Emotes are common in multiplayer games, but Pokémon Pokopia takes them to a whole new level. Unlike most games, many of Pokopia’s emotes aren’t handed to you and are instead unlocked by exploring the world and finding hidden Human Records. These records basically are lost papers, journals, letters, and photos scattered across every region, and each record you collect gives you another way to interact with friends or your Pokémon. So, to help you track down every hidden emote and complete your collection, here’s where you can find and unlock all the emotes in Pokémon Pokopia.
Pokémon Pokopia: How to Find and Unlock Every Emote
Since Pokémon Pokopia doesn’t have in-game text chat, emotes are your main way to communicate with friends, react to moments, or add personality to your photos. You begin with a few basic emotes, but as you explore the world, you can unlock many more. In Pokémon Pokopia, the following emotes are available from the get-go:
Celebrate
Cry
Shocked
Beckon
Bow
Sleepy
Most emotes in Pokémon Pokopia, however, are unlocked by finding Human Records, which are lost papers, journals, letters, and photos scattered across every region, including Dream Islands. Each record you collect grants a new emote as soon as you interact with it. Here are all the Pokémon Pokopia emotes that can be unlocked through Human Records and where to find them:
Greetings – You can find the Greetings emote in Withered Wasteland, just northwest of the Pokémon Center by the dried-up river and fountain.
Point Here – To get the Point Here emote, head east of the Pokémon Center in Withered Wasteland. It’s on the ground outside a fenced picnic area, but you’ll need to break down a wall to access it.
Goodbye – The Goodbye emote is located in Bleak Beach, north of the Pokémon Center, next to a dried-up grass habitat and a tree.
Smile – Look for the Smile emote in Rocky Ridges, right by the North Area Gate that leads into the region.
Tracking down all Human Records can take some effort, but the more you explore, the more emotes you’ll unlock. Keep an eye on every hidden corner and check each region carefully. Moreover, some emotes in Pokémon Pokopiacan also be unlocked by interacting with Pokémon.
Although completely random, when a Pokémon displays a speech bubble, it has something to say, and talking to it anywhere in the game can reward you with emotes such as Angry, Proud, or Despair. Once you’ve unlocked an emote, you can easily use it by pressing Down on the D-Pad to open your emote wheel.
Then scroll through the options with the Left Joystick and select the one you want with A. You can also customize your wheel by pressing Y to remove emotes and X to add new ones, creating up to three different sets for various occasions. In Photo Mode, you can press Left or Right on the D-Pad to use emotes while taking screenshots, though they won’t work if you’re holding the tripod.
And that does it for our Pokémon Pokopia emotes guide. For more gaming news and guides, be sure to check out our gaming page!
“It’s a really dangerous time for trans people in America,” says Rae Haas, co-lead singer of the alt-pop shoegazers MX LONELY. “A lot of health care is being cut for trans kids, even in New York. It’s a terrifying thing to grapple with,” they say. “It’s a dangerous time for immigrants in America too – we’re all fighting this tyranny together.” Haas, in a punkish green jumper and black pixie crop, is calling in from the band’s tour bus, as the band zip across the USA promoting their debut All Monsters (tonight they’re en route to play a free show in Chicago). The album wrestles with deeply personal topics through layers of sonic gauze, quiet/loud dynamics and gothic undercurrents. Its unifying concept is the inner demons inside all of us. “All Monsters came from a deep depression,” explains Haas from the passenger seat, their distinctive hexagon neck tattoo popping into view occasionally. “Trying to understand the evilness in the world and also the darkness inside yourself.”
Through curious open chords and a cracked nursery rhyme harmony (between Haas and vocalist/guitarist Jake Harms, channelling The Pixies Kim Deal and Black Francis), the title track hits hard with its lyrics “war and violence” and “all the bad shit you did.” “All monsters,” Haas sings, “go to heaven.” “It’s a little bit about killing your monsters, rather than killing yourself,” explains Haas. “The implication of ‘all monsters go to heaven’ is that your monster can die and you don’t have to torture yourself to get to somewhere better.”
The trio of Haas, Harms and bassist Gabriel Garman met in an Alcoholics Anonymous meeting, just before the pandemic hit, with drummer Andrew Rapp joining a few years later. And the concept of addiction and reconciling your current self with your past monstrous self hangs over All Monsters with half the songs on the album implicitly or explicitly tackling it. “It’s like people say: recovery is forever, it’s something you deal with your whole life,” says Haas. “The same can be said of addiction.”
“I’m in love with Adderall and validation,” Haas sings on the Silvers Pickups-esque ‘Shape of Angel’, which is about their addiction to their ADHD medicine. “I struggle a lot with feeling like I’m functioning at the level Capitalism demands,” Haas explains. “Adderall is something that really helped me function: I could send emails! But I fell into an addiction with it.” They laugh: “(The lyrics) are also not that deep: I am in love with Adderall and validation! Sometimes I love things that are toxic for me.”
Meanwhile the atmospheric five-minute-plus slow burner, ‘Blue Ridge Mtns’, tackles Harms’ tempestuous drive to rehab (“In the back seat, freaking out with my family/Blue Ridge Mountains, clear as cocaine”). The narrator dips in and out of consciousness, toggling between timelines. As a child version of Harms recalls the song his family would sing as they were doing the dishes (“You can’t get to heaven on a pair of skates”). It plays like a piece of impressionistic cinema, articulating the way memories fall into each other and timelines merge together. “It’s an adaptation of a song I wrote in High School that my parents liked,” says the shaggy-haired Harms. “It’s sort of revisiting this idea of what happens years later.”
The spectre of childhood trauma is knitted into All Monsters‘ lyrics. On the anthemic single ‘Big Hips’ (with its chorus “Big Hips! For A Boy!”), Haas looks back at the horrors of puberty from their trans perspective. “I try to make my younger self proud,” they say. “It’s about having trans boy swag – it’s also challenging but musically it just hits.”
With a setlist full of songs that hit, MX LONELY are getting a kick out of playing the new songs live. “It’s gratifying seeing people knowing the words to the songs,” Haas says. “As a writer it’s like, ‘Oh people are reading my diary out loud.’ It’s great!”
MX LONELY’s All Monsters is out now via Julia’s War.
Once the invitation to Pieter Mulier’s final Alaïa show landed on guests’ doorsteps, the excitement started building, stitched together with brown leather pieces that would later button up into what looked like an Alaïa bustier, something that could belong either to a fairy’s waist or, frankly, someone’s living room décor. Normally, a finale suggests something a little extra, yet there was a feeling Mulier might be resisting the urge. Versace probably needs the drama more.
“It’s just really clothes for real people, not for an image. That’s what I told my team. Not to ‘impress, to reduce, reduce. No bags, no jewelry. Only beauty and clothes and a naked shoe. Because that’s what Azzedine was,” Mulier told Vogue. He’s not wrong. The man would spend endless nights in his atelier perfecting the same garments over and over again. Mulier admitted he wasn’t entirely sure the fashion world would tolerate something this restrained. For a while, he hesitated before committing to a show reduced so firmly to its essentials. If it made his heart beat, he figured the fashion world could deal.
“I want to show what I learned also from the house. Basically, that’s it in a very humble way. I learned precision, I learned editing, and I learned that real luxury is not what we all think. Real luxury is the perfect cut jacket,” he painted the picture for Vogue. Every once in a while, a closing insists on going back to its roots. Picture loden, viscose, cotton velvet, latex, and raw-cut wool walking down the runway as A-lines, bodycon dresses, tailored coats, light drapes, a few puffy skirts, and glossy croc panels casually interrupting light dresses’ fronts here and there. The color palette stuck to Mulier’s restrained plan, and with accessories completely missing, your eyes had no choice but to land solely on the clothes. When the show ended, it was the clarity of cut and the thought in each seam that stayed with you, and the simple garments that could’ve been worn right then and there, catching the Parisian metro back to the hotel.
Planning a wedding with a massive guest list often feels like an impossible financial feat. Many couples feel pressured to spend a fortune to keep everyone happy and comfortable.
You can host a grand celebration without drowning in debt by focusing on smart value. Small shifts in planning make a huge difference in the final price tag.
Set A Realistic Total Budget
Start by looking at your actual savings and what you can contribute. Knowing the hard limit prevents the stress of overspending on minor details later.
One professional wedding blog noted that cutting the guest list is usually a better option for satisfaction compared to lowering the quality of the food. Prioritizing people over party favors keeps the event feeling special.
Track every single expense in a spreadsheet to see where the money goes. It helps to keep a small buffer for unexpected costs like service fees or last-minute supplies.
Prioritize The Guest List Carefully
Inviting every person you have ever met quickly inflates the cost of catering and seating. Focus on the people who play an active role in your daily life.
Deciding who makes the cut is often the hardest part of the entire process. Using personal finance tips for weddings helps couples navigate these tough social choices without blowing the budget. A smaller list allows for better quality food for the people who attend.
Large families often feel pressure to include distant cousins or old coworkers. Stick to a clear rule for invites to avoid making exceptions that lead to a bloated guest count.
Explore Non-Traditional Venue Options
Standard banquet halls often come with high rental fees and mandatory catering packages. Looking at public parks or community centers can provide a beautiful backdrop for a fraction of the price.
This path allows you to pick your own caterer without paying extra fees to a venue. These local spots often have open calendars for large groups. You might need to pay a small permit fee to secure your spot.
Backyard weddings offer a personal touch that many commercial spaces lack. You have more control over the vendors and the timeline when you own the space.
Renting a tent provides a backup plan for bad weather. It keeps the party outdoors for the whole night. You can set up the dance floor exactly where you want it to go.
Industrial lofts or art galleries sometimes offer lower rates during off-peak days. These spaces provide a unique atmosphere that requires less decoration to look polished.
Choose Strategic Dates And Times
Saturday nights are the most expensive times to get married – they are in high demand. Moving the celebration to a Friday or Sunday can save thousands of dollars instantly.
Venues are often desperate to fill Friday slots and will waive certain minimums. You gain more leverage during negotiations when you pick a day with lower demand. Guests often appreciate a long weekend if you choose a Friday for the big event.
Brunch weddings are gaining popularity for their relaxed vibe and lower catering costs. Morning ceremonies allow you to serve breakfast foods and light drinks, which are much cheaper.
Omelet stations and pancake bars are massive hits with guests of all ages. You can save on the bar bill by serving light mimosas or a specialized coffee bar. The event wraps up early, which gives you more private time to relax as a couple.
Off-season months like January or February often feature deeply discounted rates from venues. Vendors are more likely to negotiate when their calendars are not full of other events.
Limit Decor And Floral Expenses
Flowers are beautiful. They represent a massive portion of many wedding budgets. Stick to greenery or seasonal blooms to keep the costs manageable.
Potted herbs or succulents serve as both table decor and favors for your guests. Buying in bulk from a local farm can cut your costs by half compared to a boutique shop. Local seasonal options stay fresh much longer during a long day of festivities.
Picking a venue that costs just 10% less saves more money than cutting most other individual vendors entirely. This allows you to spend more on the details that truly matter to you.
Focusing on a space that already looks great reduces the need for expensive drapes or wall coverings. You can allocate those saved funds toward a better menu or a late-night snack for guests. Smart couples look for built-in beauty to avoid the high cost of temporary decorations.
Formal sit-down dinners are the most expensive way to feed a large crowd. Buffets or food stations offer more variety and often cost less per person.
Family-style service creates a communal feel and reduces the need for a large waitstaff. You can offer several different dishes to cater to various dietary needs easily.
Consider these budget-friendly food ideas:
Taco bars with various toppings
Pasta stations with different sauces
Pizza ovens for a casual vibe
Slider platters and fries
Utilize Digital Invitations And RSVPs
Printing and mailing paper invitations for 200 people costs hundreds of dollars in postage alone. Digital invites are instant and allow for easy tracking of responses.
Most guests prefer the convenience of clicking a link to confirm their attendance. It eliminates the risk of RSVP cards getting lost in the mail.
A wedding website acts as a central hub for all the information guests need. You can update details about the venue or hotel blocks in real time.
Borrow Or Rent Instead Of Buying
Purchasing items like card boxes or cake stands for a single use is a waste of money. Ask friends who have married recently if you can borrow their leftover supplies.
Many rental companies offer packages for linens and glassware that are cheaper than buying low-quality versions. It saves you from having to store or sell items after the event.
Think about renting these items:
Table runners and napkins
Decorative signage and easels
Sound equipment for the ceremony
Outdoor lighting and heaters
Finding balance in wedding planning is the key to a happy start to marriage. You can celebrate with everyone you love without sacrificing your financial future.
Stay focused on the commitment you are making rather than just the party. A well-planned day provides lasting memories that far outweigh the cost of any single decoration.
In the past, cultural consumption often had clear physical settings. People visited cinemas to watch films, browsed bookstores for new novels, or spent time in record shops searching for music. These activities were not just purchases but part of a broader lifestyle connected to creativity and discovery. Over time, however, the internet has significantly changed how people access cultural content. Music, films, visual art, photography books, and independent creative projects are now widely distributed through digital platforms. As a result, cultural discovery increasingly happens online, where readers, listeners, and collectors encounter new works through articles, social media, and digital publications. At the same time, the way people purchase cultural products has also evolved. Many enthusiasts now buy vinyl records, art books, independent magazines, and creative merchandise through online retailers rather than physical stores. These items often represent more than simple products; they reflect personal interests and creative identity. Because of this, many cultural consumers today try to approach these purchases more thoughtfully, balancing their enthusiasm for art and creativity with practical considerations such as pricing and availability.
As online marketplaces expand, comparing options has become a natural step in the process of buying cultural goods. Collectors and enthusiasts frequently check different platforms before placing an order, especially when buying limited editions or niche items such as independent music releases, photography books, or design publications. Prices can vary depending on the retailer, shipping costs, or temporary promotions. For individuals who regularly purchase creative products, this small habit can make a noticeable difference over time. Instead of purchasing immediately, some people spend a few minutes reviewing where the item might be available at a better price. In certain cases, they may also look at discount platforms that gather promotional offers across different retailers. For example, PromoPro UK often lists deals from various online stores, allowing consumers to see if there are currently lower prices for the items they plan to buy. This may not necessarily change the purchase decision, but it can make the buying process feel more deliberate and financially balanced.
I personally noticed this shift while building a small vinyl record collection over the past few years. What began as an occasional purchase gradually turned into a regular hobby. Independent labels often release special pressings with unique cover artwork or limited quantities, which makes the experience of collecting both exciting and unpredictable. One time I was preparing to order a newly released record from an online store that specialized in independent music. The price seemed reasonable, and I was ready to complete the order immediately. Before checking out, however, I decided to quickly see whether the same record might be available elsewhere. After a short search, I found that another retailer was offering a temporary promotion that lowered the overall cost slightly. The difference was not dramatic, but it was enough to make the purchase feel more considered. That moment made me realize that collecting cultural items does not have to mean ignoring practical decisions. Since then, I have made it a habit to quickly compare options before buying records, books, or other creative products.
From my perspective, cultural consumption becomes more meaningful when it is sustained over time. Many people who enjoy music, literature, photography, or film eventually develop collections that reflect their personal taste. These collections grow gradually, piece by piece, and each item carries a small story about when and why it was chosen. Because of this, maintaining a thoughtful approach to purchasing can actually support the longevity of the hobby. The digital environment offers more access to cultural products than ever before, but it also encourages people to make quicker purchasing decisions. By slowing down slightly—comparing options, checking availability, and occasionally looking for promotions—enthusiasts can continue supporting artists and creators while also managing their budgets responsibly. Over time, these small habits help transform cultural consumption from a series of spontaneous purchases into a more sustainable and enjoyable long-term practice.
Keith Haring’s early subway drawings are the focus of a new exhibition opening at Moco Museum London this spring. Voice of the Street – Keith Haring’s Subway Drawings runs from 18 March for three months and presents around 30 chalk drawings created in New York between 1980 and 1985. The show places these works within a recreated 1980s subway setting, reflecting the environment where Haring first began making art directly in public spaces.
Before achieving international recognition, Haring used empty advertising panels in New York’s subway stations as a site for drawing with white chalk on black paper. The works were made quickly and without permission, often disappearing within hours as panels were replaced or cleaned. What remains is a record of a practice shaped by immediacy and public interaction. Figures including radiant babies, crawling figures and barking dogs appear across the drawings, forming the distinctive visual language that would come to define Haring’s work.
By presenting these pieces together, the exhibition looks at how the subway became an important setting for Haring’s early career and his belief that art should be accessible to everyone. The drawings capture a moment when the artist’s work moved beyond studios and galleries into everyday urban life, connecting with people as they passed through the city.
The exhibition will be on view 18 March-18 June at Moco Musuem, 1-4 Marble Arch, London, W2 2UH.
There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Wednesday, March 11, 2026.
Kacey Musgraves – ‘Dry Spell’
Kacey Musgraves has announced a new album, Middle of Nowhere, with the single ‘Dry Spell’. Made alongside her Same Trailer, Different Park collaborators Shane McAnally, Luke Laird, and Josh Osbourne, it’s a hooky tune about being “lonely with a capital H,” if you know what she means. Musgraves co-directed the accompanying video with Hannah Lux Davis.
Robyn – ‘Blow My Mind’
Robyn has offered another glimpse of her upcoming LP Sexistential with the pounding, fleshy ‘Blow My Mind’, which follows previous entries ‘Sexistential’, ‘Talk to Me’, and ‘Dopamine’.
Croz Boyce – ‘Hanging Out With a Blueberry Pop’
The Animal Collective extended universe keeps expanding. After a string of solo albums, Brian Weitz (Geologist) and Dave Portner (Avey Tare) have launched a new instrumental project, Croz Boyce, whose self-titled album arrives on May 8. It’s previewed today with the languorous opener ‘Hanging Out With a Blueberry Pop’, which comes with a Joseph Ricketts-directed video.
Iceage – ‘Star’
Iceage are back. The Danish band’s first new single in five years is the wiry, soaring ‘Star’, which is accompanied by a video from Thinh T. Petrus Nguyen.
Violet Grohl – ‘595’
Violet Grohl has announced her debut album. Produced by Justin Raisen, Be Sweet to Me will arrive on May 29. Lead single ‘595’, equal parts sultry and grungy, is accompanied by a Nikki Milan Houston-directed video. Alternative music from the late ‘80s and early ‘90s naturally was an influence. “There’s something so powerful about that period of music,” Grohl said in a statement. “From the messaging to the visuals, it’s authentic and raw.”
Olof Dreijer – ‘Echoed Dafino’
Olof Dreijer, once half of the Swedish duo the Knife, has announced his long-awaited debut album, Loud Bloom, with the wonky, Maman-assisted new single ‘Echoed Dafino’. “I was so moved the first time I heard the original version of ‘Dafnino,’” Dreijer said in a statement. “Maman’s voice is so beautiful. I wanted to make it work in my DJ sets, so I made my own version that I felt became more than just a remix so I thought it could be nice to include it on the album. The additional vocals he recorded made it feel very special too.”
The Lemon Twigs – ‘I Just Can’t Get Over Losing You’
The Lemon Twigs are prepping a new album, Look For Your Mind!, arriving May 8. If you’ve heard anything from this band, you already know lead single ‘I Just Can’t Get Over Losing You’ is nostalgically hooky – but also sneakily unconventional. “Every time we try to write something that’s completely straightforward, we can’t help adding an element which comes out of left field. We always want to write a song we’ve never heard before,” Brian D’Addario remarked.
Kevin Morby – ‘Die Young’
Kevin Morby has previewed his forthcoming album Little Wide Open with a contemplative new song, ‘Die Young’. “A lot of this album is me reflecting on my time spent on the road as an adult,” he reflected. “Being a touring musician as a career has made for a sometimes complicated lifestyle and in so many ways has proven to be pretty dangerous. I started doing this professionally when I was 19 and sometimes I can’t believe that 20 years later I’m still here. This song acts as a love letter not only to the road and all of my travel companions over the past two decades, but also to Katie, who I met playing shows when we were very young. Sometimes it’s amazing to zoom out and remember where we began compared to where we’re at today – both as romantic partners and songwriters.”
CFCF – ‘Let’s Kill Ourselves’
CFCF has announced a new LP, L.U.V., set for release on June 12. “The overall vibe of L.U.V. is meant to be sort of eurodance with a sophisticated edge,” Mike Silver said of the Memoryland follow-up. “It’s music for an adult lifestyle.” Sometimes, according to the lead single ‘Let’s Kill Ourselves’, that means getting together to kill ourselves. Vibes! The track comes paired with a music video directed by Aaron Garcia Peret.
Wendy Eisenberg – ‘Vanity Paradox’
Wendy Eisenberg has unveiled ‘Vanity Paradox’, the final single off their upcoming self-titled album. “These lyrics came out in one wild, puzzling chunk I’m still deciphering,” the artist reflected. “Mari [Rubio] told me it sounds like how anxiety feels, which shocked me — but is ultimately just true. From what I can tell, it’s about the ways we cope with existing among others, and how it feels to want to be perceived as a good person by your friends, because your curiosity about yourself has, paradoxically, obscured you to yourself. It’s also about healing from trauma — specifically how the healing process brings you so close to yourself that you can’t see anything clearly, and you are so dazzled by the life surrounding you that you are stunned when you remember that you are the same person who experienced the trauma that got you here.”
ELUCID & Sebb Bash – ‘The Lorax’ [feat. billy woods]
New York rapper ELUCID and Swiss-born producer Sebb Bash are releasing a joint LP, I Guess U Had To Be There, on Friday. ELUCID’s Armand Hammer bandmate billy woods features on the latest single ‘The Lorax’, which is haunting.
Mei Semones – ‘Tooth Fairy’ [feat. John Roseboro]
Mei Semones has tapped John Roseboro for ‘Tooth Fairy’, the entrancing second single from her upcoming EP, Kurage. “This song is about a day I was meeting John Roseboro at his friends’ bookstore,” the singer-songwriter recalled. “I got off the train in Greenpoint and we happened to have been on the same train, and we ran into each other on the platform. He smiled and told me his tooth had just fallen out, and held out his hand to show me. So I was inspired to write a song about that and our friendship. Thanks to John for being down to join me on the song and always being a good friend and inspiration to me 🙂 Musically, one of my favorite parts is the arpeggiated guitar chords, inspired by a Guinga tune I learned.”
Lip Critic – ‘Jackpot’
Lip Critic’s frantic, eruptive new single, ‘Jackpot’, is the latest preview of their forthcoming album Theft World. “‘Jackpot’ is a song about risking it all, and winning it all, betting the house, and ending up with two houses, then waking up with nothing at all,” the band said.
Real Lies – ‘A Land Beyond’
Real Lies have dropped a shimmering new track called ‘A Land Beyond’. It’s the latest in a series of tracks following the release of last year’s We Will Annihilate Our Enemies.
Hyd – ‘Angel’
Hyd has announced a new album, Hold Onto Me Infinity, dropping May 22 on Cascine. Recorded with producer Hudson Mohawke, ‘Angel’ is the former PC Music affiliate’s radiant ode to SOPHIE.
Koyo – ‘What I’m Worth’
Koyo have unleashed a new song, ‘What I’m Worth’. The ferocious track arrives with a video from director Eric Richter.
Gouge Away – ‘Figurine’
Gouge Away have signed to Run for Cover, marking the news with a fantastic song called ‘Figurine’. It was tracked by Larry Crane at the legendary Jackpot! Recording Studio in Portland, WA, and vocalist Christina Michelle had this to say about it: “’Figurine’ is the first song we finished with Theo Hartlett (Ovlov, Pet Fox), a friend of ours who has been touring with us on guitar. We wrote this song while on tour last fall and it came together so easily. I went into writing the lyrics with an entirely different idea in mind, but these spilled out of me on one of the drives. Before the tour, I was digitizing home videos, having to see myself as a kid from an outside perspective. I knew I was shy, a people-pleaser, and all these things, but it was different to watch it on film. I was always afraid of disappointing people so I made myself small and rarely acted outside of this little box I found myself in. Instead of getting into trouble like most kids, I didn’t really break out of my comfort zone until much more recently. I thought I had to work really hard to be loved. I stretch myself so thin to please everyone else that it winds up being the expectation. I found people who love me, even when I am a messy trainwreck, and that toppled my entire reality. And yet, there’s still this little kid inside of me who is afraid of upsetting her parents. We recorded this song live to tape in Portland at Jackpot! It was our first time working with Larry Crane and it was so much fun.”
Olof Dreijer, formerly half of the Swedish duo the Knife, has signed to Dirty Hit, marking the news with the announcement of his debut solo album. Loud Bloom will be released on May 8 via the label’s electronic imprint, dh2. The playful new single ‘Echoed Dafnino’ features Sudanese singer Maman. Check it out below, and scroll down for the album artwork and tracklist.
“I was so moved the first time I heard the original version of ‘Dafnino,’” Dreijer said in a statement. “Maman’s voice is so beautiful. I wanted to make it work in my DJ sets, so I made my own version that I felt became more than just a remix so I thought it could be nice to include it on the album. The additional vocals he recorded made it feel very special too.”
Loud Bloom contains the previously unveiled singles ‘Rosa Rugosa’, ‘Cassia’, ‘Coral’, ‘Acuyuye’, ‘Blood Lily’, ‘Iris’, and a new version of ‘Camelia’ from 2023’s Rosa Rugosa EP. Contributors on the record include South African artist Toya DeLazy and Colombian musician collaborator Diva Cruz. “I’m very grateful to be able to work with music and through music connect with these different collaborators from different parts of the world,” Dreijer commented.
Music runs in waterbaby‘s family: the Stockholm-born singer-songwriter’s mother sang in gospel choirs while she was growing up, her great-grandad was a jazz pianist, and her uncle was a concert promoter who brought acts from Latin America and Africa to Sweden. Her brother, who’s had his own musical project for years, appears on waterbaby’s debut album for Sub Pop, Memory Be a Blade, which follows the 2023 EP Foam. Working with her primary collaborator Marcus White – who also arranged the lush contributions from violinist Oliva Lundberg, cellists Filip Lundberg and Kristina Winiarski, saxophonist Sebastian Mattebo, trombonist Hannes Falk Junestav, and flutist Pelle Westlin – waterbaby retains a preciously intimate and intuitive approach, even going as far as to improvise a lot of the lyrics on the record. “Steady waters asking me to leave again” are the first words that come out of her mouth as she embraces this flow, illustrating that steadiness is an illusion, a trick of lonely shadows and lights. Still, we’re left with no choice but to paddle on.
We caught up with waterbaby for the latest edition of our Artist Spotlight series to talk about early music discoveries, freestyling, making Memory Be a Blade, and more.
I read that one gateway to indie music for you was Pro Evolution Soccer, which your brother was playing growing up. I relate to that – that’s where I first heard, like, Vampire Weekend and the xx – so I wanted to start from there, and I’m curious how your journeys of musical discovery intersected more broadly.
That’s Theo, who’s the feature on ‘Beck n Call’ and ‘Clay’. He would just be playing all the time, and we would always have the same favorite songs. I don’t know if it’s PES or FIFA, but you could highlight your favorites so that they would come more often. I remember there was Passion Pit, Metric. I would not have known to go look for that music at that point, it was truly just because it was playing all day in our household. It just went on for so many years, and he’s still my music plug. When it comes to finding new or more underground artists, he’s way more tapped in than I am, so it’s really nice having that. The other stuff that was playing at home was neo-soul and hip-hop, but also Ghanaian folk music, and a lot of garage in Dad’s car – always garage.
Do you feel like that incentivized you to form your own musical identity early on, one that was maybe distinct from those influences?
I didn’t think of it in that way, and when it comes to music, I very rarely think about things in terms of good and bad. If I like it, I like it. If I don’t, I don’t. The quality can vary so much when it comes to what I like. To me, it was just a golden pot of, like, “Oh my god, there’s more music.” And that means that there’s more where this came from as well, so it was just widening my range when it came to listening. I also didn’t have any plans on writing music when I was younger. I always knew I wanted to be an artist and a singer, and I was into theater, so thinking about creating my own music in that way was not something that I ever took into the equation. I think it’s just been something that’s stuck with me, and subconsciously, of course, informed my sound.
Did your relationship to music listening change when you started making music as you were entering adulthood?
It’s hard to tell, because I went to a songwriting school a couple years ago, and people were like, “Oh, watch out so you don’t get pop death,” because that’s what it was a lot of. They would have classes, and they would talk about really famous songwriters, and I would be like, “Who’s that?” And my classmate was like, “Shut up, never say that again.” And they were talking about Shellback and Max Martin. I just didn’t know and think of things in that way, and in some ways, I’m still like that, because I don’t really analyze music or songwriting that much. Of course, I listen to stuff in a different way now. But if I was a producer, I can just see it being even harder to be able to enjoy and appreciate music when you listen to it, instead of hearing all the things that you would do differently, just hearing the technicalities of it. I listen to music very much just for pure enjoyment, not for anything else, and I want to keep it that way for as long as possible.
Do you think it prevents you from overthinking your own music, or do you still do that sometimes?
I probably still do that, but then imagine if I was to try to listen to it with outside ears. [laughs] I don’t want to find out.
I know you went to choir school, where you learned a lot about singing and harmonizing. But I’m curious if you have strong memories of the first times you sang into a mic, whether in a room by yourself or to an audience.
Yeah, I remember, because I was just reminded of it. I sang ‘I Just Called to Say I Love’ to my grandma on her 50th birthday 20 years ago, so I must have been 8. It was at this Chinese restaurant, and they had a karaoke thing, and the microphone was one of those microphones. I don’t think it was even plugged in, it was just an echo built into the microphone, but it also worked really so it filled the room. I was just so scared and nervous, because it was a big party, with all the adults and the grown-ups. But I also really wanted to do it, and I really wanted to sing to her, because I had never done that before. When you’re in a choir, obviously, it’s not as jarring, because there’s so many of you on stage, and the goal is to melt into each other. But that’s my first memory of doing it by myself.
Are you a fan of karaoke now?
No, I hate it. One of those things that keeps me up at night is when I was celebrating my best friend’s friend’s birthday, and it was at a karaoke bar, and I did three songs. Like, why? I just see it happen, I replay it. I don’t like it. But I like it when other people do it.
On your debut album, a lot of the songs begin with you clearing your throat or muttering into the mic, in a way that feels very authentic and natural. What other tactics or rituals have you developed to make yourself comfortable in a studio?
That is definitely one of those things – making sure that I have a voice. It’s like a tick, I do it every single time. If I don’t, it feels like I’m floating out around in outer space, and I have no idea what’s gonna happen when I do try, so I just need to make sure. I think it’s just those little things that I do – at least that I know of, because I did not know that I did them until I’m sitting there and listening, playing back the takes. It also obviously becomes extremely clear when Marcus leaves them in. It’s funny, but I’m sure I have other stuff I do that I don’t even know about.
How intentional were you about leaving them in? Did you feel strongly about it?
Marcus, the executive producer, left some in, and he did that with Foam as well. I think at first, I was like, “Oh, you missed one.” He was like, “No, I didn’t. It’s fine, just leave it.” What I did know, and that was intentional, was that I wanted it to feel intimate, and the vocals to feel like I’m singing them and you’re in the same room as me. But sometimes it also adds something rhythmically, the way Marcus has used them in this one, and it makes sense sonically. I really do do that all the time, so might as well let some of it through.
Another thing he kind of encouraged you to do was to improvise, especially when it came to lyrics. How much of what came out of that surprised you?
I’m always a little scared to be like, “Yeah, I freestyled this,” because I’m like, what if I didn’t? Because very rarely do I write alone, but I do have some specifics I remember. Like ‘Clay’, the first verse was freestyled in one go very early on and just stayed with us. “Pain in the morning, comfortable bed/ I’m like clay how you mold me/ I twist and I bend.” That’s the cool thing about freestyling, you don’t have time to evaluate or put it through any kind of process. When I was listening back, I was like, “Period. I said that, and I meant it, too, so let’s use that.” That was one of the first times as well. I’m so bad with time, but I think it’s the oldest song out of all the songs on the album. That’s the one we’ve carried with us the longest.
Was there a song where all the lyrics were entirely set in stone?
No, I don’t think so. What was new for making a lot of these songs was the freestyling of the lyrical part. I always do freestyle, or we do melodies, and then you pick up on stuff that sounds good or sings well. It might be three words, and then the rest is gibberish, or it might be just the vowels, and then we try to work with that.
You mentioned ‘Clay’ being the oldest song. At what point during the process did you feel like you were working toward a full-length record rather than an EP?
If you would have asked me two years ago, I would not have thought that the next thing would be my debut album. So I fought the idea of that a little bit, when we realized that we had more music than we thought, and so many songs that we felt like belonged in the same body of work. I struggled with accepting that, but when listening to it as a whole, I was like, “Maybe this is my debut album, because it kind of sounds like my debut album.” And now, it’s as clear as day, that that’s what it’s supposed to be. Walking into the studio, when writing ‘Clay’, an album was not on the table.
You recorded it in Stockholm, the south of Sweden, and even Los Angeles. I don’t know how long you spent in LA, but I wonder if there was something different about being there.
We didn’t do a lot there. It was mostly here in Stockholm. But first, we were in an amazing house, and then we moved to an awful, awful Airbnb. I just hated it, it was so low vibrational and disgusting. Marcus was playing piano, and he shouted for me to come do something. I walked there, and that’s when we started ‘Srs Ice’. We finished it back at home, but the feeling I was in carried on, because I just wanted to go. I didn’t want to do anything, because I hated coming back home, and everything was just subpar. I was just rambling things. I don’t know if you can hear an LA vibe in the music, I don’t think, but being away and traveling definitely leaves some marks here and there.
Going back to ‘Clay’, I think it’s one of the songs where the additional instrumentation, the cello and the flute, do a lot of the emotional heavy lifting. What effect did that have on you, either when you were hearing them being recorded or later on in the process?
I had lived with it as this pitched-up guitar, and even banjo for a while, so I had done my bits when the flute and the cello came on. When I got to hear it, I was just floating, and I was like, “That flute is just singing. It’s so soulful.” Marcus arranged all that, and he just did such a good job, because it’s so illustrative. Specifically in that song, and same with ‘Amiss’, it just adds so much and widens the world even more to me.
‘Amiss’ is another song I wanted to bring up. You’ve described yourself as “extremely nostalgic,” and that song is interesting because it’s less about being stuck in the past than missing a version of it that never really existed, or a place you’ve never visited, which is a very specific brand of nostalgia. When you think of the “simpler life” that you sing about in the song, does it live in the past tense, or is it about the future that you dream of?
I think it’s more that “ignorance is bliss” kind of thing. The simpler time, it never truly was, but I didn’t know any better at that point. But I’m also not yet ready to let go of it, so then the hope is still there. It’s the futuristic part, but it doesn’t have to be real in any sense at all. It doesn’t have to be anchored in reality, but purely in hoping and wishing.
I don’t know if that part was freestyled or not, but one phrase that struck me in the opening of the album is “steady waters.” Do you have a memory of coming up with that?
When we started writing it, I think it was the first line. Did not, however, know that it was going to be the opener of the whole project. I didn’t have that in mind. I try not to chase too clear of an idea and keep it open as much as I can, but I do think that was one of the first lines that came out on the mic.
Why do you think that is?
I don’t know. Again, knowing that you’ve been there before, but still – thinking for one second that steady waters is actually steady waters, even though I’ve been there several times. Like, I should know by now that it doesn’t mean anything and that it’s just for now. It does say something, I just don’t know what yet, I think, to me, personally. That one means a lot to me, because it’s also one of the more abstract songs. I remember when we wrote it, I was like, “I’m writing about this,” and halfway through the song, they were like, “What?” [laughs] Because they were hearing something else. Which I like — I like having it open.
‘Clay’ and ‘Beck n Call’ feature your brother, ttoh, and one song that doesn’t but mentions him is the closer that you mentioned, ‘Srs Ice’. Assuming he’s heard it, what was his reaction?
Yeah, I played it while we were waiting on this train. He just said, “Aww,” and hugged me and said that he loved me. That was it. And that was before he had added his verses, I think. He was not part of the album in any other way at that point.
Did you have an idea of him being involved?
I don’t think so, because ‘Srs Ice’ was also one of the earlier songs that we had written, so not at that point. We were working on both ‘Clay’ and ‘Beck n Call’, but something was missing, especially for ‘Beck n Call’, and we had been working on it for a really long time, tried so many different things. Marcus was like, “What about your brother?” I was like, “Oh, of course.” Then he came in and just lifted it, and I was like, “Why not check out ‘Clay’ as well?” And we did that, and he ate again. It’s also the first time we’ve worked together in that way. He’s had a music project for longer than I have, but I’ve only ever added some harmonies to his music. That was the first time we were sitting in the studio together so watching him work and write was really fun and sweet.
Given how much of the record is improvised and orchestrated, how has it been preparing the live show?
First of all, I’m so excited to get to play live and sing these songs live, but also know that I’m not at a place where I will be able to replicate the instrumentation that’s on the actual album. Economically, it doesn’t make sense for me yet. But I want to do the music justice and find a nice way to still channel the feel as well as I think we’ve been able to do on the record, fill the rooms with that, even if it’s not the same setup or anything. It’s a fun challenge to figure out how to do it the best way with what I’ve got.
This interview has been edited and condensed for clarity and length.
Iceage are back with their first new music since 2021’s Seek Shelter. The Danish band’s wiry, soaring new single ‘Star’ arrives alongside a video from Thinh T. Petrus Nguyen. Check it out below.
Last year, Iceage vocalist Elias Rønnenfelt released the solo record Speak Daggers, following 2024’s Heavy Glory. He also contributed to Dean Blunt’s Lucre EP.
