THE DANDY WARHOLS announce new cover album PIN UPS, out 20th March, new single 'Kiss Off' out now.

THE DANDY WARHOLS Kiss Off Beat The World Records / Little Cloud Records THE DANDY WARHOLS ANNOUNCE NEW COVERS ALBUM PIN UPS Out 20th March.  New single 'Kiss Off' out now. Featuring reinterpretations of The Cure, The Clash, Bob Dylan, The Beatles and more.  Out March 20, 2026 via Beat The World Records / Little Cloud Records Watch 'Kiss Off' here: https://youtu.be/UWT0zGCjjQ0?si=Plmwr0CjTenSB2uc You can download the WAV, MP3 from dropbox, please do not post link: https://www.dropbox.com/scl/fo/0tjil3yxt77bp1uruqrvu/APw7siVmy-0ma2cUN5_hyUs?rlkey=1ttfuci71x8wlmmwf2wcdogiz&st=ds14nogt&dl=0 The Dandy Warhols have announced 'Pin Ups', a boldly curated covers album that pulls together years of reinterpretations, deep cuts and long-shelved recordings into one cohesive, era-spanning release. Order 'Kiss Off' here: https://thedandywarholsofficial.bandcamp.com/track/kiss-off Preorder 'Pin Ups' here: https://thedandywarholsofficial.bandcamp.com/ Set for release on March 20, 2026, 'Pin Ups' finds the Portland icons reframing songs by artists who helped shape their musical DNA, including The Cure, Gang Of Four, The Clash, Bob Dylan, The Beatles, The Cramps, The Runaways and more. Rather than a conventional covers record, 'Pin Ups' plays like a parallel history of The Dandy Warhols themselves. These are songs that followed the band across decades, territories and phases of their career, previously scattered across B-sides, tribute albums, bonus tracks and private hard drives. Now, for the first time, they are gathered together as a complete album. “We’ve been talking for years now about getting as many of the covers we’ve done for specific territories together and releasing them for all to hear. It’s finally happening,” says Zia McCabe. Released alongside the album announcement is the first single, a newly unveiled take on Violent Femmes’ 'Kiss Off'. With McCabe stepping into the vocal spotlight, the band injects a sharp, bratty swagger into the track, set against a knowingly retro, mod-leaning backdrop. Access official video here: “I’m especially excited that we’re releasing our cover of 'Kiss Off' for the first time,” McCabe adds. “I can’t believe this gem has just been sitting on a hard drive for years.” “For reminiscing, this record is one of my favourites,” says Courtney Taylor-Taylor. Across its three sides, 'Pin Ups' moves fluidly between reverence and reinvention. A surf-tinged Goo Goo Muck nods to The Cramps’ original menace, while Cherry Bomb becomes fizzing power-pop in Dandy hands. Their take on The Byrds’ You Ain’t Going Nowhere (Easy Chair) leans into back-porch warmth and Americana twang, while Primary captures the urgent pulse of early The Cure without losing the band’s trademark haze. “These are some of our favourite songs, or songs by our favourite bands, or just songs we admired,” explains Peter G. Holmström. “Some were never released, some were tucked away on obscure projects, but they all meant something to us.” That sense of personal connection runs deep. Many of the artists covered are not just influences, but peers and friends. “Nearly every band we cover on here are friends of ours or artists we have had a meaningful experience with,” says Taylor-Taylor. “Looking over all the songs again however, I am noticing that we never met the artists from the 60s. Weird.” The album arrives after a period of renewed creative momentum for The Dandy Warhols. Their 2024 release Rockmaker was widely hailed as one of the strongest records of their career, featuring guest appearances from Slash, Frank Black and Debbie Harry. Its reimagined companion Rock ReMaker followed in 2025, further expanding the project’s sonic scope. The band have also twice performed with The Oregon Symphony, an experience Taylor-Taylor describes as transformative. “Playing with the Symphony set the bar for how much emotional and psychological power can be achieved with live music. Nothing compares to us playing with the Symphony.” 'Pin Ups' stands as both a celebration and a statement. It is a love letter to the songs that shaped them, a document of shared history, and a reminder that The Dandy Warhols remain as curious, playful and musically restless as ever. The Dandy Warhols are Courtney Taylor-Taylor on vocals and guitar, Peter G. Holmström on guitar and keyboards, Zia McCabe on keyboards, bass and percussion, and Brent DeBoer on drums and backing vocals. 'Pin Ups' will be released on vinyl, CD and digital formats on March 20, 2026. An exclusive vinyl edition is available to pre-order now via the band’s official Bandcamp page at https://thedandywarholsofficial.bandcamp.com/album/pin-ups. 'Pin Ups' Tracklisting Side One Cherry Bomb (The Runaways) What We All Want (Gang Of Four) Primary (The Cure) Kiss Off (Violent Femmes) Goo Goo Muck (The Cramps) Rain (The Cult) Side Two Straight To Hell (The Clash) Sister Golden Hair (America) Lay Lady Lay (Bob Dylan) Ripple (The Grateful Dead) Easy Chair (The Byrds) Blackbird (The Beatles) Side Three The Beautiful People (Marilyn Manson) Love Song (The Damned) Jet Boy (New York Dolls) She Sells Sanctuary (The Cult) Inside The Outside (Love And Rockets) Order 'Kiss Off' here: https://thedandywarholsofficial.bandcamp.com/track/kiss-off Preorder 'Pin Ups' here: https://thedandywarholsofficial.bandcamp.com/ https://dandywarhols.com/ https://www.facebook.com/TheDandyWarhols https://x.com/TheDandyWarhols https://www.instagram.com/thedandywarhols https://open.spotify.com/artist/7siPLyFwRFYQkKgWKJ5Sod https://music.apple.com/gb/artist/the-dandy-warhols/767263 https://www.tiktok.com/@thedandywarhols https://www.youtube.com/@dandywarhols

Heavenly shares details of new album, plus new "Excuse Me" video & tour dates

Heavenly shares details of their first new album in 30 years, plus new single/video & tour dates

 

VIDEO: "Excuse Me" -

YouTube

 

PRE-ORDER: Highway To Heavenly -

Bandcamp / Skep Wax

 

DOWNLOAD WAV & HI-RES IMAGES HERE

 

Heavenly are seen as the originators of a whole genre of music – known to some as ‘jangle’, others as ‘twee’ and to the band themselves as ‘indiepop.' As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged politics with shamelessly joyful pop music.

Highway To Heavenly shares this recipe with the band’s first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space.

Heavenly were on Sarah Records in the UK and on K in the US - and maybe this is a useful shorthand for understanding the band’s ability to meld the attitude of American Riot Grrrl bands with the pop charms of the English indie scene. In terms of style, Heavenly presented an androgynous look – short hair and pinafores for Amelia and Cathy - while Peter Rob and Mathew determinedly avoided the theatrics of male rock.  

Heavenly did not want to fit in with the hyper-gendered corporate music scene of the 1990s, and the band has stayed determinedly independent ever since (this new album is released on Rob and Amelia’s Skep Wax label).  The new songs on Highway To Heavenly (Feb. 27) are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold ‘masculine energy’ that is making the world a miserable, aggressive place today.

Heavenly has recently enjoyed a huge resurgence of interest from a younger generation of fans, who have cottoned on to Heavenly’s music, but also embraced the band’s inclusive version of feminism.  'Portland Town' is a joyful celebration of a place where diversity is welcomed.  'Press Return' is a demolition of those men who think technology and wealth make them winners rather than sad losers.  'Excuse Me' is an outburst of punk energy, as effervescent as a song on the first Undertones album, gleefully celebrating a teenage romance with the nerdiest boy in school.  'A Different Beat' tells the entire story of a doomed relationship, its heroine falling for and then escaping from an oppressive man, before heading for the metaphorical disco of freedom.  

Heavenly have clearly been to a disco or two lately: opening track 'Scene Stealing' feels like a distant cousin of Blondie’s ‘Heart Of Glass’ and tells the story of self-obsessed YouTube influencers who don’t know how to treat women with respect.  By contrast, album closer 'That Last Day' may be the most poignant song about bereavement you will hear all year, certainly the only one you’ll want to sing along to.  It’s all pop here, but Highway To Heavenly has a huge range of tones and moods.

The band comprises original members Amelia Fletcher, Peter Momtchiloff, Cathy Rogers and Rob Pursey, who are now joined on drums by Ian Button.  (An important element of the Heavenly story was the loss of Mathew Fletcher, who took his own life just before the fourth album was released.  It took Amelia, Peter, Cathy and Rob a long time to get over the loss; maybe it took even longer to find a drummer as good as Ian.)  

The new Heavenly have played a number of sold-out shows in the past couple of years, where older fans have mingled with new devotees. The band are looking forward to their slow-motion international tour in the first half of 2026, with dates in the UK, the US, Canada, France, Greece and Spain. 

Highway To Heavenly was recorded at Rumbaba (Deptford, London) and at The Sunday School (Kent).  It was produced by Toby Burroughs.

Heavenly are: 
Amelia Fletcher – vocals, guitar, Cathy Rogers – vocals, keyboard, Ian Button – drums, Peter Momtchiloff – guitar, Rob Pursey – bass

TOUR DATES:

25 Feb  COVENTRY,@ Just Dropped In (with CD/LP) 
26 Feb LONDON @ The Lexington 
28 Feb  ATHENS @ Temple
5 Mar RAMSGATE @ Music Hall 
6 Mar PARIS @ Petit Bain 
8 Mar LONDON @ The Lexington (matinee, all ages) 
14 Mar OXFORD @ The Nest   
18 Mar MANCHESTER @ Yes 
19 Mar GLASGOW @ Mono
20 Mar SUNDERLAND @ Pop Recs 
21 Mar SHEFFIELD @ Sidney & Matilda
26 Mar BRIGHTON @ Hope & Ruin
4 Apr CARDIFF @ Wales Goes Pop 
16 Apr WASHINGTON DC @ Black Cat 
17 Apr PHILADELPHIA @ Johnny Brenda's 
18 Apr NEW YORK @ Bowery Ballroom 
19 Apr BOSTON @ The Sinclair
21 Apr TORONTO @ The Great Hall
23 Apr CHICAGO @ Empty Bottle
7 May VALENCIA, @ Loco Club
8 May MADRID @ Sala Galileo Galilei
10 May SAN SEBASTIAN @ Sala Dabadaba 
21 Jun SAN DIEGO @ Casbah
22 Jun LOS ANGELES @ Regent Theater
24 Jun SAN FRANCISCO @ Great American Music Hall
26 Jun PORTLAND @ Aladdin Theater
27 Jun SEATTLE @ The Crocodile
28 Jun VANCOUVER @ Hollywood Theatre

Tickets for most gigs are already on sale. The North American West Coast shows will go on sale on January 9th. Latest gig details for all Skep Wax bands can be found at skepwax.com/live.  

FINAL GASP announce album, tour + release "The Apparition" video/single | 'New Day Symptoms' on Relapse Records out Feb 27

Final Gasp Announce New Day Symptoms Album
Out February 27 via Relapse Records

Release “The Apparition” Single / Video - Watch / Share

North American Tour Starts Next Month

Press Photo By Caleb Gowett 

Steeped in nocturnal, death rock adventurism, driven with a post-punk anxiety that feels increasingly like the twitching heart of our modern age, and driven by hardcore punk intensity, the second studio album from Boston’s Final Gasp, New Day Symptoms, does what all great rock records do. Not only does it place itself within a lineage, summoning up and amplifying a spectrum of powers from rock’n’roll lore, it makes them resonate in the here and now. It gives voice to those fears and frustrations lurking just under the surface of waking consciousness and turns them into a rallying cry.

Throughout New Day Symptoms, Final Gasp create a potent reaction from the furious and the forlorn as frontman Jake Murphy vocalizes both a supercharged howl into the void and a remorseful echo back. Lead single “The Apparition” is “A story of reality being much more horrifying than fiction,” Jake tells. “It’s about a captain and his crew on a small boat.  A storm came and capsized it and he and his two crew members were forced to swim to some sort of safety. Ultimately only he survived, having to watch his two friends be taken away by something that could have been avoided. He knew a storm was coming but thought they could make it. It’s all about bad timing and facing the consequences.” “The Apparition” is available today with its haunting video directed by Caleb Gowett and Bill Politis.

Listen / Share / Playlist “The Apparition” | Watch Official Video

Where Final Gasp’s acclaimed 2023 debut, Mourning Moon, was a concentrated shot of acrid, underground death rock, its propulsion tanks largely filled with references to Samhain and Killing Joke, New Day Symptoms keeps all the core urgency while vastly broadening its scope. With new space to explore, this is an album that feels communal, a mapping of personal trials and dark recesses onto a map dotted with rafters-rousing marker points.

Final Gasp’s ability to meld opposing forces into something vibrant and new is encoded into their DNA. The process of forging a sound that combined but went beyond their musical background and musical obsessions was one that took a lot of soul-searching, taking them on a path whose destination remains open-ended.

“I think we’re still figuring it out, to be honest,” says Jake. “It’s like most things when you start out you have a vision and stick to it, we just quickly realised we could do so much more with it. We blossomed into this group of people that all have similar influences, but see them from different perspectives. We could hear the band beginning a new chapter.”

One of the main reasons for the broadening of the band’s sound on the new album is that New Day Symptoms was written much more as a democratic process than Mourning Moon.

“It got me personally more excited,” Jake enthuses, “because everything was on the table and everyone’s ideas were blending together really well. Naturally we still rely on what we’re used to, but this time we let ourselves explore different tones. And we were all so open and receptive to each others’ ideas that writing and recording this record was more of a collaboration. Having Arthur (Rizk, producer) produce this record opened even more ideas to us. Everyone was together at all times for a week while recording this, whether it be at the AirBnb working on songs, or working on them in the studio. It was a total hands-on, involved process between all of us.”

It’s that open-mindedness while still being fully in touch with your underground roots that gives New Day Symptoms such a galvanizing force. But where its predecessor dealt very directly with personal themes of loss and anxiety, here a slightly different approach was taken. “With this one, I didn’t want it to be as personal,” says Jake. “But then reading the lyrics back, I ended up feeling differently about them – they were personal on a different level. A lot of these songs are written from an outside perspective, what could’ve happened if things were different, but ultimately it didn’t end that way. You can’t change what’s already been done, so you just have to move on. It just means it’s a part of who you are now.”

Above all, New Day Symptoms is one of those rare killer rock’n’roll albums whose conviction and honesty make it unique, primed to stand the test of time, and as acclaimed tours with bands as diverse as Abbath, Gatecreeper, Fiddlehead, Poison Ruin, Devil Master and Imperial Triumphant make clear, unlimited in their appeal. As Jake says, “It’s exciting to have the record out. I think this is an evolution of the band and we’re just going to keep writing music that inspires us. We’re going to continue moving forward – you can’t stay in the same place forever. That’s the message of this record and it’s there to resonate for people who may not feel it’s possible.”

New Day Symptoms was produced by Arthur Rizk and sees its release February 27 via Relapse Records. Last month, Final Gasp announced a headlining North American tour which crosses both coast, the midwest and more. See below for a full list of dates. Tickets are on sale here.

Pre-Order / Pre-Save New Day Symptoms Here

Final Gasp is: 
Jake Murphy - Vocals
Alex Consentino - Guitar/Synth
Sean Rose - Bass
Peter Micanovic - Guitar
Kevin Ordway - Drums

Laughing Hyenas Announce Live Anthology via Third Man Records

THIRD MAN RECORDS UNLEASHES FIRST-EVER LIVE ANTHOLOGY FROM NOISE ROCK LEGENDS, LAUGHING HYENAS   THAT GIRL – LIVE RECORDINGS 1986-1994 COLLECTS 18 FEROCIOUS TRACKS PAINSTAKINGLY COMPILED BY FOUNDING MEMBER JOHN BRANNON FROM HIS PERSONAL ARCHIVE OF CASSETTE TAPES   “HERE WE GO AGAIN (WNYU RADIO, NYC, 1990)” PREMIERES TODAY – LISTEN   THAT GIRL – LIVE RECORDINGS 1986-1994 ARRIVES VIA THIRD MAN RECORDS DIGITALLY AND ON 2XLP COLORED VINYL (WITH LIMITED EDITION 7”) ON FRIDAY, FEBRUARY 20   PRE-ORDERS/PRE-SAVES AVAILABLE NOW

Photo Credit: Jay Brown

Third Man Records is proud to announce the first-ever live anthology from Ann Arbor, MI-based noise rock legends, Laughing Hyenas. That Girl – Live Recordings 1986-1994 collects 18 ferocious tracks – painstakingly compiled by founding member John Brannon from his personal archive of cassette tapes and then transferred, mixed, and mastered by GRAMMY® Award-winning producer Bobby Emmett (Sturgill Simpson, Jack White, The Sights) – that showcase the band’s full-on sonic groove assault in its purest, most unadulterated and gloriously abrasive form. Highlights include such hard-hitting classics as “Here We Go Again,” recorded live for NYC’s famed WNYU in 1990 and premiering today at all DSPs and streaming services. That Girl – Live Recordings 1986-1994 arrives via TMR digitally and on 2xLP colored vinyl (with Limited Edition 7”) on Friday, February 20. Pre-orders/pre-saves are available now.   LISTEN TO “HERE WE GO AGAIN (WNYU RADIO, NYC, 1990)”   PRE-ORDER/PRE-SAVE THAT GIRL – LIVE RECORDINGS 1986-1994    If ever a band deserved an LP of live material, it’s the Laughing Hyenas. As Wolf Eyes’ Aaron Dilloway so eloquently put it, “The Laughing Hyenas were the scariest band I have ever seen.” With their roots firmly planted in Detroit’s Cass Corridor punk rock and hardcore scene of the early 80s, John Brannon (Negative Approach) and Larissa Strickland (L-Seven), along with the locked-in rhythm section of bassist Kevin Strickland and drummer Jim Kimball (and later, former Necros bassist Ron Sakowski and drummer Todd Swalla), the Laughing Hyenas took aggressive rock ‘n’ roll to a completely different plane. Taking pointers from The Birthday Party and Funhouse-era Stooges as well as early blues and jazz artists, the band unleashed a fierce, sulfuric blast of noise all their own. The sinister and hypnotic bass riffs and tribal swing laid the perfect framework for the late Larissa Strickland’s slicing, Jagged guitar and John Brannon’s devilish howl. Though the band recorded three blistering LPs and an array of singles and EPs – much of which was reissued by Third Man in 2028 - before calling it a day, their true legacy lie in their brutal, unforgiving live performances, including countless headline runs, tours alongside Sonic Youth and Killdozer, and myriad college radio sessions across the country. That Girl – Live Recordings 1986-1994 now serves as a long overdue reminder of the Laughing Hyenas’s orgiastic power and one-of-a-kind gale-force fury.   # # #   LAUGHING HYENAS THAT GIRL – LIVE RECORDINGS 1986-1994 (Third Man Records) Release Date: Friday, February 20, 2026

TRACKLIST: Side A That Girl Sister Lullaby And Goodnight Love's My Only Crime   Side B Let It Burn Everything I Want Dedications To The One I Love Seven Come Eleven Wild Heart   Side C Here We Go Again Public Animal #9 Black Cloud Crawl   Side D Just Can’t Win Each Dawn I Die I Want You Right Now   Limited Edition 7" Side A Stain   Side B Hell’s Kitchen Playground   THIRDMANRECORDS.COM | JOHN BRANNON INSTAGRAM

LuxJury Announce Debut LP 'Giving Up' out 3/27 via Bella Union | Share "Snacks (I Could Love You)" single

LuxJury Announce Debut Album, Giving Up due out 27th March via Bella Union Share New Single “Snacks (I Could Love You)”

Photo Credit: Tatjana Ruegsegger Today, up-and-coming London-based duo LuxJury announce the release of their debut album Giving Up due out 27th March via Bella Union and available to preorder here. Fronted by singer/guitarist Nicole ‘Lux’ Fermie alongside drummer Howey Gill, LuxJury’s debut is a riveting work of soulful indie-rock charting Nicole’s experiences in the years since the dissolution of her previous band and coming out as a queer woman. To accompany today’s announcement, LuxJury have shared a live studio performance video of new single “Snacks (I Could Love You)”, an addictively soulful groove-based number about rebound relationships that channels the sass of Cibo Matto and Bran Van 3000 – watch HERE. Since quitting her previous band, Nicole ‘Lux’ Fermie had come out as queer, and her songwriting style had changed—now she was culling from brand new experiences around love, gender and sexuality that she couldn’t have fathomed before. “I had lived the life of a musician on the breadline,” she explains emphatically. “I was dating the drummer in the band. We broke up. I realized I was queer, fell in love with a woman, and took a break from music for years because I felt like everything I'd written thus far had been completely disingenuous, because I had this whole other side of my life that I hadn't lived. I came back to music with something to say.”   On the surface, many of the songs on Giving Up are about romantic relationships—their joyful beginnings and rock-bottom heartbreaks. But beyond that, they’re about finding oneself, digging deep to excavate the true meaning of one’s identity. As a queer woman, Nicole discovered aspects of herself through connecting to others, and those truths are the fuel that propel the album forward. These are songs specifically about how queer people love, and how that can be a mirror for the rest of the world—not the other way around.   “The underlying current on this album is definitely what it's like to have relationships with an undertone of social precarity,” says Nicole. “Nothing is scripted. Nothing is written. There's a weird trust system that isn't anything close to what I’d experienced in heterosexual relationships. And furthermore, there’s just something about getting off the conveyor belt, so to speak. Society wants to support you if you make money, have babies and keep propping up the economy, right? So there's that pressure, and once you come out and are okay with letting go of that, you're open to challenging everything. You're open to challenge the way that you have relationships with people in general—friendships, people you sleep with, people you don't sleep with. The biggest undercurrent on this album is that letting go of societal pressure.”   Nothing says “letting go of societal pressure” like diving headfirst into polyamory—which is the subject of Giving Up’s opening track “Poly-Amerie”. Set against sweeping strings and forceful, dynamic guitars, the song tells the story of a love triangle, three women who are trying to be romantically open while keeping their jealousy at bay. “The song is about the differences in the ways that men and women navigate relationships,” says Nicole. “In WLW relationships, it can sometimes feel like we never break up—there's this sort of weird, deep bond that women create with each other, where even if they’ve come to hate each other it’s still this long and drawn-out separation.” “Poly-Amerie” is about discovering the long and drawn-out breakups that I'd never had with men, where the cut was pretty clean.” “Poly-Amerie” was one of the first tracks Nicole wrote with LuxJury, her first foray into queer storytelling, and as such perfectly sets the tone of the album.    The record’s first single “Hot Mess” is a liltingly groovy slice of yacht-rock-adjacent indie that would sound at home floating from a car stereo cruising down the Pacific Coast Highway. It’s also about a specifically queer romantic experience: the sensation of reliving your passionate teenage years as a result of rediscovering your sexuality as an adult. “You completely compromise on any sort of self-care and are willing to be a complete doormat for the sake of that first queer love you experience later in life,” explains Nicole, “where you're like, ‘I'm going for this with everything I’ve got.’”   Closing out this trifecta is “I Could Love You”, possibly Giving Up’s most introspective offering. Nicole openly admits that she finds the song hard to talk about, the sonic equivalent of a good, hard look in the mirror. “It was the first time that I ever embodied a side of myself that was not very good, that I wasn’t proud of,” she says candidly. “I always talk about how women are caring, but “I Could Love You” is about how women can be cruel—I had fallen out of love and didn't know how to get out of it and was getting really embittered and resentful of the person who was making me feel responsible for them. I discovered that I had that in me, which is something I'd have never experienced and didn’t like, so I wrote about it.” “Honestly, most of this album is me getting over my first queer relationship. There's no lie about it,” Nicole says finally. “I feel like a teenager: it should be an angsty album, but it came out the way it did, hopefully, because I'm a bit older.” There is something fresh and young about it, though, and exciting, and uplifting—it’s like being able to time travel back to your high school years, but with the power to change the story for the better. “Coming out as a queer woman helped me more deeply understand my own female sexual identity, which I felt was more socially constructed than personally informed,” she says. “That informed the themes that I was exploring, which were, ‘How do queer people have relationships? What are the ways that they navigate breakups and falling in love that aren't covered in mainstream media, and that you just have to figure out for yourself by doing?’” When you put it that way, in the end, Giving Up isn’t about letting go of your dreams: it’s about making space for new ones.   Giving Up album artwork and tracklist:

1. Poly-Amerie 2. Both Teams 3. Can You Want It 4. Snacks (I Could Love You) 5. History Of The Body 6. Couples Therapy 7. Hot Mess 8. Opaque and Hollow 9. Orphans 10. Thief 11. I’m This Time