Under the Radar Podcast

Being hailed as the poster child for a Covid generation might sit uncomfortably with some indie bands but Caleb Harper, frontman of Spacey Jane—a four-piece from Perth, Australia—takes it in his stride. Their 2020 debut Sunlight is defined by intimate lyrics often rooted in Caleb's strict, religious upbriging, that had made his transition to adulthood particularly fraught. Being part of Spacey Jane with Kieran Lama, Ashton Hardman-Le Cornu and Peppa Lane has continued to help him process feelings of anxiety and alienation. Bouyed by the sunny melodies, these songs have in turn, resonated with young millenials who came of age during the pandemic. For their 2022 follow-up Here Comes Everybody Wilco frontman Jeff Tweedy gave his blessings for them to use the working title of Wilco's 2001 masterpiece Yankee Hotel Foxtrot. Many thanks for making this possible: — Thank you Caleb for a heartfelt conversation and looking forward to maybe a 'not so sad' song.' Thank you to Kobalt US and Dew Process Publishing for use of all songs. And to Zoe Hines and Grace Jones at Grandstand Media for support.Songs Featured: "Sitting Up," "Thrills," "Good Grief," 'Love Me Like I Haven't Changed," "Booster Seat," "Lunchtime," "Hardlight," "It's Been A Long Day," and "Pulling Through."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

"Typically, music heals," says Tim Burgess, the hyperactive multi-talent whose career encompasses three decades as The Charlatans frontman, sixth diverse solo albums, three memoirs, his own O Genesis record label, and more than 1000 installments of the now-beloved Tim's Twitter Listening Party. During the darker, more uncertain days of lockdown, these twitter parties facilitated joyful connections between fans and some of our favorite bands—from Blur's Dave Rowntree to Oasis' Paul 'Bonehead' Arthurs, Paul McCartney and Susanah Hoffs from The Bangles. As the parties progressed, it took in more diverse albums including Run The Jewels, Iron Maiden and more recently Shania Twain. The wide breadth of music it covered during the pandemic would in time unstuck Tim's own creative impasse and the positivity would spill over to his electic, sixth album Typical Music.Many thanks for making this possible: — Thank you Tim for sharing 'more than we needed,' even as your van waited for you outside. (Insert Heart emoji) Thank you to Mute for use of all songs. To Sony Music for Master Rights for "The Only One I Know." And to Bella Union and O Genesis for all other songs. Finally to Ken Weinstein from Big Hassle for all the added support.Songs Featured: "Here Comes The Weekend,"The Only One I Know," "Years Ago," 'Just One Kiss (One Last Kiss)," "Nik V," "The Mall," "Time That We Call Time," and "The Centre of Me(Is a Symphony of You)."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

Phoenix frontman Thomas Mars subscribes to Ed Ruscha's philosophy on art—that it should prompt bewilderment or even disgust before appreciation. And not the reverse. This can be applied to the French band's music. Consider their latest album Alpha Zulu, the title seems odd but dig a little and it reveals a salient truth for Thomas. Together with his friends and bandmates Deck D'Arcy, Christian Mazzalai and Laurent Brancowitz the foursome started the songwriting for this, their seventh album, after the death of their dearest friend, producer Philippe Zdar—who was crucial in helming their breakthrough 2009 album Wolfgang Amadeus Phoenix. Less than a year later, they would find themselves in the midst of a pandemic and then the California fires. Listen to find out how writing Alpha Zulu became a way for them to manifest the light at the end of the tunnel.Many thanks for making this possible — Thomas, for telling us that he's been cutting his own hair since he was 11! Thank you to Glassnote Records and Loyauté for permission to use songs. Also to Jen Appel and Juliette Kost at The Oriel Co for constant support.Songs Featured: "Alpha Zulu," "Too Young," "Lisztomania," "1901," "J-Boy," "Telefono," "All Eyes On Me," "Tonight," "Artefact," "Identical," "Winter Solstice," and "The Only One."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

One of the biggest British post-punk revival bands Bloc Party returned this year with Alpha Games, their sixth album. Frontman, Kele Okereke discusses how new band members, drummer Louise Bartle and bassist Justin Harris (replacing Matt Tong and Gordon Moakes who left in 2013 and 2015 respectively) finally had the opportunity to contribute meaningfully to a Bloc Party album. Much to the delight of fans, the album's sonics harks back to their critically-acclaimed debut, Silent Alarm. Usually, one to eschew nostalgia and weary of looking to the past for inspiration, Kele and longtime guitarist, Russell Lissack, gave in to a tour, belatedly celebrating the 10th anniversary of their debut. Find out why? And how this affected the writing of the new album.Many thanks for making this possible — Kele, for an illuminating chat. And apologies for keeping your husband up late. To Colin Roberts at Big Life Management. Thank you to BMG US for permission to use Master Recordings and Sony Music for Publishing. Also to Jen Appel and Juliette Kost at The Oriel Co for constant support.Songs Featured: "Rough Justice," "Helicopter," "Day Four," "The Love Within," "If We Get Caught," "Traps," "Callum Is A Snake," "The Peace Offering" and "Of Things Yet To Come."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

As a child, New Zealand singer-songwriter Marlon Williams believed that if he could nail the songs at iwi or tribe gatherings then surely everything in the world would be ok. Nevermind that elders were discussing big issues such as Maori land rights, water rights and education, Marlon had an inate believe in the virtues of song and his vocal prowess as a singer. Indeed his voice is something to behold — a melismatic, velvety croon that can register as Roy Orbison or Elvis. And before the release of his latest album My Boy, it could be said that it's a voice more comfortable in a different era or genre or part of the world, but after this third record — it's clearly a voice that transcends all of it. Marlon can raid the chest of drawers on any musical era and come up with a piece of art that is contemporary because it speaks to current afflictions in a knowing way, uniquely framed by his indegenuity and wry, humor.Many thanks for making this possible — Marlon for a great psych session, both times! To Dead Oceans for use of all Master Recordings. Native Tongue for Publishing rights. And Jessica Linker at Pitch Perfect PR for all the added support. Thank you to Lily Sloane for additional music and Martin Austwick for additional sound engineering.Songs Featured: "River Rival," "Hello Miss Lonesome," "Dark Child," "Strange Things," "Make Way For Love," "Nobody Gets What They Want Anymore," "My Boy," "My Heart Is A Wormhole," "Princes Walk," "Thinking Of Nina," "Don't Go Back" and "Easy Does It."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Hosted on Acast. See acast.com/privacy for more information.

Seratones frontwoman A.J. Haynes and her Shreveport, Louisiana-based band (bassist, Travis Stewart and drummer, Jesse Gabriel) released their disco-inspired, third album Love & Algorhythms, earlier this year. At the time of writing the album, A.J. was also working full-time as an Abortion Advocate in the last standing Abortion clinic in Louisiana, an experience that brought her close to burnout and informed much of the record's theme of liberation, Afro-Futurism and radical joy as a form of protest. She draws from the works of Black Feminist authors in her lyrics –– from civil rights activist, Toni Cade Bambara ("The Salt Eaters") to Science Fiction writer Octavia Butler ("Xenogenesis") and queer activist, Audre Lorde ("A Burst of Light" and "Sister Outsider"). While no longer working at an abortion clinic, she is still the President of the Board at the New Orleans Abortion Fund, and continues the fight for Reproductive Rights.Many thanks for making this possible — A.J. what an absolute force you are! I have learnt so much. Thank you to Fat Possum for use of songs from the album Get Gone. And to New West Records for songs from Power and Love & Algorhythms. And for support from Shazila Mohammed, Jaclyn Ulman and Devin Velez at Grandstand Media.Songs Featured: "Good Day," "Choking On Your Spit," "Don't Need It," "Power," "Fear," "Pleasure," "Get Free," "Two Of A Kind" and "Power of Your Light."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Warpaint are back after six years with Radiate Like This, their excellent fourth album after 2016's Heads Up. According to drummer Stella Mozgawa, completing the album while isolated from bandmates Emily Kokal, Theresa Wayman and Jenny Lee Lindberg was challenging. Theirs is a band that have always thrived on the intimacy of being in the same room during the songwriting process, and after finally coming together in between babies, solo albums and cross-country moves, the pandemic forced them to work individually in their separate home studios, isolated from one another. Stella had the added disadvantage of being away from her own home studio, grappling with different time zones. In spite, or perhaps because of all those challenges these four women— who Stella describes as being almost 'married to each other in a four-way polyamorous relationship' — have put out one of their best albums to date.Many thanks for making this possible — Stella for a heartfelt chat. To Virgin Music and Rough Trade for use of all songs. And Ethan Jacobs at Sacks & Co. for support at every turn.Songs Featured: "Hips," "Undertow," "Disco/Very," "New Song," "Send Nudes," "Champion," and "Melting."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here. See acast.com/privacy for privacy and opt-out information.

In our final episode for Season 2, we listen to some raw tape that didn't make the Julien Baker episode. And we're joined by not one but two fans. Allison, a teenage fan, from Louisiana, shares how Julien's music helped her through her own bouts of depresson during the pandemic. And Azin Samari, a documentary editor on "The September Issue"—the award-winning film about Vogue magazine, Amazon docu-series "Lorena" and more recently, Hulu's "Sasquatch." Azin is currently working on a documentary about the refugee crisis. She discusses her experience with religion, editing for documentary, and its similairities to editing for audio.Thanks to Matador Records for use of the song "Appointments." And Katie Nelson from Grandstand Media for support with music clearance. A big, big thank you to the many Julien Baker fans that reached out. We could only pick one but feel free to record a voice message and I promise to play it on a future mini-episode. And of course to our guest Allison, thank you for sharing the music in your head with all of us in the world — it's a truly special thing. Links to the other episodes discussed — Black Belt Eagle Scout, Ezra Furman, Travis and Lucy Dacus. Julien Baker will tour with Angel Olsen and Sharon Van Etten, for the Wild Hearts Tour, from 21 July to 21 Aug 2022. Remember Season 3 will drop July 7. Write us an Apple Podcast review, or again send me a voice message. If you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We listen to some raw tape of Jamie Stewart—from experimental, art-pop band Xiu Xiu—that didn't make it to the main episode. And we're joined by a Xiu Xiu fan, Bay Area-electronic musician Alex Olive who shares how elements that we might ordinarily find off-putting in Xiu Xiu's more discordant, noize-led and sometimes frightening work is vital to her art and life. We also discuss gender dysphoria, trans rights and In true Xiu Xiu form, Sanrio characters. Follow Alex Olive @olivecraving on Instagram and be sure to check out her Bandcamp here.Much thanks to Rob Wilcox at Polyvinly Records and Sydney Christensen at Kill Rock Stars for use of songs. Also to Catherine Herrick from Motor Mouth Media for additional support. Last but not least to Jamie for graciously helping us reach out to his loyal fanbase. And a big, big thank you to the many fans that did reach out. We could only pick one but feel free to record a voice message and I promise to play it on a future mini-episode.To listen to the Ezra Furman episode from Season 1, please head here. And here's my interview with Ezra on motherhood.Write us an Apple Podcast review, or again send me a voice message. If you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We listen to some raw tape of Courtney Barnett before she pressed record for our interview. We are also joined by a true fan of her music—Paul Kondo, of The Podcast Gumbo Newsletter. Not too long ago we were "hotsauce" in that newsletter. Paul recommends three podcasts in each gumbo newsletter, with an added extra podcast mention, thrown in as hot sauce. Paul shares with us the first albums he coveted—The Last Waltz, Martin Scorsese's 1978 documentary of The Band's final performance in San Francisco featuring friends such as Neil Young, Bob Dylan and Joni Mitchell —still ranks high for him decades later; his favorite Courtney Barnett song; and how pleased he is that Under the Radar is that rare music podcast, that actually plays music.Please head to Bandcamp to purchase music from Jen Cloher's self titled album. And for tickets and more information about Courtney Barnett's own, curated festival, touring this August, head to Here And There Festival. Thank you to Milk! Records, Mom & Pop and Grandstand Media for clearance of songs used in this episode. And for the Caroline Rose episode, head here.Write us an Apple Podcast review, send me a voice message or if you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

Memphis-bred singer/songwriter Julien Baker's third album Little Oblivions revisits familiar themes in her confessional writing style — faith, addiction, mental health and her sense of isolation. However, in the process of writing the album, Julien had to undergo more transformation than ever before. She now has a radically different understanding of God, of her own struggle with addiction, and how she squares that with her own queer identity. She's also attempting to be kinder to herself. The catalyst for much of this change was losing her sobriety in 2018. It prompted her to cancel shows and step away from her music career — the thing that she loved the most — and possibly giving it up altogether, as she went back to University to finish her degree.Many thanks for making this possible — Thank you Julien for your love of God and returning to music-making. To 6131 Records for use of "Sprainked Ankle." To Matador for use of all other songs from albums Turn The Light Out and Little Oblivions. And to Kobalt Music Publishing for all songs. Special thanks to Abby Rubin from Beggars Group, and Katie Nelson at Grandstand Media for additional support.Songs Featured: "Hardline," "Sprained Ankle," "Claws At Your Back," "Faith Healer," "Ziptie," "Ringside," and "Relative Fiction."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

Experimental art-pop and noize band Xiu Xiu's single "Rumpus Room" found me on a particular low day in early 2021. I remember puttng it on, cranking the volume up and jumping around like a sugar-ed up toddler in a boucy castle. There's hints that the song is about more serious things but in that moment I needed joy and bouce—and that's what I found. Jamie Stewart began Xiu Xiu 20 years ago. The band has seen many configurations and different members. For the last decade, Xiu Xiu's been a duo of Stewart with Angela Seo. Xiu Xiu's music is often confronting either thematically or in the noize elements that Jamie employs. Diving into it, is its own reward. Their latest is OH NO, an album of duets. It features Sharon Van Etten, Angus Andrew from Australian band, Liars, Twin Shadow, Owen Pallett and LA's First Wave punk pioneer, Alice Bag.Many thanks for making this possible — Thank you Jamie for all the noize, madness, mayhem and beauty. And that infectious laugh. To Kill Rock Stars for use of "I Luv The Valley OH" and "Apple For A Brain." And to Polyvinyl for use of all other songs. To Catherine Herrick from Motor Mouth Media for media support.Songs Featured: "Rumpus Room," "I Luv the Valley OH," "I Luv Abortion," "Apple For A Brain," "Honey Suckle," "Sad Mezcalita," "Saint Dymphna," "I Dream Of Someone Else Entirely," "Antz," and "Bottle of Rum."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

English rock duo, Mike Kerr and Ben Thatcher are Royal Blood. When they burst on the scene with their eponymous, debut album in 2014—boasting an old school rock sound reminiscent of Led Zeppelin and Black Sabbath, they were immediately hailed the saviors of guitar rock. Their sophomore album, How Did We Get So Dark followed the same playbook. There's an evolution in their sound on Typhoons, their latest studio album. It harks back to their eclectic roots. Both honed in their skills playing in various bands from soul and pop to funk and indie rock, as well as at church services and with wedding bands. It now also begs the question—where will Royal Blood go next?Many thanks for making this possible — Thank you Ben for picking up those chopsticks way back when you were knee high to a grasshopper. To Warner Records for use of Master Recordings and Warner Chapell Music for use of all songs. To Rick Gershon at Warner Records for the endless support. And to Ness Smith-Savedoff for additional editing help.Songs Featured: "Typhoons," "Figure It Out," "Out of The Black," "I Only Lie When I Love You," "Trouble's Coming," "Boilermaker," "Limbo," and "All We Have Is Now."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

Australian indie rocker Courtney Barnett's latest album Things Take Time, Take Time is an attempt to be kinder to herself. To not worry about the big picture of how to stay successful or even sane after achieving then sustaining global stardom against the backdrop of a world that seemed to be burning at each turn. Instead, she shfts her mind and focus on the small comforts — regular Zoom calls with friends during the Pandemic, taking in the laid-back beauty of a Joshua Tree sunset, the blush of a new love and the acceptance of the cycles of change in life. By Courtney's own admission she finds it hard to say the right thing in any given moment, and perhaps that's why songwriting is such a precious outlet for her. Anonymous Club, a new documentary by her longtime collaborator and friend, Danny Cohen (scheduled for released in 2022) will reveal the scope of her turmoil during the darkest days of her last tour. But for now she is employing her best defense 'being annoyingly optimistic."Many thanks for making this possible — Thank you Courtney for giving us a piece of your heart, even when it hasn't been easy. To Mom & Pop Records for use of all songs. And to Katie Nelson and Grace Jones at Grandstand Media for all the support.Songs Featured: "Rae St," "Avant Gardener," "Pedestrian At Best," "City Looks Pretty," "Nameless Faceless," "Splendour," "Oh The Night," and "If I Don't Hear From You Tonight."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We listen to some tape that didn't make the main SPELLLING episode. And are joined by podcaster Alexandra Cohl of The Pod Broads who discusses the different pieces that she thinks an artist like SPELLLING brings to her music. From the lasting effects of transgenerational trauma that manifests itself on SPELLLING's track "Haunted Water," to her bi-racial identity that quietly informs all her work. Alexandra—whose partner is multi-hyphenate rapper, producer and Empire State Music & Arts festival founder, Kerry Blu—also sheds some light on the ways artists of color have felt about the previous administration's mishandling of the pandemic. And as a creative couple—and a singer herself—she reveals how they had to set boundaries for themselves during the difficult New York Shelter in Place. Follow Alexandra on Instagram @pod.dralandand on Twitter @poddraland Be sure to listen to her podcast The Pod Broads. And for Kerry Blu's fresh new EP, The Game Is The Game, please head to Spotify.Write us an Apple Podcast review or if you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

Bay Area-based experimental artist Chrystia Cabral started making Gothic-inspired music as SPELLLING, in 2017. The dabbling and experimenting of her first two albums were instructive but have now given way to something more intentional. The bewitching vocals and haunting soundscapes of Pantheon of Me and Mazy Fly are still present but her art has evolved and expanded sonically and thematically on her lush, third record The Turning Wheel. She pulls from Science Fiction authors, fairy tales, Disney and Afro Futurism—building worlds intended for fans of her music to inhabit and seek refuge.Many thanks for making this possible — Tia for taking us through the looking glass and into space. Thank you Sacred Bones Records for use of music. And to Sam McAllister at Pitch Perfect PR.Songs Featured: "Always," "Walk Up To Your House," 'Real Fun" "Little Deer," "Queen of Wands," "The Future," "Emperor with an Egg," "Boys at Schoo," "Revolution" and "The Turning Wheel."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We hear a bit of tape from Sleaford Mods singer Jason Williamson that did't make it to the main episode. Our guest is musician, producer and award-winning podcaster Martin Zaltz Austwick. He shares some of his thoughts on the class warfare endemic to the music of Sleaford Mods and why he sets a higher bar for pop music. As the co-host of Song by Song podcast—a show about the music of Tom Waits—we of course, discuss the genuis of the left-of-field autuer!Please visit Martin's blog Year of The Bird to hear the four volumes of music and read the incredible journey of unexpected twists and turns that his life took that year. Follow him on Twitter @martinaustwick and support his music-making as Pale Bird, on Bandcamp.Write us an Apple Podcast review or if you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. See acast.com/privacy for privacy and opt-out information.

On Sleaford Mods latest album Spare Ribs the Nottingam duo keep their aim firmly at the ruling political class and their mishandling of the pandemic. As the U.K. reels from further economic unraveling thanks to the harsh realities from the Tory push for Brexit, coupled with a decade of austerity measures, Jason Williamson's agit-punk over Andrew Fearn's sly beats continues to give voice to the everyman and their frustrations. Lyrically, the rants are richer, more poetic and in parts intimate, stripping it of the machismo that his image might first brandish to the casual listener. Williamson sheds light on this shifting perspective. He is still shouting about the world outside but also ruminating on parts of his interior life that may have been previously locked away.And after a hard slog to the top, they appear eager to extend a hand to nascent women artists. Watch out for newcomer Billy Nomates and Australian, Amy Taylor, from Amyl & The Sniffers—both have excellent features on this album.Many thanks for making this possible — Thank you Jason for giving a F*ck. To Rough Trade Records and Abby Rubin at Beggars Group for use of songs. Jason Williamson and Andrew Fearn for use of "Don't Want A Disco Or 2." And Talia Miller at Rough Trade Records for additional support.Songs Featured: "Nudge It," "Jobseeker," "Don't Wanna Disco Or 2," "BHS," "Shortcummings," "Elocution," "Mork & Mindy," "Top Room," "I Don't Rate You" and "Out There."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We hear two pieces of tape that didn't make it to the main Adrian Younge episode. Both speak to these awkward and sometimes very difficult conversations on race that we should all be having, especially in the aftermath of George Floyd and this country's race reckoning. We also speak to a promising young artist, jaythehomie, from emo-rap duo RoeShamBeaux about his thoughts on Adrian Younge's album The American Negro and the things he learnt that weren't in any history book. He also shares his own experiences with racism and the concept of double consciousness, growing up in suburban Virginia. Follow @RoeShamBeaux on twiitter, instagram, Spotify and Apple Music. Check out this last EP Emergency here. and look out for new music later this year. Write us an Apple Podcast review or if you prefer to share your thoughts with us via email, please drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Get your latest print copy of Under the Radar magazine here. See acast.com/privacy for privacy and opt-out information.

The cover art of Adrian Younge's album The American Negro depicts the shocking image of a man hanging from a tree. Flip the cover over and the other image reveals that on his back is a note which reads 'This n***** voter." You may ask "Why, do we need an image so offensive? Or an album like this one now?" A multi-hyphenate artist dedicated to shining a light on the unsung heroes of soul, jazz and culture, Adrian also shares a deep love for history which he is keen to impart to us. As he believes knowledge and education are the key to understanding our current social ills.The American Negro is a multi-pronged project that includes a short film called TAN and Younge's podcast Invisible Blackness. His conversations with Public Enemy's Chuck D and Brian Jackson, Gil Scott-Heron's jazz collaborator on "The Revolution Will Not Be Televised" and some of the most crucial albums of the '70s contributing to the Black Consciouness —are illuminating and not to be missed.Many thanks for making this possible — Adrian for taking on this work of helping us all to educate ourselves. To Dru Lojero at Linear Labs for assistance with music clearance. To Jazz Is Dead for use of Masters and to Sony Publishing. Thanks to Shazila Mohamad and Zoe HInes at Grandstand Media for additional support.Songs Featured: "The American Negro," "Bitches Do Voodoo," "Sirens," James Mincey Jr," "Margaret Garner," "Race Is A Fellacy" and "Light On The Horizon."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We hear some tape that didn't make it to main episode featuring Lucy Dacus. And speak to Under the Radar Magazine's Television Editor, Lily Moayeri—a long time music journalist and teacher-librarian—on her thoughts about whether we need permission to tell our stories. Lily also shares her personal story on learning to read as a young child and we reflect on how far women have come as musicians, artists and journalists. Or have we? Follow her on twitter @lilymoayeri and this link to her podcast Pictures of Lily.Write us an Apple Podcast review or if you prefer to share your thoughts with us via email, please drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Get your latest print copy of Under the Radar magazine here. See acast.com/privacy for privacy and opt-out information.

Lucy Dacus has gone from strength to strength with her music career. Her stunning 2015 debut No Burden, highlighted her poetic lyricism and gift for melody. Her follow up Historian honed in on her ability to tell us a compelling story. Her most recent Home Video is brutally direct and personal. It feels like we're reading her private diary, not meant for public consumption. It's a tricky thing when we make art out of this excavation of our own intimate experiences. Lucy explains how she negotiates what songs need permission from the people that share these formative moments with her, and those that she relegates to fiction. And why there are some things she writes about that she will never share.Many thanks for making this possible — Lucy for sharing so much more than we could hope to contain in this space. To Matador Records and Abby Rubin at Beggars Group for use of all songs. And Big Deal Music Group. Thank you to Lucy Sloane for sound design music. And Jessica Linker at Pitch Perfect PR for all the support. Songs Featured: "Hot & Heavy," "I Don't Want To Be Funny Anymore," "Troublemaker Doppleganger," "Night Shift," "La Vie En Rose," "Partner In Crime," "Thumbs," "Going Going Gone."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

After more than a decade of functioning as a democracy, Hannah Reid has stepped into the offical role of band leader in London Grammar. And her bandmates Dot Major and Dan Rothman are happy for her to steer the ship on a more female-centric course, for their latest album Californian Soil. It's a more direct album than their previous work, unafraid to show strength but also be vulnerable. Here are the links to "I'll Be Rooting For You," "Missing," "Californian Soil," and "America"—make sure you listen to them as they are discussed in some detail the episode. Many thanks for making this possible — Hannah for being the kind of leader that women—and men need right now. Thank you to Ministry of Sound, Sony Music and Warner Chappell for use of songs from albums Californian Soil and If You Wait. And to Olga Makrias at BTPR.Songs Featured: "Lord It's A Feeling," "Wasting My Young Years," "Missing," and "America."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We hear some tape that didn't make it to the James Yorkston & The Second Hand Orchestra episode. And speak to Lily Sloane, an artist and therapist who we thought could speak uniquely to the relationship between art and mental health. What we weren't expecting was the deeper significance that songs such as "Struggle" and "Choices Like Wide Rivers" have for her. For more news on Lily's sound design and composing work follow her @lilyrosesloane on Twitter. Or check out her website lilymakessound.com. Here's the link for Lily's podcast A Therapist Walks Into A Bar. For her solo album We Find Our Demons and her Pale Bird collaboration I told You How Important You Would Be, please head to her Bandcamp page. And here's Martin Austwick's Tom Wait's podcast Song By Song.Write us an Apple Podcast review or if you prefer to share your thoughts with us via email, please drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Get your latest print copy of Under the Radar magazine here. See acast.com/privacy for privacy and opt-out information.

Scottish singer/songwriter James Yorkston released his 10th studio album The Wide, Wide River as James Yorkston & The Second Hand Orchestra earlier this year. After almost 20 years playing with band members who were often friends (The Athletes, Yorkston/Thorne/Khan and the Fence Collective among others) he teams up with a collective of Swedish musicians, most of whom he had never met before the studio recordings. This brave experiment works lending the songs an air of surprise and a lightness of touch while lyrically tackling themes of loss, ageing and depression. 'Sometimes you have to shake things up,' James tell me of this experiment. He also discusses some of the other unusual choices his made that has helped shaped the kind of musical career that suits him. Many thanks for making this possible — James for your time, humor and songs of joy in spite of sadness. To Domino Publishing Company and Domino Recording Company for use of songs from the albums Moving Up Country, The Year of the Leopard, When The Haar Rolls In, The Cellardyke Recording & Wassailing Society and The Wide, Wide River. Thank you to James Yorkston, for providing "3 Speed Wilfred" (By Huckleberry — written by James Yorkston, vocals by Vic Galloway, Reuben Taylor on Hammond organ and Stu Bastiman on drums). Songs Featured: "Struggles," "When The Haar Rolls In," "3 Speed Wilfred," "Moving Up Country, Roaring The Gospel," "Guy Fawkes Signature," "Woozy With Cider," "There Is No Upside," "We Test The Beams," "A Droplet Falls" and "Choices, Like Wide Rivers."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

This is a Bonus episode to celebrate AAPI Heritage Month. Thao & The Get Down Stay Down's latest album Temple opens with a chunky Vietnamese rock riff, the kind that Thao Nguyen's mother would have grown up dancing to—in the Vietnam of her youth, before war came to define the country. The title track is sung from her mother's point of view and includes snippets of real conversations. The most poignant being her stoic mother's advice to her to now "find her own freedom."Temple is about this quest for freedom and Thao's desire to live her most honest life. A search which has proved elusive, sitting at the crucible of race, gender and sexuality. The very things Thao had avoided discussing when she was coming up in the indie rock scene. While her 2016 album A Man Alive started this process of trying to reconcile her past by dealing with the loss she felt when her father abandoned the family, that was only the first step. With Temple she has finally come out publically as queer, started to come to terms with her own internalized racism and galvanized herself to be more of an activist. I had always admired Thao and her music from afar. She seemed an accomplished musician and songwriter who made singular records. I was not prepared for how honest and searing her work has always been. She might have never wanted to discuss her absent father, ethnicity or queer identity but it's in the DNA of her music. Many thanks for this possible — Thao Nguyen for writing brave songs and allowing me to tell this story. To Ribbon Music, Domino Records and Domino Publishing for use of songs from We the Common, A Man Alive and Temple. Additionally to Adam Thompson for use of songs "Temple," "Phenom" and "Pure Cinema." To Kill Rock Stars for use of "Bag of Hammers" from We Brave Bee Stings and All and NPR's Tiny Desk Concert for the live performance. To film-maker and director Todd Krolczyk for use of Nobody Dies documentary. And to publicist Sydney Yeo at Domino Recording Company. Songs Featured: "Temple," "Bag of Hammers," "Tallymarks," "We The Common (For Valerie Bolden)," "Kindness Be Conceived," "Meticulous Bird," "Millionaire," "Marauders," "Phenom" and "Pure Cinema."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We hear some tape that didn't make it to the main episode featuring Emmy the Great. To celebrate AAPI Heritage Month, we speak to a new fan of Emmy the Great, food writer Jenny Liao. She talks about her Chinese American heritage and her efforts to re-learn her mother tongue of Cantonese by listening to old Canto-pop, new Emmy the Great and watching the films of internationally renowned Hong Kong filmmaker Wong Kar Wai. Follow Jenny Liao @jeliao on Twitter to find out more about her upcoming children's book on Chinese food and their traditions. Write us an Apple Podcast review or if you prefer to share your thoughts with us via email, please drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Get your latest print copy of Under the Radar magazine here.Links to Faye Wong singing the Heart Sutra, her Cocteau Twin's collaboration from the 90s and her version of "Dreams" from the Wong Kar Wai soundtrack. See acast.com/privacy for privacy and opt-out information.

Emmy the Great is the moniker of Hong Kong-born, British singer-songwriter, Emma-Lee Moss. Her latest album April was written four years ago, after a British Council residency to China and a trip back to Hong Kong. For most of her adulthood, Emma felt she had transcended living in the former British colony. So she was surprised that after her trip, she felt the pull to return there. As soon as the album was recorded, Emma left New York where she was residing at the time and moved back to Hong Kong. For three years, she made a life there with her partner and had a baby daughter. In 2019, after pro-democracy protests broke out and were followed by the Chinese government crackdown, they made the difficult decision to leave. This episode is about finding a sense of belonging between different worlds. Many thanks for making this possible—Emma for your care with words, and your precious time. Sally Hedberg at [PIAS] for all the support. Bella Union for permission to use songs from the albums Second Love and April. And BMG America for song usage on the albums First Love and Virtue. Additional thanks to Gareth Jones and Euan Hinshelwood for use of songs "Trellick Tower" and "Paper Forest."Songs featured: "Your Hallucinations," "Mid-Autumn," "Two Steps Forward," "We Almost Had A Baby," "Paper Forest," "Trellick Tower," "Swimming Pool," "Social Halo," "Dandelions/Liminal," "Writer," "Okinawa Ubud" and "Chang-E."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com See acast.com/privacy for privacy and opt-out information.

We hear some tape that didn't make it to the main episode featuring The Flaming Lips. And we also speak to an early fan about the memories he had as he listened to the episode. Write us an Apple Podcast review or if you prefer to share your thoughts with us via email, please drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Get your latest print copy of Under the Radar magazine here. See acast.com/privacy for privacy and opt-out information.

The Flaming Lips are one of the most beloved psych-pop bands. They've managed to achieve commercial success and win multiple Grammy awards without having to sacrifice their instinct for the wierd and wonderful. Led by Wayne Coyne, an unconventional but committed frontman, this once band of 'wierdo outsiders' have gone on to inspire a generation of psychedelic rock bands and collaborate with a diverse range of artists—from Henry Rollins and Peaches to Miley Cyrus and Kasey Musgraves. Their latest masterpiece American Head has Coyne and longtime band member Steven Drozd reflecting on their youth and how the culture of drugs impacted their lives and tainted their idea of an American Dream. Many thanks for making this possible—Wayne Coyne for your gracious time and infectious, wide-eyed optimism. Micheal Ivins for helping with the recording. To Rick Gershon from Warner Records Publicity for arranging interviews and permission to use songs. To Chris Greenspon for additional help with sound editing. Songs Featured: "Dinosaurs On The Mountain," "She Don't Use Jelly," "Waiting For Superman," "Yoshimi Battles The Pink Robots Pt 1," Flowers of Neptune 6," "Will You Return When You Come Down," "You n Me Selling Weed," "Mothers Please Don't Be Sad," and "My Religion Is You." Send your thoughts on this episode to celine.undertheradarpod@gmail.com We would love to hear from you and might feature your feedback in our mini episode. See acast.com/privacy for privacy and opt-out information.

Listen for a teaser to our Season 2 launch episode and other upcoming guests. Follow us on Apple Podcast so you don't miss our first episode with The Flaming Lips, out next Thursday, April 8.Send us your thoughts at celine.undertheradarpod@gmail.com See acast.com/privacy for privacy and opt-out information.

Hanif Abdurraqib is a poet, essayist and cultural critic. His book Go Ahead in the Rain blended criticism, history, memoir, and poetry to pay tribute to A Tribe Called Quest, and the upcoming A Little Devil in America (March 30) explores how Black performance is woven into American culture. His website, 68 to 05, is mapping the music that shaped him with personal playlists for each year—between 1968 and 2005. He is also the host and creator of Lost Notes: 1980, named one of 2020's best music podcasts by The New Yorker and The Atlantic. We had an opportunity to chat about Object of Sound, his latest podcast. It centres around topics such as what makes a great cover song? Or what you would include in a future playlist made during a Pandemic? Or Afrofuturism in music today? Here's the original article that was published at Under the Radar magazine's website. And links directly to Object of Sound and Driving The Green Book—a podcast I mentioned at the end.UnEdited is our off season mini-series featuring raw tape with Tastemakers, Podcasters and Cultural Critics. Under the Radar podcast is curently on hiatus. But we will be back next month for Season 2. To get in touch please join our Facebook group. Ask to be a member and I will welcome you with open arms. Or reach me on twitter and instagram. See acast.com/privacy for privacy and opt-out information.

Song Exploder's Hrishikesh Hirway has had a busy 12 months. He launched two new podcasts as the Pandemic hit last year. And by Thanksgiving had a Netflix hit when Song Exploder his longtime music podcast made the transition to a television show. I was unaware of his TV show when we spoke but we did chat about this business of making podcasts, couple's therapy and how for years the piano he practiced on was made of paper.Here's the original article that was published at Under the Radar magazine's website. And links directly to Song Exploder, Partners and Home Cooking. UnEdited is our off season mini-series featuring raw tape with Tastemakers, Podcasters and Cultural Critics. Under the Radar podcast is currently on hiatus. We are working on Season 2 which will launch in March/April 2021. To get in touch, please join our Facebook group. Ask to be a member and you will be welcomed in. See acast.com/privacy for privacy and opt-out information.

Roman Mars has been producing one of the most popular podcasts ever—his show, 99 Percent Invisible—for over a decade. Last year, they marked the occasion by releasing a design book called The 99 Percent Invisible City: A Field Guide to The Hidden World of Design. I was presented with the opportunity to interview him about it.Here's the original article that was published at Under the Radar magazine's website. And a link directly to 99 Percent Invisible where you can purchase the book. UnEdited is our off season mini-series featuring raw tape with Tastemakers, Podcasters and Cultural Critics.Under the Radar podcast is currently on hiatus. We are currently working on Season 2 which will launch in March/April 2021. To get in touch, please join our Facebook group. Ask to be a member and you will be welcomed in. See acast.com/privacy for privacy and opt-out information.

As KCRW Music Director for a decade and host of the radio show Morning Becomes Eclectic, Jason Bentley is a respected tastemaker. He has been pivotal in introducing us to artists and bands that have ascended pop charts and become permenent fixtures in the culture. He left a hole in my radio-listening habits when he left the station, late in 2019. It was a treat to get the opportunity to interview him about his new podcast, in partnership with Soho House called The Backstory. We discuss how he hopes to forward conversations in culture with The Backstory. His move from public media to the private sector. His desire to be a creator as well as curator. And finish the interview with his thoughts on Zoom cocktails. Well, it's happy hour somewhere!Here is a link to the original feature that appeared at Under the Radar magazine. And a link directly to The Backstory podcast. UnEdited is our off season mini-series featuring raw tape with Tastemakers, Podcasters and Cultural Critics.Under the Radar podcast is currently on hiatus. We are busy working on Season 2 which will launch in March/April 2021. To get in touch, please join our Facebook group. Picture Credit: Mark Leibowitz See acast.com/privacy for privacy and opt-out information.

The Show On The Road is a great music podcast hosted by Zach Lupetin from folk rock outfit, Dustbowl Revival. I'm excited to share this episode where he speaks to Danish composer, pianist and singer/songwriter Agnes Obel. It was recorded at the Capitol Records Building in Los Angeles before there was a hint of Pandemic. And Obel was still looking forward to playing at the Greek Theatre over the Summer. They discuss her latest album Myopia, how perhaps we are not masters of our own fate and how when she has an album to finish she frets about her mortality: worrying about being hit by a truck before she can finish her songs. And one of her most beautiful tracks on this album is "Won't You Call Me" so be sure to check it out. Also, don't miss this opportunity to catch other episodes from The Show On The Road. Some of my favorites are the interviews with Dave Stewart of The Eurythmics and New Jersey-raised singer/songwriter Nicole Atkins. We are currently hard at work preparing for Season 2 which will launch in March/April 2021. And to kick off the new year we've got a mini series of interviews lined up as well as a Bonus episode or two. So stay tuned. And come say hi to us by joining our Facebook Group. We have plans to do more listening parties and giveaways. We would love to hear your thoughts about Under the Radar or The Show On The Road. Click here to join. See acast.com/privacy for privacy and opt-out information.

When Scottish band Travis landed their bonafide hit with "Why Does It Always Rain On Me?"—we were all taken with frontman Fran Healy's cheeky grin, affable persona and the way he seeminly wore his heart on his sleeve. After years of Brit-pop feuds and Oasis infighting, it was refreshing to have a band that wasn't grabbing the headlines with tiresome rock n'roll antics. Travis were nice.After their 1997 debut Good Feeling—a rock record that fitted the zeitgeist but failed to make an impression, they took a year off to write and find their own sound. They returned with "Writing To Reach You" — a quiet single off their sophomore record, The Man Who. It riffs off the chords from Oasis's "Wonderwall" and begs the question "what's a wonderwall anyway?" Their second single, "Driftwood" capitalized further on this introspective, honest sound, bouyed by Fran's mellifluous vocals. When the heavens opened for their Glastonbury 1999 set during "Why Does It Always rain On Me?" the band's future would be forever changed. They would return to Glastonbury the following year triumphant, as festival headliners, alongside David Bowie and The Chemical Brothers. The Man Who would go on to chart around the world. I'm not sure if I ever thought about who the person writing these songs were? What kind of life did they have? What had happened to make them write a song about someone who never seems to have good things happen to them? All I saw was Fran's smile, lovely topline melodies and an optimism in his lyrics that was easy to relate to. In part, this was their plan all along. As a band they wanted the songs to be the stars. After the success of The Man Who, their follow-up was deliberately titled The Invisible Band. It's an art to be everywhere without most people knowing more beyond the songs, the accolades and perhaps what haircut Fran was spotting next? "Mirrors are problematic for me," he said with his face scrunched up, on our zoom call. "There's something in this," he circled his finger around his still boyish face, ashen hair tucked under a basecall cap, "—that makes me not happy." Back in the day, 'this' was the the face that launched a thousand haircuts with the fauxhawk. That dread, however, is deeply rooted and has over the last 25 years helped Fran write some of the best pop songs for Travis. Their latest album, 10 Songs, has now debuted at No 5 on the British charts, proving they haven't lost their touch. Many thanks for making this possible—Fran Healy for your honesty, being so 'nice' and recording additional audio for the podcast. Also for granting us permission to use the trailer from Almost Fashionable. Sony ATV and Concord Publishing for permission to use songs. To Chloe Walsh and Katie Nelson at Grandstand for all the support.Songs Featured: "A Ghost," 'Why Does It Always Rain On Me?" "Driftwood," "Closer," "A Million Hearts," "Nina's Song," "Only Thing," "Butterflies" and "Waving At The Window." Photo by Ryan Johnson. See acast.com/privacy for privacy and opt-out information.

Fantastic Negrito is the latest incarnation of Xavier Amin Dephrapaulezz. As a child, he was raised in an orthodox Muslim household in New England. His Somali-Caribbean father was an Oxford-educated immigrant who played traditional African music. Just before he hit his teens, his father relocated their family to Oakland. Coming from his conservative childhood, it was at once an intense culture shock and liberating. The street was alive with the new sounds of hip hop, rap and punk. And he was drawn to it. In his youth, he thought that the Blues was the music of his grandmother's generation. When he landed in LA in the Nineties, he had plans to be a star. And it didn't take him long to land a major label deal. As Xavier, he released the album, The X Factor. Things did not go as planned and in 2000, a near-fatal car crash would take him further away from his musical ambitions. Eventually, he sold all his instruments and moved back to the Bay Area.When he won the 2015 Tiny Desk Contest as Fantastic Negrito, it was with a newfound mission—to make music free of the corrupting influence of capitalism where he could discuss freely the societal ills he observed around him. In the course of three albums—The Last Days of Oakland, Please Don't Be Dead and his latest Have You Lost Your Mind Yet?—he's tackled big issues such as racism, capitalism, gentrification, poverty and misogyny. Despite winning 2 Grammys, he's eschewed big label deals and continues to record at Blackball Studios, part of a collective he co-founded with Empire producer and writer Malcolm Spellman. Based in downtown Oakland where he was recorded for our podcast, you'll hear siren and street sounds outside and that's how he likes it. Like most, I became a fan of Fantastic Negrito when he won Tiny Desk Contest. His backstory was captivating. I have often wondered what would have happened if police had found that the person trying to sell those artist-backstage passes was white? Or that the intern was working for a white artist or band member? Would they have been taken away in handcuffs too? It was the first time, I became aware that America had a racism problem. And since then, it has become painfully obvious how deep it goes. Many thanks for making this possible —To the one and only Fantastic Negrito for having these conversations with me over the years. For all the support from Blackball Universe and Ken Weinstein at Big Hassle PR. To Cooking Vinyl and Position Music for permission to use music. Songs Featured: "Chocolate Samurai," "Lost in a Crowd," "Last Days of Oakland," "The Nigga Song," "In The Pines," "Plastic Hamburgers," "I'm So Happy I Cry," "Justice In America," "All Up In My Space," "Searching For Captain Save A Hoe" and "How Long." See acast.com/privacy for privacy and opt-out information.

Everything Everything frontman, Jonathan Higgs grew up in the North of England in a home filled with music. As early as six years old, he was experimenting with making music and rudimentary computer games on a free software program. By the time, he got to University he knew he wanted to be the frontman of a band. Everything Everything's line-up was complete when Alex Robertshaw joined Higgs, and his friends, Michael Spearman and Jeremy Pritchard—just in time for the quartet to ink their first label deal.Higgs spoke to us ahead of the band's upcoming album Re-Animator which will be released on September 11th. Like most artists and bands putting new records out during a pandemic they've had to adapt. Re-Animator's release date was pushed back. A music video they had already begun production on had to be scrapped because it's lyrics were inappropriate given COVID 19. Unable to meet or do photo shoots, Higgs set about using computer software and animation for their promo shots as well as their latest music videos:— "Arch Enemy," "In Birdsong" and "Planets." The "fatberg" in "Arch Enemy" (the outro track on the podcast) is unmissable. No prizes for guessing the inspiration for the oversized, congealed, blob.I first encountered the band's music with their third album, 2015's Get To Heaven. The track "No Reptiles" was like nothing I had heard before. The lyrics were as violent as the news stories they were referencing - ISIS beheadings and school shootings - yet tender in it's odd refrain: "Oh baby, it's alright. It's alright, to feel like a fat child, in a pushchair, old enough to run. Old enough to fire a gun." How it folded the brutality with mocking humor, then a tenderness, in the most erudite manner, expanded the bounds of Math Rock exponentially.Re-Animator's most uplifting track "Violent Sun" — echoes that sentiment but with a simpler, more impassioned plea: "I'm too old, to be crying out...." At a time when we're supposed to be strong, at every turn the world keeps burning and we have every cause for incredible sadness. But still we keep singing, hoping, re-animating.For those interested in the theories that inspired Higgs on Re-Animator, please check out Julian Jayne's book The Origin of Consciousness in the Breakdown of the Bicameral Mind.Many thanks for making this possible — Jonathan Higgs for sharing your time, thoughts and music with us. To Alexander Baker and Jamie Sward at High Rise PR for the support. And to Kobalt Music for permission to use songs from the albums Get To Heaven, A Fever Dream and Re-Animator. See acast.com/privacy for privacy and opt-out information.

Caroline Rose grew up on Long Island, New York, in a happy household where her artists-parents encouraged her creativity—she won coveted roles in musical theater productions, performed in a regional middle school band and instead of Summer jobs, she would take to the streets busking to earn her keep. However, like many of us, she was eager to see the big world. She couldn’t wait to get out of her small town and live the life she craved— to “hop trains and write songs”— the way vagabonds and storytellers, in the vein of her most favorite artist, Tom Waits, did. Her parents insisted that she have a back up plan. So she got a degree in Architecture. As soon as she was done with College, she lived out her fantasy of writing songs, living in a car and traveling around the country. In 2012, her first record of songs was self-released as America Religious.“Soul No 5” on her excellent record Loner, was the first Caroline Rose song I ever heard and I was smitten. An earlier version of the song was featured on “NPR Music Tiny Desk Concert”— introduced as “I Got Soul,” it was marked by lashings of slide guitar and her earnest Country-inflected vocals. I was keen to find out how she went from Americana to the electro-pop heights of Superstar.This is the first interview we’ve done since the Pandemic hit. It was conducted via Zoom, so apologies for the less than perfect audio in parts. The day we spoke, it was obvious that Caroline was going through some heartbreak—foregrounded by all the unrest erupting from George Floyd’s murder at the hands of police, and the general state of our world in crisis, I can only imagine how much more difficult it must be to navigate a broken heart during lockdown.This was going to be her champagne year. Now, it will be Covid’s year. The pandemic has made her think of Superstar as suspended in time and space. She adds: “Like in The Matrix how things get frozen; and you can walk around it and view it from all these different perspectives... There is something magical about creativity that you don’t even fully realized it’s depth and true meanings when you’re creating it. Or fully understand it.“Many thanks for making this possible—Caroline for graciously helping me, tell your story. To Nancy Rose for digitizing old VHS — “Connemara Sketches: A Folk Suite” performed with Caroline in her HMEA band (2003) and “Out of Time.” (I also loved Caroline performing music from Annie Get Your Gun, Annie and doing her “Wonderwall” cover but alas, it didn’t make the cut). To Anthony Borgatta for additional audio on the drums. To Pitch Perfect PR for support, plus New West Records and Words & Music for use of Caroline Rose’s music. See acast.com/privacy for privacy and opt-out information.

Ezra Furman grew up in Chicago, loving the Jewish faith as much as punk, Bob Dylan and Bruce Springsteen. While driving with a friend through their suburban streets one evening, she stumbles on the voice of Lou Reed. The car stereo is playing "Rock n Roll" by the Velvet Underground. She is smitten with that voice. Still unsure about her sexuality at this stage, it's like a siren's call—she begins to see in Reed, a way for her to express her gender, identity and ambitions. Ezra was fortunate to meet her hero, at SXSW one year and Reed was nothing but kind to her. Read the 33 1/3 book she wrote on "Lou Reed's Transformer" for more.When I first encountered Ezra's music, she was still presenting as male. When I first interviewed her—she was in a car, driving herself out of LA to their next gig. We had a long chat. And I only referred to her with male pronouns. Before the pandemic hit, I met with her, at Gold-Digger Studios. When I started to ask about pronouns, and marvel at the strides we've made, a smile creeps across her face as she starts shaking her head. Gender is still a complicated, ever-evolving and sometimes still confusing thing for her. The fact that we even ask people for their preferred pronouns is amazing, as I say in the interview. But it is tricky. I had to re-write copy and re-record links for using the wrong pronoun. Queerness and gender fluidity have become more acceptable, celebrated even, I now have a handful of friends whose children are using different pronouns and sometimes I slip up. But I just do better, it’s the least one can do. Here are some notes from Ezra about Twelve Nudes in relation to Ann Carson's "nudes" and her song writing."Almost everything about the nudes in Carson's poem appealed to me when I first read it. The fact that they are naked, unadorned resonated with what I wanted to do on this record, musically and emotionally etc. The fact that they are bodies, usually in pain and/or intense transformation. The Nudes appearing as visions, uninvited and already complete, is a lot like how it felt to write these songs. Spontaneous paintings seemingly done, by someone else. Also this part:"I began telling Dr. Hawabout the Nudes. She said,When you see these horrible images why do you stay with them?Why keep watching? Why notgo away? I was amazed.Go away where? I said.This still seems to me a good question."This is a major aspect of how I feel about my mind and the things that show up in it. And the songs on Twelve Nudes are particularly like that: they kind of just showed up, already complete. I mean, I worked on them, but the essence of each song just appeared like a Nude. And I can't get away from them. There's nowhere else to look.I feel it goes deeper even than that somehow but I'll leave the other depths unplumbed."Many thanks for making this episode possible—Ezra, for being. For singing. For sharing. To [PIAS] America for use of music and Pitch Perfect PR for support. Massive thanks to Rachel Insel and Dave Neupert for providing us with a studio to record in at Gold-Diggers. And to the Boughton family and Oliver Blockey for additional audio. See acast.com/privacy for privacy and opt-out information.

As a young indigenous artist growing up in Northwest Washington, Katherine Paul was drawn to the noise of grunge and Bikini Kill's punk. But the rhythms of an idyllic life on her Coast Salish reservation, punctuated by her family's All My Relations gatherings—an annual powwow which coincided with birthday parties celebrated in the local gymnasium—are deeply-rooted in her being. These unique and varied inspirations would later inform the way she would make music under the Black Belt Eagle Scout moniker.I was struck by how incredibly brave KP is. Everywhere on the internet where her work is praised, there are folks waiting to take her down. But she persists. As a radio producer, you are told never to relinquish your mic to the interviewee. But on one of the final questions, KP gently but firmly wrestles the mic out of my hand to answer the question. When I asked her later about it, she had no recollection of doing it—such is the strength of her conviction. See if you can guess at what point this happened?Many thanks for making this episode possible—KP for her grace and time. Her parents: Patricia Paul and Kevin Paul for use of powwow music. Bikini Kill for every Riot Grrrl's anthem, Phil Elverum for the use of music by Geneviève Castrée's as WOELV. Saddle Creek, Pitch Perfect PR and Terrordbird for all the support. See acast.com/privacy for privacy and opt-out information.

Under the Radar is a music podcast that goes deeper into the latest albums by indie artists. Each month, an artist reveals memories of childhood, musical inspirations and milestones that have helped shape them and their work. Hosted and produced by Celine Teo-Blockey.From Under the Radar magazine, founded in 2001 by co-publishers Mark and Wendy Redfern. See acast.com/privacy for privacy and opt-out information.