
How Will I Live Without A Body? is available to preorder on CD/LP/digitally worldwide from Sub Pop. LP preorders from megamart.subpop.com, and select independent stores in North America will receive the Loser edition on Transparent Smoke Vinyl. In the UK and Europe, LP preorders through Sub Pop’s new Mega Mart 2, and UK/EU Independent retailers will receive the Loser edition on Neon Orange Vinyl (All whilst stock lasts!)
 

January 2023, Dorset, UK. Snow is piled at the door, icy roads are closed, and Emily Cross is in a coffin—not a promising setting for a rebirth. But for Loma, this is where they bring their band back from the brink.
 
“It’s like a demon enters the room whenever we get together,” writer, singer, and instrumentalist Cross says of the struggle to bring new Loma music into the world. Following the release of their 2020 second album, Don’t Shy Away, Loma’s three members were cast around the globe, and the band—not for the first time—entered a deep sleep.
 
Multi-instrumentalist and recording engineer Dan Duszynski remained in his studio in central Texas, but Cross, a UK citizen, moved to Dorset, and writer and instrumentalist Jonathan Meiburg left the US for Germany to research a book. In the pandemic years, being in the same room was impossible, and attempts to start a new record faltered.
 
“We got lost,” admits Meiburg, “and stayed that way.” The trio’s personal lives diverged, and remote sessions didn’t gel; a post-pandemic reunion in Texas was cut to a few days by an illness, and a pile of half-finished tracks was an unruly mess. The following winter, in an attempt to salvage the record and the band, Cross suggested they regroup in the UK, in the tiny stone house—once a coffin-maker’s workshop—where she works as an end-of-life doula. With minimal recording gear and few instruments, Loma turned two whitewashed rooms into a makeshift studio, using a coffin woven from willow branches as a vocal booth.
 
It was a turning point. “There was a sense of, well, this is it,” Meiburg recalls. “And when the ice storm swept in I thought: here we go again, even the elements are against us. But sitting in our heavy coats around a little electric radiator, we realized how much we’d missed each other—and that just being together was precious.” 
 
They scrapped much of what they’d made, and let a new place set a new course. The first two Loma albums featured the sounds of Texan animals and landscapes; this time, the one-lane roads, hedgerows and dark skies of Dorset gave the new songs an ineffable but unmistakable Englishness. The band used the ruin of a 12th-century chapel as a reverb chamber—surprising hillwalkers who peeked in to find them singing to no one—and the sounds of Cross’s chilly workshop wormed their way into the recording: a leaky pipe, a drummer’s brushes on a metal lampshade, voices left on an ancient answering machine.
 
What emerged was How Will I Live Without A Body?: a gorgeous, unique, and oddly comforting album about partnership, loss, regeneration, and fighting the feeling that we’re all in this alone. Many of its songs have a feeling of restless motion; faceless characters drift through meetings and partings, tangling together and slipping away. “I Swallowed A Stone” is like a nightmare with a happy ending; “How It Starts” and “Broken Doorbell” reflect on the challenge (and necessity) of wrestling with agoraphobia.  Though the record nods to the trio’s separate lives— a German percussion ensemble, a pair of Texan owls, and the surf at Chesil Beach make guest appearances—the core of Loma’s sound remains intact: earthy, organic and deeply human, anchored by Cross’s cool, clear voice.
 
Most artists want their records to be listened to as a whole. But with Loma it’s particularly rewarding, and How Will I Live Without A Body? reveals itself more with every listen. Songs that begin as riddles swim into focus when listened to in sequence; images return and interact in unexpected ways, and something like a narrative begins to form. It’s also a record of two distinct halves: A compelling sense of wandering engulfs the A-side, as the trudging progress of opener ‘Please, Come In’ staggers and sways through succeeding tracks to the album’s centerpiece, ‘How It Starts’—which gathers strength and purpose, flooding the B-side with a hope that embraces darkness without surrendering to it.
 
Loma’s previous album, Don’t Shy Away, was galvanised by the unexpected encouragement (and eventual contributions) of Brian Eno. This time, they were inspired by another hero, Laurie Anderson, who offered a chance to work with an AI trained on her entire body of work. Meiburg sent a photo from his book-in-progress about the once and future life of Antarctica; Anderson’s AI responded with two haunting poems. “We used parts of them in a few songs,” he says. “And then Dan noticed that one of its lines, ‘How will I live without a body?’ would be a perfect name for the album, since we nearly lost sight of each other in the recording process.” Anderson, Meiburg adds, was happy for the band to use the title. “I think she was tickled that her AI doppelganger is running around naming other people’s records.”
 
But in the end, Loma’s efforts to reconnect with one another are the album’s central focus: What do you owe a shared past, when everyone and everything has changed? “Making this record tested us all,” says Duszynski. “I think that feeling was alchemized through the music.” Alchemized, because How Will I Live Without A Body? is by no means a stressed-out record: an undercurrent of deep calm runs through it. “Somehow, out of the chaos, we made something that sounds very relaxed,” Cross notes, mystified. But maybe ‘relaxed’ isn’t the right word. It’s more like a feeling of relief, of making it through a tough journey together. “I’ve never run a marathon,” Cross says. “But I can imagine it’s kind of what that feels like.” This is how it starts, to move again.

On Friday, June 7th, Man Man will release their new album, Carrot On Strings, on CD/LP/DSPs worldwide through Sub Pop Records.
 
Following the album’s lead offering, “Iguana,” comes the group’s striking new video for “Tastes Like Metal,” which was Directed by illustrator and filmmaker Joe Cappa.
 
Man Man’s Ryan Kattner shares: “With a little luck, a time machine, and a more accessible band name and face, this song has the potential to be the minor radio hit that finally helps fulfill my dreams of making it big in Japan.”
 
Click HERE to watch “Tastes Like Metal.” Disclaimer: Sub Pop and Man Man do not advocate or endorse the use of any of the drugs in this video.
 
As previously announced, Man Man has shared North American dates supporting Carrot On Strings. Click here for a complete list of shows.
 
Carrot On Strings is now available to preorder from Sub Pop.
LP preorders in North America from megamart.subpop.com, select independent retailers, and in the UK/Europe from Mega Mart 2 (the new, UK-based sibling site to the world-famous Sub Pop Mega Mart) and select UK/EU independent retailers will receive the Loser Edition on Transparent Orange. All color vinyl versions are available while stock lasts.

Man Man

On May 24th, Australian group Girl and Girl will release their vibrant debut full-length, Call A Doctor, on CD/LP/DSP via Virgin Australia (AU/NZ) and Sub Pop (ROW.)   
 
Following the single release of “Hello” and “Mother” comes the new official video for “Oh Boy!”
 
Girl and Girl frontperson Kai James shares: “I’d had Oh Boy! half written for a few years before we got round to recording it. I really loved the first half and had kind of psyched myself out of finishing it. When it was finally demoed early last year, this big sort of chaotic, sprawling word vomit poured out of me that seemed to tie the whole thing up nicely, it’s brimming with joy and misery and sarcasm, all things girl and girl.”
 
Tayla Lauren directed the video. Click HERE to watch.
 
Girl and Girl will embark on a 20-date North American run opening for fellow Aussie band Royel Otis on April 23d at the Amsterdam Bar & Hall in St Paul, MN, with additional appearances at Eurokennees in France and End of the Road in the UK in July and August. These shows are not to be missed. If you need some proof, you can watch some reels that fans have posted here. See below for a complete list of shows.

Tue. Apr. 23 - St. Paul, MN - Amsterdam Bar & Hall *
WED. Apr. 24 - Chicago, IL - Lincoln Hall  *
Fri. Apr. 26 - Toronto, ON -  Longboat Hall *
Sar. Apr. 27 - Columbus, OH - A&R Music Bar *
Sun. Apr. 28 - Cleveland Heights, OH - Grog Shop *
Tue. Apr. 30 - New York, NY - Racket *
Wed. May 01 - New York, NY - Racket *
Thu. May 02 - Philadelphia, PA - Theater For The Living Arts *
Fri. May 03 - Washington, DC - The Howard *
Sat. May 04 - Carrboro, NC - Cats Cradle *
Wed. May 08 - Austin, TX - The Parish *
Thu. May 09 - Denton, TX - Rubber Gloves *
Sat. May 11 -Denver, CO -  The Perplexiplex at Meow Wolf *
   Wed. May 15 - Phoenix, AZ - Rebel Lounge *
Thu. May 16 - Hollywood, CA - The Fonda Theater *
   Fri. May 17 - Santa Barbara, CA - Soho Restaurant & Music  Club *
Sat. May 18 - San Francisco, CA - Rickshaw Stop *
Mon. May 20 - Portland, OR - The Aladdin Theater *
Tue. May 21 - Vancouver, BC - Fox Cabaret *
  Wed. May 22 - Seattle, WA - Neptune Theater *
Thu. Jul. 04 - Cravanche, FR - Les Eurokennees
Fri. Jul. 05 - Cravanche, FR - Les Eurokennees
Sat. Jul. 06- Cravanche, FR - Les Eurokennees
Sun. Jul. 07- Cravanche, FR - Les Eurokennees
Thu. Aug. 29 - Dorset, UK - End Of The Road
Fri. Aug. 30 - Dorset, UK - End Of The Road
Sat. Aug. 31 - Dorset, UK -End Of The Road
Sun. Sep. 01 - Dorset, UK -End Of The Road
 
* w/ Royel Otis
 

Call A Doctor is available to preorder now on CD/LP/DSPs from Sub Pop. LP preorders from megamart.subpop.com, select independent retailers (US), select independent retail stores (EU/UK) & Mega Mart 2 (the new, UK-based sibling site to the world-famous Sub Pop Mega Mart) will receive the Loser Edition on White vinyl. All colored vinyl versions are available while stock lasts.

 “…every member of Girl and Girl is too young to have experienced the garage rock revivalism of Y2K firsthand, save Aunty Liss, the drummer who supports her nervy nephews in this band of Australian post-punk traditionalists. Fronted by the wiry Kai James — handsome and jittery, never reclusive — the group treated sacred post-punk texts as if they were a common language when they played the 13th Floor, giving their barbed hooks and sideways riffs real kick. They’re carrying a torch without succumbing to nostalgia or formalism, all because they’re intoxicated by the noise they make.”- [SXSW 2024 Show Review] RollingStone
  
“The band’s circuitous riffs feel reminiscent of early Car Seat Headrest – the type of material that could mint a future cult classic.” - [10 essential new acts you need to see at SXSW 2024] NME
 
“that’s Girl and Girl like a warped mix of Talking Heads, Rolling Blackouts and bits of post-punk but led by a man with a mullet and one of their aunts plays drums in the band. I enjoyed them, some good melodies. That was Girl and Girl with Hello.” - [SXSW Review] BBC 6 Music with Steve Lamacq
 
 “Brisbane four-piece Girl and Girl are ones to watch in the world of sharp-tongued raucous-riffed garage rock…Girl and Girl’s all too rare multigenerational collaboration brings a fresh angle on the post-Strokes garage rock sound.” - KUTX Radio
 
“Emotional mayhem that’s relatable, and very catchy.” - Rolling Stone (AU)
 
“There’s something special about this group…Their music has a raw and unfiltered feeling which elevates it far above your run-of-the-mill “indie” and gives it a near-euphoric flavour.” - [“Hello”]  Life Without Andy
 
“A perfect dose of indie – punk rock at its best.” - [“Hello”] Happy Mag