Today, Damien Jurado’s Waters Ave S, his beloved debut, is available on vinyl for the first time in years from Sub Pop.
 
2022 promises to be a banner year for Damien Jurado. Not only does the year mark the songwriter’s 50th birthday, but it also sees the summer release of his 18th studio album, the impressionistic and tuneful Reggae Film Star. And hang on, there’s more: on September 23rd, 2022 Sub Pop Records reissues Jurado’s debut full-length, 1997’s Waters Ave S. The work of a young artist driven by complex inner visions, the LP offers a fresh chance to examine how far Jurado has come in the 25 years since its release—but also demonstrates how much of his point of view and vivid scenecraft was firmly in place from the very start.
 
A veteran of the DIY punk and hardcore scenes, Jurado had begun taking steps into the world of lo-fi home recording. But with renowned indie rock producer Steve Fisk acting as producer, Waters Ave S introduced Jurado to the independent music world, presenting a set of 13 songs that encompass odes to remote desert outposts, late-night conversations with Elvis, a purple anteater, and the great beyond. Though new to the studio, Jurado’s storytelling lens is well honed; these compositions are filled with characters wandering the psychic wilderness, flawed but nonetheless certain of themselves, or at least certain enough.
 
Those only familiar with Jurado’s ambient-tinged folk or AM gold psychedelia will find the album more punky than expected, replete with post-punk basslines, electric guitars, and a youthful tenor to Jurado’s voice. But what’s most striking about the record is how fully formed his world is, especially on songs like the lilting, drum looped “Angel of May,” the sci-fi “Space Age Mom,” and mournful simplicity of the title track. Jurado was just getting started, but the path he’d follow seems laid out by Waters Ave S. 25 years later, it’s clear that the creative spirit that fuels this idiosyncratic and exuberant record is one that still propels Jurado to this day.
 
Waters Ave S is available on vinyl now from Sub Pop through megamart.sub pop.com, select independent retailers in North America, the UK and Europe will receive the limited Loser edition on aqua vinyl (while supplies last).

Damien Jurado
Waters Ave S
 
Tracklisting
1. Wedding Cake
2. Angel of May
3. Treasures of Gold
4. Yuma, AZ
5. The Joke Is Over
6. Space Age Mom
7. Circus, Circus, Circus
8. Hell or Highwater
9. Independent
10. Purple Anteater
11. Sarah
12. Halo Friendly
13. Waters Ave S.

Today, Thursday, September 22nd, 2022 marks the release of Hannah Jadagu’s (pron. juh-dah-goo) “Say It Now,” a new single and official video directed by Jade De Brito.  The song was written and arranged by Hannah, co-produced by Max Robert Baby and Hannah, and mixed by Marcus Linon in Paris, and is available today on all DSPs worldwide from Sub Pop.

Hannah is also announcing a run of UK and EU support and festival dates for November 2022. From Friday, November 4th through November 9th, she will support Secretly Canadian recording artist Faye Webster’s UK tour. Hannah will also perform at Pitchfork Music Festival London and Paris. Please find a current list of tour dates below. Preceding these shows, Hannah will support label mate Frankie Cosmos’ Friday, October 7th show at New York’s Knockdown Center. Please find a current list of dates below.
 
Oct. 07 - New York, NY - Knockdown Center ^
Fri. Nov. 04 - Leeds, UK - Brudenell Social Club [Sold Out] *
Sat. Nov. 05 - Glasgow, UK - Maryhill Community Central Halls *
Sun. Nov. 06 - Manchester, UK - Gorilla *
Tue. Nov. 08 - Bristol, UK - Thekla *
Wed. Nov. 09 - Brighton, UK - Komedia [Sold Out] *
Thu. Nov. 10 - London, UK - Pitchfork Music Festival London (@ Oslo)
Fri. Nov. 18 - Paris, FR - Pitchfork Music Festival Paris (@ Avant Garde)
*w/ Faye Webster
^ w/ Frankie Cosmos + IAN SWEET
 
“Say It Now“ is Hannah’s lone release for 2022, but keep an eye out for an as-yet-to-be-titled full length LP, due out sometime in 2023. It follows the single “All My Time Is Wasted” and What Is Going On?, her acclaimed debut EP, both released in 2021. 
 
Hailing from Mesquite, Texas and now residing in New York, the 20 year-old recorded and produced her early music all through her iPhone 7, using Garageband iOS, an iRig, microphone, and guitar. The resourcefulness paid off, earning Hannah early praise for her What Is Going On? and its prerelease singles. NPR Music said this, “Just glorious. Her voice, the production, these sweet reflective melodies. Just all works so well together.”
 
Since the release of What Is Going On?, Hannah toured steadily, playing shows and winning over audiences across the US and Europe, opening for the likes of the aforementioned Webster, Beach Fossils, Wild Nothing, Ritt Momney, Wet, Metronomy and Arlo Parks. Earlier this summer, Hannah also performed at Denmark’s Roskilde Festival in July.
 
What Is Going On?, “All My Time Is Wasted,” and “Say it Now” are available now from Sub Pop.
 
What people are saying about Hannah Jadagu:
“The New York via Texas transplant sings of trying to find her way in a myriad of inflection points in her life and in society. Whether it is racial and gender equality (“My Bones”), the crush of any given day (“Sundown”), or romantic tribulations (“What Is Going On?”), Jadagu wraps her concerns in shimmery layers of off-center pop frosting.” [What Is Going On?] - Under the Radar
 
“When immersed in the raw beauty of Hannah Jadagu’s SubPop debut EP, What is Going On?, many things spring to mind. How does she build such nuanced melodic tension with her lyrics? How does she write such introspectively brilliant lyrics?” - Ones to Watch
 
“Jadagu’s songs have an inherently chill quality that feel almost effortless.” [What Is Going On?]  - Dallas Observer
 
“The songs of her debut EP, What Is Going On?, were all written and recorded through her mobile phone, yet despite her limited resources, the songs sound lush, and perfectly formed, showing what can be done if you find a method that works for you.” - For the Rabbits

Just in time for Halloween, Clipping have announced a quartet of EPs featuring remixes of tracks from the band’s Horrorcore-themed albums, There Existed an Addiction to Blood and Visions of Bodies Being Burned. Each EP showcases remixers hand-picked by Clipping to slash, mangle, and brutalize the band’s music into all-new, exquisitely macabre, creations.
 
REMXNG 2.1 begins with “Part of Dust” by Bay Area composer and field-recordist Cheryl E. Leonard. The piece is ostensibly a remix of Clipping’s collaboration with Pedestrian Deposit, “Attunement,” although it is largely constructed from original recordings by Leonard, including: wind in the attic of Kunstnarhuset Messen in Norway; a flute made of kelp played by Leonard herself; the Golden Gate Bridge howling in the wind; baby northern elephant seals in Point Reyes; a bowed wooden fence, and a metal door played with rocks;  Cranes and geese in Staten Island, California; Balloons in a tunnel in Butte, Montana; and a boat ramp in Ny-Ålesund, Svalbard.
 
Next comes “Bastards,” by frequent Clipping collaborator Lauren Bousfield, whose virtuosic scrambling of “Pain Everyday” becomes a cinematic, carnivalesque nightmare. Oil Thief pummels “He Dead” into a pitch-dark industrial trudge, and IDM trailblazer Bogdan Raczynski’s “’96 Neve Campbell (https://bogdanraczynski.com/clpng-96-remix/)” (the official title of which contains a working hyperlink) is a cartoonish, elastic transformation of the source material. “Sheba” is Clipping’s upcoming tour mate Evicshen’s blown-out noise interpretation of “She Bad,” which is followed by a characteristically jittery, off-kilter chop of “Nothing Is Safe” by London producer Loraine James. The EP closes with an ambient performance of “Say The Name” by traveling musical family Tengger that excerpts one melody from the original song’s instrumental outro, and stretches it into an ecstatic, hypnotic loop.
 
REMXNG 2.1 is the first of four such EPs, which will be released every Wednesday from September 21 through October 12.
 
Clipping begins its first round of international touring for the fall of 2022, with a short run of shows in the UK and EU beginning this Wednesday, September 21st in Glasgow at SWG3 Warehouse and ending Sunday, September 25th in Brussels at Atelier. Following those shows, Clipping will return to the states for an appearance at Southern California’s Desert Daze Festival Friday, September 30th. Then from Thursday, November 10th through November 29th, 2022, Clipping will tour the UK and EU again for a 14-date run. Please find a current list of dates below.
 
Wed. Sep. 21 - Glasgow, UK - SWG3 Warehouse
Thu. Sep. 22 - Helsinki, FI - Kudos Ninja
Sat. Sep. 24 - Riga, LV - Skaņu Mežs Festival (@Hanzas Perons)
Sun. Sep. 25 - Liege, BE -KulturA
Fri. Sep. 30 - Perris, CA - Desert Days
Sat. Oct. 01 - San Francisco, CA - Grey Area
Fri. Nov. 11 - Utrecht, NL - Le Guess Who? Festival
Sat. Nov. 12 - La Chaux-de-Fonds, CH - Bikini Test
Mon. Nov. 14 -Brussels, BE - Magasin 4
Tue. Nov. 15 - Prague, CZ - Meet Factory
Thu. Nov. 17 - London, UK - Fabric
Fri. Nov. 18 - Leeds, UK - Belgrave Music Hall
Sun. Nov. 20 - Warsaw, PL - Hydrozagadka
Tue. Nov. 22 - Paris, FR - Trabendo
Wed. Nov. 23 - Rennes, FR - Antipode Club
Thu. Nov. 24 - Nantes, FR - Pole Etudient
Fri. Nov. 25 - Lyon, FR - Les SUBS
Sat. Nov. 26 - Lille, FR - L’Aéronef
Mon. Nov. 28 - Copenhagen, DK - VEGA
Tue. Nov. 29 - Aarhus, DK - Voxhall
 

Milk Teeth, the new EP from multitalented British vocalist and songwriter Suki Waterhouse, is slated for release November 4 via Sub Pop Records—pre-order/pre-save it here. The EP features five songs from Waterhouse’s early career plus one new track “Neon Signs” and will be available on vinyl. 

“It means the world that Milk Teeth is getting a vinyl release,” Waterhouse says. “These songs were like secrets to me. They were witness to a time when I felt like I was drowning and I needed to connect on a profound level in order to stay afloat. I share them with everyone who collaborated me on this record. I’m so grateful for the guidance and permission they gave me to explore.”

The new EP follows the recently released “Nostalgia,” 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.” 

Additionally, she 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. 

Suki is currently on tour in North American with Father John Misty in support of her debut album, with stops at the legendary Red Rocks Amphitheater, Los Angeles’ Holllywood Forever Cemetery, New York’s Radio City Music Hall and more—see full routing below and get tickets here. 

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, September 15th Father John Misty is releasing a Live At Electric Lady EP, a Spotify exclusive, that features alternate versions of Chloë and The Next 20th Century highlights “Goodbye Mr. Blue,” “The Next 20th Century,” “Buddy’s Rendezvous,” “We Could Be Strangers,” “(Everything But) Her Love,” and a cover of Stevie Wonder’s “I Believe (When I Fall In Love It Will Be Forever).” The session was recorded in May 2022 at the famed Electric Lady studios in New York, New York.
 
Tracklisting:
1. We Could Be Strangers                
2. (Everything But) Her Love 
3. Goodbye Mr. Blue
4. Buddy’s Rendezvous                     
5. The Next 20th Century                  
6. I Believe (When I Fall In Love It Will Be Forever) 
 
Father John Misty’s touring in support of Chloë and The Next 20th Century is underway with a performance tonight, Thursday, September 15th at Louisville’s Bourbon & Beyond Festival. The North American dates currently end with a show on Sunday, November 20th at Mexico City’s Corona Capital Festival. The late summer and fall tour features support from Sub Pop label mate Suki Waterhouse (Though Oct. 8th - select dates), and includes a stop at Radio City Music Hall with The New York Pops on Thursday, September 22nd, 2022.
 
2022: Summer/Fall (North America + South America)
Thu. Sep. 15 - Louisville, KY - Bourbon & Beyond Festival
Fri. Sep. 16 - Richmond, VA - Brown’s Island *
Sat. Sep. 17 - Asheville, NC - Rabbit Rabbit *
Mon. Sep. 19 - Charleston, SC - The Riviera Theater * [Sold Out]
Tue. Sep. 20 - Washington, DC - The Anthem *
Thu. Sep. 22 - New York, NY - Radio City Music Hall w/ The New York Pops *
Fri. Sep. 23 - Boston, MA - Leader Bank Pavilion *
Sat. Sep. 24 - Bridgeport, CT - Sound on Sound Festival
Mon. Sep. 26 - Montreal, QC - MTELUS *
Tue. Sep. 27 - Toronto, ON - Roy Thomson Hall *
Thu. Sep. 29 - Chicago, IL - Chicago Theatre *
Fri. Sep. 30 - Saint Paul, MN - Palace Theatre *
Sat. Oct. 01 - Saint Paul, MN - Palace Theatre *
Mon. Oct. 03 - Milwaukee, WI - Riverside Theater *
Tue. Oct. 04 - Indianapolis, IN - Clowes Memorial Hall *
Thu. Oct. 06 - Nashville, TN - Ryman Auditorium *
Fri. Oct. 07 - Atlanta, GA - The Eastern *
Sat. Oct. 08 - Durham, NC - DPAC *
Sun. Nov. 06 - Sao Paulo, BR - Primavera Sound
Sat. Nov. 12 - Buenos Aires, AR - Primavera Sound
Sun. Nov. 13 - Santiago, CL - Primavera Sound
Thu. Nov. 17 - Bogotá, CO - Coliseo Live ^
Sun. Nov. 20 - Mexico City, MX - Corona Capital
 
Late Winter 2023
Sat. Feb. 25 - Oslo, NO - Sentrum Scene
Tue. Feb. 28 - Stockholm, SE - Cirkus
Thu. Mar. 02 - Denmark, DK - KB Hallen
Fri. Mar. 03 - Berlin, DE - Columbiahalle
Sat. Mar. 04 - Amsterdam, NL - AFAS Live
Mon. Mar. 06  - Brussels, BE - Ancienne Belgique
Tue. Mar. 07 - Paris, France - Salle Pleyel
Thu. Mar. 09 - London, UK- O2 Academy Brixton
Mon. Mar. 13 - Gateshead, UK - Sage Gateshead
Wed. Mar. 15 - Glasgow, UK - Barrowlands
Thu. Mar. 16 - Glasgow, UK - Barrowlands
Fri. Mar. 17 - Manchester, UK - O2 Apollo Manchester
 
* w/ Suki Waterhouse
^ w/ Arctic Monkeys

 
Father John Misty’s live Bootleg Series, featuring recordings of performances from his current tour are available now via his Bandcamp page. The latest release is both nights of his sold out, two night stand from August 18th and 19th at Hollywood Forever Cemetery in Los Angeles.  These shows and more are available for download and streaming via Father John Misty’s Bandcamp page.
 
There are also two remaining ticketed livestream dates for Father John Misty’s tour including Asheville’s Rabbit Rabbit Saturday, September 17th and Nashville’s The Ryman Auditorium on Thursday, October 6th. Each performance will be a multi-camera concert special and directed by longtime Father John Misty collaborator Grant James. Two-show passes are $15, and single show tickets are $10 (buy here).

Father John Misty’s Chloë and The Next 20th Century and its singles are earning “Best Albums” and “Songs of 2022 (So Far)” placement from the likes of Variety, NPR Music, Stereogum, The Guardian, Consequence, PopMatters, The Current, Uproxx (Steve Hyden), and more.
 
Chloë and The Next 20th Century is out now worldwide from Sub Pop and in Europe from Bella Union.

Built to Spill’s When The Wind Forgets Your Name, the group’s acclaimed new album, is available worldwide from Sub Pop.
 
When The Wind Forgets Your Name features “Rocksteady” “Gonna Lose,” “Fool’s Gold,” “Understood,” and “Spiderweb,” and was produced by Doug Martsch, mixed by Martsch, Lê Almeida, João Casaes, and Josh Lewis, and mastered by Mell Dettmer. When the Wind Forgets Your Name is the first new Built to Spill album since the release of 2015’s Untethered Moon.
 
“Rocksteady” was the final prerelease offering from When The Wind Forgets Your Name. The Wall Street Journal, in its review of the album, offered this on the song, “‘Rocksteady’…has a pronounced Jamaican lilt…and a sunny tune that complicates his more downcast observations. “Geology, genealogy / Arbitrarily, eventually, came up with me” goes one line, accentuated by the track’s use of space and echo-heavy production. It’s an exceptionally affecting guitar-pop number that ranks with the best pieces Mr. Martsch has written.”
 
“Rocksteady” also has a great new, official video from returning director Jordan Minkoff (who directed “Built to Spill’s “Fool’s Gold” and “Gonna Lose” videos). Minkoff and animator Lee McClure deliver another great psychedelic and animated universe filled with magic jukeboxes, rollerskating, dogs, and weed. Watch now.
 
Built to Spill’s headlining and festival show schedule for the fall of 2022 has been extended to include US West Coast dates. The tour continues tonight, Tuesday, September 13th in Orlando at the Social and now runs through December 9th-10th with a two night stand at Pappy and Harriet’s in Pioneertown, California. The tour will feature songs from When The Wind Forgets Your Name along with fan favorites from the band’s catalog. Tickets for the November 19th through December 10th run are on sale this Friday, September 16th at 10 am (local),
 
Support for these shows (select dates) will come from Oruã (the Brazilian band featuring When The Wind… collaborators Almeida and Casaes), along with Prism Bitch, The French Tips, Blood Lemon, Anchorbaby, and Braided Waves. The live band for these Built to Spill tour dates will consist of Martsch, bassist Melanie Radford, and drummer Teresa Esguerra. For updated information on tickets, please visit builttospill.com.
 
Tue. Sep. 13 - Orlando, FL - The Social * ^
Wed. Sep. 14 - Jacksonville, FL - Jack Rabbits * ^
Thu. Sep. 15 - Pensacola, FL - Vinyl Music Hall * ^
Fri. Sep. 16 - Birmingham, AL - Saturn Birmingham * ^
Sat. Sep. 17 - Memphis, TN - Growler’s * ^
Sun. Sep. 18 - Tulsa, OK - Cain’s Ballroom * ^
Mon. Sep. 19 - St. Louis, MO - Red Flag * ^
Tue. Sep. 20 - Columbia, MO - Blue Note * ^
Wed. Sep. 21 - Lawrence, KS - Granada Theater * ^
Fri. Sep. 23 - Denver, CO - Bluebird Theater * ^
Sat. Sep. 24 - Salt Lake City, UT - Metro Music Hall * ^
Fri. Oct. 07 - Reno, NV - Off Beat Music Fest
Sat. Nov. 19 - Bellingham, WA - Wild Buffalo #
Sun. Nov. 20 - Victoria, BC - Wicket Hall #
Mon. Nov. 21 - Vancouver, BC - Commodore Ballroom #
Wed. Nov. 23  - Portland, OR - Revolution Hall #
Fri. Nov. 25 - Portland, OR - Revolution Hall #
Sat. Nov. 26 - Seattle, WA - Showbox #
Tue. Nov. 29 - Arcata, CA - Arcata Theatre Lounge %
Wed. Nov. 30 - San Francisco, CA - The Chapel %
Thu. Dec. 01 - San Francisco, CA - The Chapel %  
Fri. Dec. 02 - Santa Cruz, CA - Rio Theater  %
Sat. Dec. 03 - Sonoma, CA -  Gundlach Bundschu Winery Historic Barn %
Mon. Dec. 05 - Los Angeles, CA - The Roxy Theatre %
Tue. Dec. 06 - Los Angeles, CA - The Roxy Theatre %
Wed. Dec. 07 - San Diego, CA - Belly Up %
Thu. Dec. 08 - Pomona, CA - The Glass House %
Fri. Dec. 09 - Pioneertown, CA - Pappy and Harriet’s %      
Sat. Dec. 10 - Pioneertown, CA - Pappy and Harriet’s %
* w/ Orua
^ w/ The French Tips
# w/ Braided Waves, Anchorbaby
% w/ Prism Bitch, Blood Lemon
 
When the Wind Forgets Your Name is available on CD/LP/CS/DSPs through Sub Pop. LPs purchased through megamart.subpop.com, and select independent retailers in North America will receive the limited Loser Edition on Rainforest Green vinyl (while supplies last). Meanwhile, LP preorders in the U.K. and Europe through select independent retailers will receive the album on Misty Kiwi Fruit Green vinyl (while supplies last).
 
When the Wind Forgets Your Name’s cover art was designed by comic artist Alex Graham (Dog Biscuits; Fantagraphics Books), who also illustrated the fifty-panel comic strip for the album’s gatefold (available with the CD, LP, and cassette editions of the album).
 
What people are saying about Built to Spill’s When The Wind Forgets Your Name:
“When the Wind Forgets Your Name, is filled with the kind of raggedly glorious indie rock they’ve been reliably producing since the very start, a loose and inviting, deeply emotional approach bolstered by Martsch’s overdriven guitars, warped melancholy melodies, and keening, heart-tuggingly honest vocals…With When the Wind Forgets Your Name he and Built to Spill have delivered a late career stunner that easily equals their best work.” ★★★★ ½ - All Music
 
“These nine new tracks are lean and rugged, and the rhythm section is locked in behind the guitarist and singer as the trio rumbles through songs by turns sludgy and psychedelic…a rewarding one-off project on songs that underscore Martsch’s talent as a songwriter and guitarist, while also showing him in a different light. May all his future collaborations be so inspired.” - PASTE
 
“There are enough surprises here - the dubby playground of the heretic and smirking ‘Rocksteady’; the country purr of the existential ‘Alright’ — to forestall gripes of careerist retread. This is, instead, one of the States’ great indie rock institutions, finding renewal largely in the familiar.” - ★★★★ MOJO
 
“…A refreshing, cool-sounding record, one that finds Built to Spill revelling in the past and looking clear-eyed toward the future, some 30 years on. That’s no small feat (8/10).” - Exclaim
 
“Martsch has completely refined his writing, now at some kind of essential boil.” - 4 Columns
 
“When the Wind Forgets Your Name hits that sweet spot between songcraft and noodling that all great Built to Spill records have, with wistful melodies that sound like first chilly breeze in September before the leaves have turned. Marstch’s way of bending strings on a strummy chord or lead has always been just as emotive as his lyrics or warmly mopey voice, and that’s still true here on standouts like the “Fools Gold,” “Understood” and the back-to-back pairing of “Never Alright” and “Alright.” There are of course lots of signature guitar heroics, from the opening blast of “Gonna Lose” through the spindly, weaving leads of eight-minute closer “Comes a Day.” And for those looking for a smidge of the new, “Rocksteady” dips a toe into warm reggae waters.” - Brooklyn Vegan
 
“…Their knack for harnessing a whimsical energy combined with tight, interlocking little nuggets of sound and various fragments from diverse styles and genres is put to use to create something entirely different that is exciting and fresh (8/10).” - Under the Radar
 
“On the band’s first album of original songs since 2015, Martsch is back, on top of his game throughout When the Wind Forgets Your Name. Whether it was the Brazilian inspiration, Covid isolation, or just plain time for another solid BtS record, Martsch and company deliver.” - Glide
 
“The version of Built to Spill we get here is reinvigorated in every sense of the word. There’s a sense of exploration in Martsch’s songs here, one that contrasts with the strict adherence to his own take on classic rock ideas that has been Built to Spill’s modus operandi for a while. Let’s not get it twisted; there’s a lot of classic rock here, but it’s more varied, evoking moods of brightness and exploration.” - Spectrum Culture
 
“With the wait growing longer between each record it’s reasonable to wonder if Built to Spill are to show up again, but if they don’t they’ve signed out with a stellar LP and a career highlight in ‘Comes a Day’.” - Loud & Quiet

 
 Built to Spill

When the Wind Forgets Your Name

Tracklisting:
1. Gonna Lose
2. Fool’s Gold
3. Understood
4. Elements
5. Rock Steady
6. Spiderweb
7. Never Alright
8. Alright
9. Comes a Day