Laughing at Noise (Vinyl) PRE-ORDER

Vinyl PRE-ORDER

*orders expected to ship the week of November 20th, 2026

Bodywash’s third album is concerned with the twinned truths of stasis and change, as the duo take stock of the ambivalent feelings that have gathered behind them over a decade of making music. Bodywash, who started playing together in a dorm room practice space at university, are now in their early thirties. In that time, the city that nurtured their creative expression has become a markedly harsher place. Rents rise as brownfields are refashioned into real estate; DIY spaces wither in structural shadow; summer is hazier and heavier. 

Track Listing

1. Turn In 

2. Widow's Peak 

3. Lapsang  

4. Come and Go

5. Like a Bell

6. Pinup

7. La Renommée

8. A Sticker That’s Peeling

9. Bliss

10. Overpass

Track By Track - Behind The Songs

Turn In

This might be the only actual shoegaze track on the album: a transitional moment between our last record and this one. It’s a love song that deals with accepting yourself through someone else. We kept the instrumentation pretty limited, with some lovely strings from Markus to cut through the many, many guitar and vocal layers. - Chris

 Widow’s Peak

 Maybe the most straight up “rock” song we’ve ever done. I wrote it initially on guitar and Chris added some perfectly chaotic noise and distinct dynamics to it when we arranged it. I really like the balance between the kind of delicate, winding melody in the chorus followed by the walloping guitars. I wanted to do more storytelling on this album, and this one in particular has a bunch of vignettes about my friends and family and the decisions we’re making as we get older—where to live, who to love, what kind of values to commit ourselves to. The core of the song is really the naive and inevitable realization that time is actually finite and somewhat ruthless. In the words of the great prophets Smash Mouth, the years start coming and they don’t stop coming. - Rosie

Lapsang

 Lapsang is an ode to Montreal's Little Italy neighborhood and the years I spent there, waiting for the 55 bus. It's named after my favourite, impossibly smokey blend of tea, which has the most sing-song of names: Lapsang Souchong. The riff and verse were written during an ice storm, where the resulting power outage forced me to write most of the song without a computer. The frozen tree tendrils looked a lot like the leaves of the tea I was brewing, prompting a working title that would never be changed. Later, Rosie and I would record separate melodies for the chorus in the studio, only to realise they could be woven together seamlessly. - Chris

 Come and Go

I wrote ‘Come and Go’ mostly in one go at home, improvising on vocal and bass, and then I brought it to Chris, playing it for him on guitar in the studio. Normally I write on keys and make a demo, and he helps flesh it out, or vice versa. But after our last album we wanted to try writing more in the room together. As we played through the song together, and Chris wrote the riff, it came together really quickly in a shared burst of energy that’s only really possible in-person. 

The song itself is influenced by the built environment of Montreal—the 40 autoroute, the new buildings popping up around the University de Montreal campus, this crazy animal-themed light show in Laval. It describes scenes I’ve shared with my girlfriend and my bandmates here, and the sort of temporary or transitory feeling that comes with living as an artist in Montreal, or anywhere really—the sense that there could always be an end date on the horizon. - Rosie

Like a Bell

Like a Bell is an elegy for a friend who died in 2023. It’s hard to know how much to say about her, it feels strange to turn your friend into marketing materials. She was the coolest person I knew and I’m still pissed off that she’s not here. - Rosie

Pinup

Pinup came together when I tuned my acoustic to a truly bizarre tuning based on a Pavement song (CGDGBE from Zurich is Stained). The heavy, circular chord sequence became the blueprint for a meditation on the old adage ‘never meet your heroes’. Not because they’ll disappoint you necessarily. It speaks more to how you perceive phases of teenage idolization and infatuation as time goes on. - Chris

La Renommée

I’d been reading Kim Gordon’s autobiography and listening to a lot of EVOL-era Sonic Youth at the time and wanted to write a song that had the same hushed sense of urgency. Had no idea the bossa nova-inspired first verse drums would pan out as well as they did. - Chris

The lyrics are half about a fictional bartender, half about a real Montreal statue called La Renommée, a winged woman in Jeanne Mance Parc (who I was thinking about thanks to Kasia Van Schaik’s book Women Among Monuments.) The idea is that those two figures are maybe the same—standing guard over the city from their fixed perch. - Rosie 

A Sticker That’s Peeling

Menacing basement rehearsal space groove. - Chris

 Bliss

 Bliss was originally a much poppier solo demo I made a long time ago about a bad love triangle I was getting out of. It was fun to rediscover that demo years later and rework the story with some perspective on it. That triangle happened during a time when it was hard for me to separate desire and desirability from the music industry, and the people (mainly men) who assigned value to what I could make or be. The title comes from a short story by Katherine Mansfield about a woman who has a very incorrect perception of the dynamics around her. - Rosie

Overpass

 My favourite place in Montreal is the Rosemont overpass, where you can look north toward the sunset or south toward a giant cross on the mountain. This song came from a simple repetition of chords on the piano and those first lines about a kind of disillusionment with how I’ve been living, or used to live. The city has changed a lot in the last ten years, since Chris and I started playing music together—rents are a lot higher, a lot of venues have shut down, the province has arguably become less welcoming. That’s a thread that weaves through the album even when our lyrics are more personal than political; everything I feel about my life here is through the lens of those shifts.

 We thought about keeping this track sparse but I realized I wanted to fill it out with a kind of relaxed, loose beat and guitar riff. It’s not meant to be a mournful ballad or a total bummer—just a series of memories and moments that I feel both distant from and close to, unfolding in time. - Rosie

 Release Date: November 20, 2026