Podcasts about alt j

Der Titel eines der erfolgreichsten Lieder von Kaleida mag "Strangers" lauten, doch spätestens seit dieses sich unter den 100 beliebtesten Songs der radioeins-Hörer:innen des Jahres 2024 platzieren konnte, dürften Christina Wood und Cicely Goulder keine "Fremden" mehr sein. Ursprünglich 2013 als "Fernbeziehung" gestartet, weil Wood in Sachen Umweltschutz im indonesischen Wald tätig und Goulder als Filmkomponistin in London gefragt war, überwanden die beiden nicht nur die zunächst bestehende räumliche Distanz, sondern bringen auch seit dem 2017er Debütalbum "Tear The Roots" in ihrer Musik "kühle" Elektro-Sounds mit warmem, gefühlvollem Gesang in perfekter Synergie zusammen. Zuletzt taten sie das mit einigem Erfolg auf ihrem dritten Album "In Arms", das ursprünglich im März 2024 erschien und Anfang 2025 noch einmal in einer erweiterten Deluxe-Version auf den Markt kam. Zuvor konnten Kaleida bereits vielbeachtete Beiträge zu Film-Soundtracks wie "John Wick" oder "Atomic Blonde" (für den sie Nenas "99 Luftballons coverten!) verbuchen, ebenso tourten sie mit Róisín Murphy und Alt-J. Nach einigen gemeinsamen Jahren in England zog die deutsch-amerikanische Sängerin Christina Wood vor den Arbeiten am zweiten Album "Odyssey" (2020) in die USA, doch weder die erneute Interkontentialität noch die Herausforderungen der Mutterschaft oder die Einschränkungen der Corona-Pandemie bedeuteten das Aus für das Duo – auch wenn die beiden mehr als einmal kurz davor waren aufzugeben und Cicely Goulder an der aktuellen Tour bedauerlicherweise nicht teilnehmen kann. Vor dem Konzert übermorgen, am 14.5., im Cassiopeia besucht uns Christina Wood mit Verona Ortega, die sie auf dieser Konzertreise begleitet, um im Interview Auskunft und anschließend auf der kleinen Bühne auch einen musikalischen Vorgeschmack auf Mittwoch zu geben.

Der Titel eines der erfolgreichsten Lieder von Kaleida mag "Strangers" lauten, doch spätestens seit dieses sich unter den 100 beliebtesten Songs der radioeins-Hörer:innen des Jahres 2024 platzieren konnte, dürften Christina Wood und Cicely Goulder keine "Fremden" mehr sein. Ursprünglich 2013 als "Fernbeziehung" gestartet, weil Wood in Sachen Umweltschutz im indonesischen Wald tätig und Goulder als Filmkomponistin in London gefragt war, überwanden die beiden nicht nur die zunächst bestehende räumliche Distanz, sondern bringen auch seit dem 2017er Debütalbum "Tear The Roots" in ihrer Musik "kühle" Elektro-Sounds mit warmem, gefühlvollem Gesang in perfekter Synergie zusammen. Zuletzt taten sie das mit einigem Erfolg auf ihrem dritten Album "In Arms", das ursprünglich im März 2024 erschien und Anfang 2025 noch einmal in einer erweiterten Deluxe-Version auf den Markt kam. Zuvor konnten Kaleida bereits vielbeachtete Beiträge zu Film-Soundtracks wie "John Wick" oder "Atomic Blonde" (für den sie Nenas "99 Luftballons coverten!) verbuchen, ebenso tourten sie mit Róisín Murphy und Alt-J. Nach einigen gemeinsamen Jahren in England zog die deutsch-amerikanische Sängerin Christina Wood vor den Arbeiten am zweiten Album "Odyssey" (2020) in die USA, doch weder die erneute Interkontentialität noch die Herausforderungen der Mutterschaft oder die Einschränkungen der Corona-Pandemie bedeuteten das Aus für das Duo – auch wenn die beiden mehr als einmal kurz davor waren aufzugeben und Cicely Goulder an der aktuellen Tour bedauerlicherweise nicht teilnehmen kann. Vor dem Konzert übermorgen, am 14.5., im Cassiopeia besucht uns Christina Wood mit Verona Ortega, die sie auf dieser Konzertreise begleitet, um im Interview Auskunft und anschließend auf der kleinen Bühne auch einen musikalischen Vorgeschmack auf Mittwoch zu geben.

ank ihrer so melodieseligen wie energievollen Songs zwischen Gitarren-Rock und -Pop haben wir bei radioeins Meagre Martin schon seit einer Weile ins Herz geschlossen. Umso mehr freut es uns, dass die drei zwischen den vielen Konzerten und Tourneen (unter anderem im Vorprogramm von Alt-J oder Chastity Belt) in aller Welt seit Ende 2023 ihr tolles Debütalbum "Gut Punch" rauskam, nicht nur immer mal wieder Zeit gefunden haben, bei uns als Lokalmatadore, studioeins-Gäste oder Teil des radioeins-Parkfest-Programms vorbeizuschauen: Obendrein haben die drei in Berlin lebenden US-Amerikaner:innen es zwischen all den Terminen noch geschafft, die im Februar 2025 erschienene EP "Up To Snuff" fertigzustellen – und arbeiten sogar schon an weiterer neuer Musik, die im Laufe des Jahres veröffentlicht werden soll.

ank ihrer so melodieseligen wie energievollen Songs zwischen Gitarren-Rock und -Pop haben wir bei radioeins Meagre Martin schon seit einer Weile ins Herz geschlossen. Umso mehr freut es uns, dass die drei zwischen den vielen Konzerten und Tourneen (unter anderem im Vorprogramm von Alt-J oder Chastity Belt) in aller Welt seit Ende 2023 ihr tolles Debütalbum "Gut Punch" rauskam, nicht nur immer mal wieder Zeit gefunden haben, bei uns als Lokalmatadore, studioeins-Gäste oder Teil des radioeins-Parkfest-Programms vorbeizuschauen: Obendrein haben die drei in Berlin lebenden US-Amerikaner:innen es zwischen all den Terminen noch geschafft, die im Februar 2025 erschienene EP "Up To Snuff" fertigzustellen – und arbeiten sogar schon an weiterer neuer Musik, die im Laufe des Jahres veröffentlicht werden soll.

ank ihrer so melodieseligen wie energievollen Songs zwischen Gitarren-Rock und -Pop haben wir bei radioeins Meagre Martin schon seit einer Weile ins Herz geschlossen. Umso mehr freut es uns, dass die drei zwischen den vielen Konzerten und Tourneen (unter anderem im Vorprogramm von Alt-J oder Chastity Belt) in aller Welt seit Ende 2023 ihr tolles Debütalbum "Gut Punch" rauskam, nicht nur immer mal wieder Zeit gefunden haben, bei uns als Lokalmatadore, studioeins-Gäste oder Teil des radioeins-Parkfest-Programms vorbeizuschauen: Obendrein haben die drei in Berlin lebenden US-Amerikaner:innen es zwischen all den Terminen noch geschafft, die im Februar 2025 erschienene EP "Up To Snuff" fertigzustellen – und arbeiten sogar schon an weiterer neuer Musik, die im Laufe des Jahres veröffentlicht werden soll.

ank ihrer so melodieseligen wie energievollen Songs zwischen Gitarren-Rock und -Pop haben wir bei radioeins Meagre Martin schon seit einer Weile ins Herz geschlossen. Umso mehr freut es uns, dass die drei zwischen den vielen Konzerten und Tourneen (unter anderem im Vorprogramm von Alt-J oder Chastity Belt) in aller Welt seit Ende 2023 ihr tolles Debütalbum "Gut Punch" rauskam, nicht nur immer mal wieder Zeit gefunden haben, bei uns als Lokalmatadore, studioeins-Gäste oder Teil des radioeins-Parkfest-Programms vorbeizuschauen: Obendrein haben die drei in Berlin lebenden US-Amerikaner:innen es zwischen all den Terminen noch geschafft, die im Februar 2025 erschienene EP "Up To Snuff" fertigzustellen – und arbeiten sogar schon an weiterer neuer Musik, die im Laufe des Jahres veröffentlicht werden soll.

Comenzamos con la celebración del Año Nuevo Chino, que en 2025 está regido por la Serpiente de Madera. Después, el turista musical regresa de Irlanda con dos canciones: 'C.E.A.R.T.A' y 'H.O.O.D' de los raperos Kneecap. También, nuestro compañero Gustavo Iglesias nos habla del género musical que une el folk y la electrónica: la folktrónica, con referentes como Four Tet, Tunng o Alt-J. A las ocho repasamos la actualidad y conocemos una nueva palabra desde Vigo: 'Jicho'. Por último, Joe Crepúsculo nos hace una visita guiada por su disco 'Museo de las Desilusiones'. Escuchar audio

Altjóða brekdagur, veðrið, fluor, hondbóltur, barnauppsparing Gestir í sendingini eru: Tóra við Keldu Pál Weihe Sára Jógvansdóttir Svanna Jákupsdóttir Jan Otto Holm

Matt Glasbey is a highly regarded UK-based sound engineer and music producer known for his meticulous attention to detail and an ability to capture the essence of any performance. Over the years, he has worked with an impressive roster of artists including Coldplay, Ed Sheeran, ALT-J, Madness, and Maisie Peters. This wide-ranging experience across genres from indie rock to pop has solidified his reputation as a versatile and skilled engineer. Matt's exceptional technical expertise and deep understanding of musicality have made him a trusted collaborator for some of the industry's most celebrated artists, contributing to the creation of memorable and impactful records.Beyond his engineering skills, Matt Glasbey is celebrated for fostering a creative and relaxed studio environment, enabling artists to freely explore their sound. His dedication to sonic excellence and innovative production methods have led to projects that push musical boundaries and resonate deeply with audiences. Whether working on chart-topping hits or critically acclaimed albums, Matt's passion for music production, combined with his profound knowledge of audio equipment and recording techniques, has cemented his place as an influential figure in the UK music scene.IN THIS EPISODE YOU'LL LEARN ABOUT:Working at Peter Gabriel's Real World StudiosPushing yourself to learnFocusing on being the best Assistant EngineerTaking chances with your careerHow to find problematic issues in your mixesUsing the Andrew Scheps “rear-bus” techniqueWhy the key to getting big low-end doesn't have to do with focusing on the low frequenciesFixing masking issuesSetting your levels to get the optimal “analog sound” when working in digitalSidechaining multiband compressionWhy the LCR method of panning might be working against youCreating contrast to make mixes that have depth and widthAutomating EQs to create clarity between various sections of a songWorking with David GilmoreTo learn more about Matt Glasbey, visit: https://www.mattglasbey.com/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/Want additional help with your music productions?For tips on how to improve your mixes, visit https://masteryourmix.com/Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.comThe Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Want to make the process of dealing with mix-revisions easy? Check out Samply and get three months free off any plan: http://samply.app/?utm_source=mymDownload Waves Plugins here:

Producción y conducción: Irene Mora. Sistema Jalisciense de Radio y Televisión. Visita: www.jaliscoradio.com

Welcome to another episode of WorkTape, where we continue exploring the diverse sounds of 2014 with a focus on indie and electronic influences. This episode delves into Jungle's vibrant self-titled debut, Taiko's ambient soundscapes in Awake, and the experimental R&B from artists like FKA twigs and Banks. We also discuss how the resurgence of disco elements and ambient vibes shaped the year's music landscape. Join us as we celebrate these unique records that added to the sonic palette of 2014.Episode Highlights:In hindsight, was One Direction's Four merely an average album, in turn marking an inevitable transition to their solo careers?Despite a positive reception, does Seeds by TV on the Radio remain an underrated gem of 2010s alternative?How did Jungle's self-titled album manage to successfully revitalize disco?How was Tycho's Awake album a unique take on ambient and indie electronic music?Why did Alt-J's “Left Hand Free” feel like a departure from their earlier experimental style?Instead of being despised, would U2's Songs of Innocence have merely been passed off as a basic effort, if it were not for its controversially invasive rollout?

"Stoned and starving" for music other than Gangnam Style (from 2012)? Deep Cuts: Lost and Found has just what you need - overlooked tracks from Parquet Courts, Tame Impala, Idles, Bob Dylan, ALT-J and more... Learn more about your ad choices. Visit megaphone.fm/adchoices

Alt-J's second studio album 'This Is All Yours' ten years after its release. It's Alt-J's most experimental album, with heavily layered and arty tracks. Also, an 'infectious' new single from Australian garage rockers The Grogans. Follow @asonicyouthpodcast on Insta and Facebook. This show is part of the Free FM 89.0 YOUTH ZONE. Made with support of NZ on Air.

This week Oliver compares the new War On Drugs live album with the 2020 'LIVE DRUGS' LP. The former live album is one of Oliver's favourites, so how does the new one stack up? Also, a taste of next week's show on the tenth anniversary of Alt-J's 'This Is All Yours'. Follow @asonicyouthpodcast on Insta and Facebook. This show is part of the Free FM 89.0 YOUTH ZONE. Made with support of NZ on Air.

Altjóða ráðgevarafyritøkan SWECO hevur gjørt eina frágreiðing um trygdina í Suðuroyartunlinum, um eldur kemur í, og tunnilin fyllist við royki. Frágreiðingin er ein lemjandi atfinning av váðametingini, sum liggur til grund fyri kostnaðarmetingini av Suðuroyðartunlinum. Loysnin, sum ráðgevarafyritøkan Norconsult hevur gjørt fyri Tunnilsfelagið kann ikki góðtakast, og livir ikki upp til null-visiónina, og princippið um at fólk skulu kunnu bjarga sær sjálvum út, um eldur kemur í, sigur ráðgevarafyritøkan SWECO.   Eisini verður ró framundir at Norconsult - sum eisini teknar tunnilin fyri Tunnilsfelagið - tilvitað velur hugsað dømir um støður har eldur er í, sum koma til eina ávísa niðurstøðu. Váðametingin loyvir eini loysn, sum er munandi bíligari enn tann, sum vanliga krevst til ein so langan tunnil - tað vildi verið ein loysn við rýmingartunli, trygdarrúmum ella rýmingarleið aftanfyri ein brandvegg. Teitur Samuelsen, stjóri í Tunnilsfelagnum var í Breddanum fyrrapartin. Sambýlið á Mýruni Á heysti í fjør kundu búfólk, avvarandi, starvsfólk og myndugleikar fegnast, tá klárt var til, at 18 borgarar kundu flyta inn í nýggja Sambýlið á Mýrini. Ein verkætlan sum gjørdist bíligari at byggja enn upprunaliga mett. 46 milliónir vóru settar av í verklagslógini, men sambært Búskaparskipan landsins var samlaðu útreiðslurnar 41,2 milliónir krónur. Almenna móttøkan var kortini útsett, tí longu 1. mai fekk Almannaverkið lyklarnar til heimið frá byggiharranum Landsverki. Tá gjørdist greitt, at bygningurin hevði ávísar manglar, sum Almannaverkið vildi hava broytt. Í gjár almannakunngjørdi Landsgrannskoðanin eina frágreiðing, sum staðfestir, at tann bygningurin sum Almannaverkið fekk, ikki var tann, sum biðið bleiv um. Hvørki í nøgd ella góðsku. Beinta Dam, landsgrannskoðari greiðir frá, hvussu hetta lat seg gera í Breddanum hesuferð.

On September 7th, music directors Mia Templien and Ritika Janapati interviewed itinerant artist Eli Waltz before his show at The Roxy on Broadway in Denver. Waltz discusses his life on the road as a solo artist and his inspirations for his music. 

Kay Adams hosted the latest episode of 'Up & Adams' on FanDuel TV and YouTube live from Los Angeles Chargers training camp! In today's episode, Chargers running back J.K. Dobbins shares the key to Jim Harbaugh being a good coach, building chemistry with quarterback Justin Herbert despite rehabbing an injury, and what's not being talked about enough with this team heading into the season. Next, Chargers linebacker Khalil Mack gives his fair expectations for the team this season, how much longer he plans to play in the NFL, and his ritual since college that's led him to many forced fumbles in his career. Then, Chargers cornerback Asante Samuel Jr. discusses the identity of the team in 2024, how he's feeling entering the final year of his contract, and playing for new defensive coordinator Jesse Minter. After that, Chargers offensive tackle Joe Alt talks about his thoughts on the first couple of weeks of training camp, his NFL preseason debut, and the transition from living in LA after moving from the Midwest.

Anche nei videogiochi si nascondono canzoni meravigliose. In Life is Strange, ad esempio, ogni gioco è stato assegnato a una band che ne ha curato la colonna sonora. Idea bellissima, non trovi?

Otobong Nkanga talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Nkanga, born in 1974 in Kano, Nigeria, explores the land and the environment in relation to our bodies and the cultures and histories that mould and define them. Working across sculpture, installation, performance, sound, photography and video, Otobong brings together what she calls constellations of images, movements and objects, to poetically interweave ideas relating to cultural history and anthropology, geography and geology. She fuses in-depth research with her own lived experience. The result is a practice with a distinctive coherence between materials and concepts, where references to present-day geopolitical and ecological realities sit alongside forms, metaphors and symbols that speak to broader timescales and narratives and disparate belief systems. She reflects on her early choice to pursue art over architecture, discusses her use of minerals and particular colours, recalls encountering the Bakor monoliths in Nigeria as a child, and then Western masters from Caravaggio to De Hooch in Europe. She talks about her enjoyment of writers like Uwem Akpan and Helon Habila and the huge range of music she plays in her studio, from Alt-J via Fatoumata Diawara to Rihanna. Plus she gives insights into life in her studio and answers our usual questions, including the ultimate: “what is art for?”Otobong Nkanga: We Come from Fire and Return to Fire, Lisson Gallery,London, until 3 August. Hosted on Acast. See acast.com/privacy for more information.

This week on the pod, the gang settles in to the project and describes their experience with Gord's 3rd solo release, The Grand Bounce.Transcript:Track 1:[0:01] Hey, it's Justin. You know and love us on the Discovering Downey podcast, right? So come hang out with us in person for the finale. Join us for Long Slice Brewing Presents, a celebration of Gord Downey at The Rec Room in downtown Toronto on Friday, July 19th. Craig is coming from Vancouver. Kirk is coming from LA. I'm driving from Vermont. And JD is like walking down the street or wherever he lives in Toronto. Tickets are available now on our website at discovererndowney.com. And when you get your tickets, that means you can come hang out with us and our very special guest, Patrick Downey. And you can bid on some incredibly cool silent auction items, all while jamming along with tragically hip cover band The Almost Hip. And most importantly, helping us raise money for the Gord Downey Fund for Brain Cancer Research. Crack open a long slice, put on some Gord tunes, take a journey with us on Discovering Downey, and then crack open another long slice on July 19th and hang out with us in the 6th. I always wanted to sound cool and say that. For more information, follow us on all the socials and visit DiscoveringDowny.com. Cheers.Track 2:[1:23] Thanksgiving. Victims and their victim-ears sit down to Turkey hungry for punishment full of mercury fullimate, serene after the screaming. Grace makes the mouth make shapes it's never made before. We give thanks for the poetry we read and write all day. For freeing us to drink with impunity a toast to no punishment replaces Amen. The prayer is swallowed away for the silence and the quiet carving serene after the was screaming, a little violent, but turkey nevertheless.Track 1:[2:08] Welcome, music lovers. Long Slice Brewery presents Discovering Downey.Track 2:[2:16] Hey, it's J.D. here and welcome back to Discovering Downey. This is an 11-part opus with a focus on Mr. Gord Downey, the late frontman of the Tragically Hip, but somebody who also gave to the world an extensive solo discography. Eight records in total. But have you heard them? That was what I sought out when I enlisted my friends Craig, Justin, and Kirk to discover Downey. These three are giant Tragically Hip fans, but they had little to no exposure with Gord's solo oeuvre. So every week, we get together and listen to one of the records in chronological order and see what we think. Did we miss out? Or did we make the right choice? We're going to find out on Discovering Downey. This week, we're going to dive into Gord's third solo release. This, with The Country of Miracles, it is the grand bounce. Now let's go to the team.Track 1:[3:27] Justin St. Louis, how are you doing this week? Week i'm worn out man and uh i'm ready for this thing to to take over my life tonight and just be back in the normal and enjoy the music and enjoy talking about it with you guys love it yeah kirk where are you headed off to next yeah actually heading off to the big apple nyc i'm uh going to be chaperoning my uh my youngest and they're going to be performing at carnegie so very proud pops Pops. And, uh, we just got back from a really cool trip in Memphis and Nashville and they did really, you know, they did fantastic there. So I've been surrounded by music and, um, that's inspired me, but I'm gonna, you know, concur with Justin and say, I'm definitely looking forward to a discussion about this album. I mean, uh, it's been a pretty cool journey so far, but this, I think this is gonna, this album is going to spark a pretty good conversation in my opinion. So, but doing well and looking forward to traveling again. It'll be interesting for sure. Craig, how are things on the left coast, motherfucker?Track 1:[4:36] Not too bad. Just got back from a family trip to Disneyland that was six years in the making. We tried it, you know, in 2020 and it didn't work out. And so we finally made it down with the kids and spent a few days in LA at the end of the trip and was lucky enough to have Kirk from Chino drive all the way out to LAX and we hooked up for.Track 1:[4:59] Little conversation and yeah, it was cool. It was a good time. Yeah. So first time meeting in person, which was a great night. It was really cool. Yep. No, it worked out actually great. I just got back from that trip with a choir that I'd mentioned and then, uh, hadn't seen my mom in a bit and she was actually staying, um, uh, doing some pet sitting at a house in garden Grove that had some good memories. So it kind of was a half, half the distance to LAX. So it worked out perfect to go and meet you and and i appreciated uh appreciated you giving up some time from your family for a little bit to have a good conversation so and i know it'll carry over tonight well this week on discovering downey we're here to discuss and dissect the june 2010 released from gord and his band the country of miracles consisting of the usual suspects canadian musicians oh.Track 2:[5:48] Man i'm gonna butcher this julie duaron right is that right yeah so she's on vocals guitar and bass then there is gourd's frequent collaborator josh finlayson.Track 1:[6:02] Dale morningstar on lead guitar dave clark on drums and dr p on keyboards chris walla a former member of death cab for cutie turned the knobs on this release but where do you start with the grand bounce it's been seven years and three albums since Gord's last outing, and The Country of Miracles sounds as though they've been chomping at the bit to jam with Gord yet again. This album, to me, is a band album as much as it is a Gord solo affair. As a result, it sounds more cohesive than the previous two releases. While it rarely reaches the heights of Battle of the Nudes, it is a remarkably consistent effort. It's worth noting that the songs on The Grand Bounce seem more structured and maybe even more thought out as three to four minute rock songs that are reminiscent of Gord's day job, The Tragically Hip. There's an energy on this record that's palpable. Perhaps it's the shorthand of working with the same band for three consecutive records?Track 2:[6:58] I'm not sure, but it's there. Now, once we get into the songs on this 50 minute, 13 song opus.Track 1:[7:06] It's tough not to get caught up in the sonic presence that Walla brings to the table. There's a depth to the maturity, And I'll use the term again, a cohesiveness that wasn't as pronounced on the prior two efforts. While the grand bounce is a perfectly fine listen, it's only after letting it grow on you. For me, it sat growing on me since I did the fully and completely podcast. And that to me is when it shows its real prowess, creating earworms and hooks that reel you in and invite you over for dinner just to hang out with the music.Track 1:[7:40] But what do our friends Craig, Justin, and Kirk have to say about the Grand Bounce? Let's not waste any more time and get right to them. Kirk from Chino, talk to me about your first experience with the Grand Bounce. Yeah, well, after we had finished up talking about Battle of the Nudes, I had had some travel for work, and then I was getting some other stuff ready for a very busy week. So I didn't get to jump on to a listen right away. I mean, it was a number of days. But I was doing a walk at night and, you know, cool walk with the dog and had it in my AirPods. And just right away, I was really taken by it. I really felt the maturity of it, you know, very reminiscent of what you had mentioned, JD, in your lead up to, you know, the discussion about the album is it just had a maturity to it. The band, it felt like a band album, exactly what you said. and I, as much as I loved the first two albums, I just felt a comfort. Like the whole time I've listened to this album, which is, I don't know, maybe 15, 20 times at this point, it just, it's a warm blanket to me. It's like, it now is okay.Track 1:[8:57] It's okay, I can like Gord Downie as a solo artist. You know, I just had a great experience with it. I really, really loved it. I could spend a lot of time talking, but I want to hear what the other guys have to say about it. Well, Craig, what do you think? Yeah, this was really a grower for me. I wasn't sure when I first put this on. I didn't think I would like it as much as I do. And overall, I really love this album. I have maybe a couple of critiques, which we'll get to later. Later but my my journey with this album actually goes back to 2015 when you may remember jd that we had a bunch of target stores open in canada in whenever 2010 maybe and they only lasted about four or five years and they went went under and when they were closing down they had cds on sale for five dollars you can get any it could get any cd and i happened upon the grand balance and And actually the next album we'll be doing next week and pick those both up for five bucks. And they sat on open for many years and I just opened them for this podcast. So I I'm lucky enough to have an actual podcast.Track 1:[10:05] Physical copy and the liner notes that came in them so i may be able to offer a few little nuggets um one i would just want to mention off the top chris walla is actually mentioned as a member when it says the country of miracles are and it lists all the members plus him so i believe he was playing guitar on wow much of the album wow very cool some of those videos he was playing so that i'm not surprised by that and i love that thank you for sharing because this is actually the only album that I couldn't get. I tried to get vinyl of everything, but I don't have a CD. So everything has been streaming or online.Track 1:[10:41] And I watched several videos with interviews and he talked specifically about the inlet, the vocal or the lyrics. And you just showed a picture of it, Craig, and it's not the standard sizing that you normally get. So I appreciate you sharing that. That was pretty cool. And I think also what I learned with this album is again, just to trust Trust, you know, Gord, you know, you may not like it right away, but give this album a good listen if you haven't before. It took longer to grow on me than the other two, but highly recommended. Yeah i think a good strategy with this record is to listen the fuck out of it for like two or three days and then put it on the shelf for a week and then pick it up and there's something like kirk was saying that's comforting about it you come back to it and you're like whoa this is really fucking way more hooky than i imagined when i first listened to it but let's uh talk to our friend mr st louis what do you say on the matter of discovering downey v the grand bounce So I also had the word warmth written down, and I did take your strategy, JD, of I listened to it probably 10 times. I started immediately after recording our last episode, which is how I had done the previous. I was like, okay, this is not Battle of the Nudes.Track 1:[12:04] And I immediately heard what I thought was Bob rock sound. But then I realized this isn't Bob rock sound and neither were those other two albums. This is the era that Gord was in with the hip and all of the Bob rock haters probably owe him an apology because this is the type of stuff that Gord was writing at that time. And so it did feel familiar and it did feel comforting and it did feel warm and I liked it. I also, you know, during this time, um, when the album came out i was listening to kings of leon and mumford and sons and stuff like that and there's a lot of that in this in this sound and i you know i was a uh death cab for cutie fan at the time and you know postal service and all that stuff i mean so it was very contemporary for for when it came out and it felt like it belonged in that 2010 range but.Track 1:[12:58] For me, it was a big letdown after Battle of the Nudes, because that album was so damn good. And because we didn't have seven years between recording these episodes for our musical tastes to change, it was like, whoa, this is a massive shift from what we had just digested into this new album. I don't hate it, but I don't think I love it.Track 1:[13:20] Wow. Yeah. I don't see it as such a massive shift. It's going to be interesting as we get into the track by track. Should we do that now, gentlemen? Let's go for it. Let's do it. Okay, the first track on the record is a great one for me in the sense that winter has ended. But when I think about winter, I think about that. I think about Gord standing on the edge of Riverdale Park and having somebody discuss this east wind with him, this strong east wind that blows in and is very cold. And we're going to hear from Craig first on this one. So, Craig, what do you think of the east wind? This is the one song off the album I was familiar with. I had seen maybe a video, I'd heard it quite a few times, and I love it. I think it's a great opener. I want to point something out really quickly that you guys wouldn't necessarily know without the liner notes, but there are Roman numerals, one through four, throughout the album. And at first I thought maybe it was to do with the record I thought maybe the four-sided record which it is, I looked it up but the.Track 1:[14:29] There's three songs per side on the records, and it doesn't quite jive with the numbers in the booklet. So what I think is, I've come up with a little story around, this isn't a concept album by any means, but it's definitely got a story to it. And so I've actually listed what I think the story is about, and I think section one is about a move. And so you've probably done the research too and and gourd at the time was moving up to glenora on the um on the great one of the great lakes so this this first section i think all the songs kind of relate to moving uh the east wind maybe not as much but also interestingly enough the east wind is the only song that doesn't have lyrics printed out in the booklet and i'm not really sure why that would be what yeah so there's a quote at the top it does say the the quote about the east wind is the laziest wind, but right under that is track two. And if you saw some of the video research or YouTube, he talked about it was a neighbor who was a farmer who was describing the east wind, the laziest wind.Track 1:[15:40] So I found that very interesting, Craig, when you proposed the theory of the story. Because I could think to several of the different interviews and different discussions about different songs and how he's definitely pinpointing some real life things that are happening. Like you mentioned the move and, and, uh, obviously some discussions about relationships and, and then he's got his kids involved in some of these songs too. So you may be onto something, my friend. Another theory theory I have is that maybe this song is meant to be like a little bit of an introduction sort of before the story starts. And maybe that's why it didn't have the lyrics in here or maybe it's a misprint who knows, but the song itself musically is, is great. Uh, very much a band jamming again, like we're used to from the previous two albums, but just more layering, more production.Track 1:[16:30] I really love how the guitars are layered. From my count, there's five guitar players on this track, including one who I couldn't find any mention of anywhere on the internet. Someone named Edgar Lewis played guitar, and I believe he plays the guitar at the end, the little guitar melody, the sort of New Order style melody at the end. I couldn't find anything about who he might be. The name Edgar, of course, made me think of Gord's middle name. So not sure if there's a connection there. But yeah, I could not track this person down online. Anybody out there knows who Edgar, what his name is? I apologize. What's his name again? Edgar Lewis or Louie.Track 1:[17:10] Edgar Louie. If you know who Edgar Louie is, shoot us an email at discoveringdowneyatgmail.com. I wonder if he's an acquaintance of Chris Swala. Possibly. Although they did record in Kingston, so it would have been quite the trip for one little guitar melody. But yeah, maybe he was someone working in the studio. Maybe he's a friend of the band or who knows. But yeah, the Chris Walla production is very noticeable on this song. The way things are, you know, I think Gord even mentions in an interview, he just keeps layering things every few bars and very evident. The drums are a good example of this in the song. They come in kind of lightly, but they're still pretty intense. And then the toms come in, and you've got that really almost tribal beat for the first few bars once the whole band kicks in. And then you get just sort of a regular beat. But it's always driving forward. There's always momentum with the drums. It's always picking up momentum right through the end of the song and really strong playing all together. Such a solid song. I think the second part of that build, when I first heard it, was like, oh, this is sort of like maybe some of the tone that was on Battle of the Newts, where it was kind of subdued and subdued.Track 1:[18:31] Just there. And then there's this massive sound, which really works. I do love the song a lot. And I believe you that there's five guitars in it. Um, cause if you have earbuds in and turn it up, you, you feel it. Yeah. And while the chords are quite simple, when you really listen, there's actually a lot going on, even with Gord's guitar. And I feel like on this album, he has matured as a player. You can tell, you know, he's got another seven years of experience and we never did really talk about on the previous episodes his guitar playing but when he first started playing guitar in the hip it was a bizarre thing to watch his strumming patterns it was so awkward to watch him as a guitar player and i'm not even sure he was really too much in the mix back in the early days but he has grown so much as a guitar player he's playing a lot in open tunings i believe i've read that open c was his favorite so i think a lot of the songs on this album or an open C. I noticed in the videos he was playing a Tele for much of this session rather than acoustic.Track 1:[19:33] And yeah, there is a lot of subtleties to the guitar playing, even though it's basically two chords through the whole song. I was going to mention, Craig, and we've all obviously did our research and saw the YouTube, but the bathhouse sessions when they were recording. And, and I'm honestly, it's like, it's a question to this group. They, they were all isolated, but they were all playing live. And you had mentioned how much he was playing guitar. And in the, that little six part series, I loved how Gord was so committed to playing guitar, as you had mentioned. Like there was typically when you're recording an album like you want to do the the vocal and the guitar separately and he was nope i'm going to do it together because the guitar strumming was creating some of the cadence of the vocals and and i loved how or i felt like that was demonstrated there so i think that's a great point that you brought up craig that he was really focused on that playing yeah that makes this album easier to sing to we had mentioned whether i don't remember if it was on air or off air, but we had all had trouble singing along with the first two albums. And this one is much more poppy and rhythm driven. And I think you're absolutely right, Kirk, that him playing the guitar as he sings and it's in every take really kind of made that happen. I also did notice if you, it's really low in the mix, but when this track first starts, somebody says, no more takes.Track 1:[21:01] Like, we have to do it this time, you know? I really, I picked up on that and I enjoyed it, especially after watching that six part series. I'm gonna jump on your story theme, Craig, and Moon Over Glenora.Track 1:[21:14] The next song on the album.Track 1:[24:18] I absolutely love this song right and he talks about the ferry ride and that really goes along when you think of the east wind and being off the lake and then now talking about the ferry, uh justin what'd you think about this song oh man this song solidified my crush on julie this is, such a great track and the duet through every word and then the live performances of this song that i I was able to find on the, on the hips now for plan a record, there's one lyric that's, we don't want to do it. We want to be it talking about the music and they are absolutely the music while they're playing the song. And it's just a lot of fun. And it's like a, it's like going to a club show, which it probably was. I really did love the song. And for me, the ferry ride across Lake Champlain is just a part of life here when you're going over to New York and it just, just talking about the spotlight, finding the ice in the water. I've been on that ferry and the song is really, I think, about two people falling in love, not knowing that they're falling in love. And they're kind of bickering and arguing about it. And they get outside in the ferry and it's cold and it's terrible and you got to stay warm, so let's complain about something.Track 1:[25:29] And they talk about the wolf and they've killed the wolf by the end of the ferry ride. You know um it's the the imagery is really cool and the dead lake right isn't that the last the ocean is dead the ocean is dead yeah yeah it's a great little song i really do love it but i think the star is julie and this really she's fantastic yeah i uh story-wise i actually had almost the opposite thought to me it was maybe um a couple falling out of love and maybe this is the the cracks are starting to show. Like maybe it's not totally fractured yet. And again, I'm not saying that this is about Gord or, you know, I don't know too much about his personal life, but I do know parts of this are inspired obviously by true events, you know, the move to Glenora. Did anyone watch the interview with Gord with Kim Mitchell? If you guys even know who that is? Yeah, I did. Do you know who he is?Track 1:[26:26] Well i had to look it up i didn't know who he was immediately and i got confused because it was that little two-part interview and he had mentioned something about being and i think like saint paul minnesota and it threw me off because it said toronto but then in the second part they they confirmed they were talking in toronto um the one thing sorry and i hopefully i don't derail your thought but the one thing that i loved on that particular interview is the reverence that gordon had for that particular guy so i definitely had to look him up you know to see the songs that he was involved with and and he was uh you know as he mentioned in that he's a hero so sorry go ahead i just wanted to bring him up because he's a you know a classic canadian artist i'm wearing my my cancon shirt here and uh he was definitely a a big part of you know the music scene here in in the 80s and 90s i guess i brought it up because um this was a song that he mentioned really loving that you know kim really loved it also i found it really interesting I'd never heard this before, but Gord references a song that the two of them wrote together.Track 1:[27:29] And by the sounds of it, it's a song that was never released. So it sounds like Kim Mitchell had a song he wrote and then Gord wrote the words too. And so there may be an unreleased song out there, or maybe if a listener's heard this or has any idea how to track this down, I'd love to hear it. So that was my only thing I wanted to add. Oh, and also Dale does some really really cool guitar, little shots on, on this sort of beat two and four. And then he does these little muted scrub scrubs. I'm not even sure how to.Track 1:[27:58] How to put in words what that sound is i'm you know what i mean kind of like a pick almost like a pick slide into the the bends i mean i don't know it it's almost it's a it's a technique it's not it's a rhythmic pattern that he's doing yeah and with with some notes in there but they're sort of muted but anyways i thought that added some nice accent but i agree with with you justin that julie really steals the show on this one it's such a good song on many of the songs on this album that combination of voice, to me, that was what I had mentioned earlier about how much I enjoyed this album, is when you feel that the band is now a band and you feel that connection. But we are so used to hearing Gord as part of the hip and that amazing combination of vocals that he has, you know, with Paul and then obviously with the guitar phrasing and how the hip is the hip and you can hear that. And I think with the vocals that he has with her on many of these albums, but especially on this particular album and several of these songs, to me, that really solidified like, okay, this is a great combination of musicians that are doing fantastic things. So I so appreciated this song.Track 1:[29:19] Another, Gord has that ability to do like an upbeat rhythm and kind of like Pascal's Submarine that we talked about in the last album, where it's kind of a dark subject, but it's a very upbeat song. So I really felt that with this particular song. I couldn't help but think, as he said, the ocean is, as they were repeating, the ocean is dead at the end. I was just thinking about all the water songs that Gord has and how water must be his Roman empire. There are a couple things that come up on this album over and over. Water is one, color is another.Track 1:[29:57] Um, and day and night is a third thing. There was a fourth, I can't remember right now, but there was some definite themes through the entire album. Kirk, what did you think when you first heard as a mover? What I loved specifically about as a mover is the buildup. I think Justin may have referenced in, in some of the, those interviews where, um, how the production was every four bars, you got to get something new. So this really was uh okay you know you get the train feeling that's going on it's that moving it's the transformation it's the sorry not transformation but him him relocating to glenora as we'd mentioned now we're going into this as a mover and you know this these lyrics not just specifically for this song but for for this all album and i think in one of our messages together.Track 1:[30:53] It was hard to pin down some connections on some of these there there are some that are that are there but I agree with that that that guidance on that so as a mover to me loved it you know the sarcasm hey baby want to kiss closes it out with that that that particular theme and it's It's a driving, great rhythmic song. Another thing that was clear in my memory in some of the interviews that we got to see was he was so excited about this album in that it was genre-less, right? You can't just say it's a country album. You can't just say it's a pop album. You can't just say it's a jazz album. It has a little bit of everything. And he even talked about touring for this particular album, that they were doing a bunch of festivals and that they were jazz festival, a pop festival, a rock festival. It was different. So he was pretty proud of that fact. And I got that feeling with that as a mover. Justin, what was your take on the song? So I found a note somewhere that when Gord was writing this album, he was reading a book about Custer. And the title of the album, The Grand Bounce refers to a phrase that was coined during the Custer's involvement, whatever, in the 1860s. Whenever they deserted the cavalry, they called it the Grand Bounce. And desertion and moving and all this stuff really tie in together and –.Track 1:[32:22] This song is kind of what really sparked my thinking about that. Like, you know, this is, there's something happening here and yes, the, the train, you feel like you're on a train as soon as the song starts. And, um, it's definitely a different sound. This song is way different than anything that Gord had put out previously. And I know, again, I, it, it kind of rubbed me the wrong way a little bit. I mean, I've, I've come into all this with an open mind, but it was like, what is he trying to do here? It didn't, the production of this album, And the sound of the songs just did not match up with the first two albums. And this doesn't even match up with anything else that's on this album. And my first reaction was, is he trying too hard with this song to sound different? But it certainly has grown on me. But the theme of moving and desertion and the grand bounce itself, this song tied the album title together for me. Craig, what do you think? In the lyrics, you've got the wife, you know, not wanting to move and you've got the kids wanting to move all that, you know, wanting to go everywhere. And he says he's in the middle, he's got no opinion. So I kind of like that tension in here. I also love the line where he rhymes pressure and less sure. Oh, and he does it in this low register the second time through?Track 1:[33:44] I'm even less sure. And when he says it, he's almost talking it. It's so great. Yeah. And I know I mentioned to you guys in text that when I first heard this song, I was not a fan.Track 1:[33:58] And JD, you were a bit surprised by that. And then it just grew and grew and grew on me. Like more than any other song on the album. I love the song now. I really was not a fan at first. Just love the whole feel of it. And the little drum shuffle with the brushes. And i think what i didn't like at first was just the chorus there was something weird about just those words as a mover it's just not very smooth sounding it doesn't roll off yeah and so that that kind of bothered me at first but really it's whatever feelings i had about it have totally changed now i think it's totally yeah it's a really cool song i was with you that you know At first, I just didn't like it. But then I remembered the song is now 14 years old. And when it came out, I was listening to Mumford & Sons and I was into that sound. And this could be on one of their albums.Track 1:[34:50] And I had to force myself to transport back to that time period. And I would have loved the song back then. And also the, you know, the title as a, as a mover, it made me think like a double meaning could be like a mover is also a dancer. And the next song we have is the dance and its disappearance. And this was another song that I didn't love at first. It's still not one of my favorites on the album, but once I read the lyrics, once I got into the CD booklet and started trying to figure out what it was about, I started to appreciate it a lot more. And so I just want to read you this quick quote in the booklet. There's a quote from Crystal Pite, who I believe is a dancer. And she writes.Track 1:[35:38] It is an extreme expression of the present, a perfect metaphor for life. And it goes on. Once I kind of got what that phrase meant, it just started making sense. And when you watch the live videos of this song, every single performance of this, Gord has something to say about people in the audience with their cell phones. And he's very appreciative when there's not too many people with their cell phones. And he talks about, if you're filming this on a cell phone, you're getting 10% of the experience. Put it away.Track 1:[36:08] And there was one show in Victoria and I wrote down what he said. He says, you like that things disappear as they're happening. I don't see any phones in the air trying to capture 10%. Your brain can handle it. Let it resonate. Let it sink in. Wait till tomorrow, the day after, it'll be all right. Yeah. And I love that message. Yeah, me too.Track 1:[36:26] Fuck. Kirk? This song, when I first heard it, and we've had this discussion on some of the other albums, You know, can this be a hip song? And that opening little riff on this particular song was very hip-like. And there was another interview that I had looked up, I think Alan Cross was his name. And he had even had mentioned that on this particular, he wrote simply a hip-like song. So I think that was one thing that I appreciated is there was not any fear anymore. Like, it's okay because I am the guy who writes the stuff for the hip. So there's going to be songs that sound hip like, and I think he embraced it. But I think that I, the thing that I loved about this, and as I mentioned on the other songs and you guys as well is the, the harmonies with, with, with Julie on this, like that's okay. This is Gord Downie. This is that sound where with the hip it's, this is what I sound like when I sing with Paul or whoever's doing the backup. And I believe that he really captured that in this album, but that song as well. So that was one thing that I noted in my research on this particular song. I think this is my favorite tune on the record.Track 1:[37:41] Gord had that theme, let it disappear into the night and let it happen, use it up. That is a decades-long theme in whatever he's done, and I love the message. I also love the word a squirrel. Holy crap. What a great way to convey that you can't settle down. My mind a squirrel. Holy crap. Did anyone else look up Sudbury yellow? Speaking of colors, I mentioned earlier that color is a huge theme throughout the whole thing. Also tying into the cover art, which was actually a painting by Gord Downie himself. So I think art was much on his mind during the recording of this album. And there is different mentions of colours in so many different songs. So Sudbury Yellow references the colour of the staircase at Sudbury Hall in England. And when you look up a picture of it, it's a very striking yellow. It's actually pretty neat to look up. And also another great So he rhymes the word orange with door hinge. Yeah. Blood orange with door hinge. Yeah. That's great. And I did notice the color theme throughout this and, and art is again, a decades long theme with, with Gordon. And there are many more examples through and we'll get to that.Track 1:[38:57] Well, let's stick with you, Justin, and move forward to The Hard Canadian. When I think of this song, I always, I can close my eyes and I picture, this is going to be lost on the two Americans, I apologize, but I picture Relic from The Beachcombers as The Hard Canadian.Track 1:[39:16] Beachcombers was a CBC show based in the West Coast, and there were some hard-living fishermen type, and there was one character who was sort of a scoundrel, and his name was Relic, And he just looked like a hard Canadian. He looks like the lyrics to this song. But Justin, what do you think of the hard Canadian?Track 1:[39:34] So I had two trains of thought on this. And one was that I thought Gord might have been singing about himself and just the fuck you today kind of thing. But I also thought it was about the weather, maybe in the winter. And go out to the plains and it's brutal out there. And the hard Canadian weather doesn't care about you. You know, and yeah, so the hard Canadian in my weather theory is the hard Canadian don't give a damn about you. What's a windswept face to the elusive presence of the sun to the hard Canadian? Like, you know, it's winter all the time in some places. It's dark all the time in some places, you know, north of 60, right? And it's the line, whether he's just mean or willfully dense, like the weather is controlling itself. self. It was like Mother Nature or whatever is doing this on purpose to test you. Let's see if you come out the other side. Again, the art theme, there's the quote, and it's in quotations from life nothing to death nothing, refers to a piece of art by Frank Stella, which is, forgive my Spanish here, but de la nada vida a la nada muerte. Is that how you'd say it? But that's what it translates to, from life nothing to death nothing. And it's this massive piece of art that's It's very 1965 looking and it's just another theme in there. And I don't know how it ties in other than it's a.Track 1:[40:59] You know, foreboding dark quote. That's just my, I don't know. That's my interpretation of it. But you know, Gord obviously was going through some stuff too. And, and it, it felt like this was almost a third person narrative of a first person point of view. There was two songs on the album that I'm familiar with. The hard Canadian is the first time I heard it. I had definitely had heard it before, but had not, you know, process that it was not a hip song. I think I thought it was like a deep cut hip song or something when I heard it years ago. But the other one is, and I know we'll talk about it, The Night Is Forgetting.Track 1:[41:36] He would sing it when he would do hip songs. He would sing some of his gourd songs. So when I read that story or heard about that story, I'm like, I know I've heard that song before when they played out here in LA or whatever. So, but anyway, the hard Canadian, what he had mentioned was it was Mike, Mike Clattenberg trailer park boys. That's that, that's it's one of the series that I haven't watched. I've watched letter Kenny and I've watched, you know, several other Canadian, but I have not watched the trailer park boys. And he had mentioned that it was one of the guys I guess is one of the creators and he's like yeah I got this new thing and it's hard Canadian it's dope and and so when I'd heard that description I immediately thought of like if you guys are familiar with letter Kenny like Wayne is he's hard Canadian it's just gonna smoke a you know go out and smoke and have a puppers have a dart yeah having a dart exactly so that that was the imagery that I got from it I want to point out that this is the first song in section number two lyrically in the lyric booklet.Track 1:[42:39] And I just noticed that there's a quote here from Walter von Tilburg Clark, night is like a room. It makes the little things in your head too important. And I just realized that's the second verse of the East wind. And then I glanced forward section three has the lyric from the third verse. So the lyrics from the East wind are in here, but they're, they're heading each sections. And so in my mind, and they're quotes from other authors. Is that what it is? Yeah. It was, um, he said that song was made up of the East wind I'm talking about was made up of quote, like three quotes that he, that he loved. And I had seen that somewhere. Yes. And so the hard Canadian to me is like what JD said, like I'm picturing like a relic type. I had a baseball coach when I was a kid who he's this older guy and he always had like this about one inch left of a, of a homemade smoke. And, uh, and that, that line where he says, takes a puff of puff of nothing and pick something from his tongue. Like I just picture Mr. Heller, my baseball coach who, you know, for four years, you know, first 10 minutes of practice, you don't wear a glove. You're, you're passing the baseball just with bare hands and, and just thinking back to those, those times, there was another line that I want to bring up the silences.Track 1:[43:55] He don't listen to them. Do you think that's a reference to Pascal? Maybe that's interesting. Uh, I hadn't thought that, But because I'm thinking now my mind is a squirrel and I, I'm almost thinking this is about, you know, that, that, you know, rural Canadian, um, you know, like a relic type. And in my mind, Gord is trying to say maybe that, that there's more, more to that person than, than maybe meets the eye. I don't be so quick to judge when he says he, he blurs the image, drags his brush through the wet pigment. To me that line saying you know don't be so quick to judge the hard canadian well right at the end he mentions remembering someone too and that's absolutely you know makes sense and i know a lot of hard frenchmen that are from quebec that have been through hell and you get down to it and they're just you know beautiful soft men inside but you got to get through seven layers of onion to get there.Track 1:[44:56] And that really ties perfectly into the next song, which is Gone.Track 1:[48:41] Because it has a very similar story behind it, which I'll get into it a little bit. But Kirk, what were your thoughts on Gone? Yeah, no, I love that you actually had mentioned that you're going to get into more of the meaning of it. Because I have some thoughts and ideas, but what I really wanted to talk about on this particular one, from the musician side, that I absolutely loved about it is – I'll give the note that I wrote. And I can't remember exactly who it was that mentioned it to Gord, but he said it sounded like a moose in the distance.Track 1:[49:16] And when you listen to this tune, which is a beautiful tune, another great example of the harmonies, it's another one where you just hear the range of Gord's vocals that are just phenomenal and how he can cover the spectrum with that. But the fact that Dale Morningstar was using a theremin and had several different layers of the theremin recorded on that and you hear it. And then when you get confirmation of it, you go back and listen to it and you go, oh, wow. Right. Because there's only a few songs out there that we all know and love that have the theremin. Right. There's only what the Beach Boys and Led Zeppelin or the, you know, have have really pulled it off. So it's cool to see them jump out from a musician standpoint, musicianship standpoint.Track 1:[50:05] The other thing that I wanted to mention before, and I definitely want to hear Craig's thoughts on the meaning of it, was that Gord had mentioned in one of his interviews that this and I think The Night Is Forgetting, he called it the grandma and the grandpa. So he'd had these songs for a long time and he'd matured with them. And so I think that that anticipation of so much time between the two albums, but then having songs that came, you know, at different points along the way. And I just felt like this one had, it had marinated and it was, what was presented was what had, he had settled on, because I think that happens anyone who's done music creation. You're, you write it with a thought, a producer takes a look at it, an engineer takes a look at it, the rest of the band, and it becomes something different.Track 1:[50:55] Anyway, Craig, your thoughts on some of the meaning behind it. In the booklet, there's a quote from a Polish writer named Bruno Schultz. And it says, He had not been rooted in any woman's heart. He could not merge with any reality and was therefore condemned to float eternally on the periphery of life in half real regions on the margins of existence. And apparently this was in reference to his own father. So again, coming out of the last song, it seems to kind of tie into that idea of, at the end of The Hard Canadian, where there's someone he was remembering. So this idea of, there's actually the lyric in the song, gone and feeling half real on the edge of your life. And that ties directly to that quote. quote musically the bridge that there's a building bridge with uh julie singing backup and.Track 1:[51:48] Really really great songwriting and this was another song that really grew on me it's just such a catchy kind of fun fun song uh justin what did you think no i loved it right from the beginning it yeah it builds and it starts really slow and then it gets really slow again in the middle and it's quiet. I didn't dive too deeply into the lyrics, but there's definitely, you know, this is a life story kind of thing. And maybe at the end of it. Yeah. I just, I really love the way the song made me feel and that's only surface deep, but sometimes that's all you need in a song. And I don't know, I could listen to this one over and over. And I have. Okay. Kirk, how about the drowning machine? What are your thoughts there? I think we have another nautical disaster, could we call it, on this next song? Yeah, yeah. Through Drowning Machine. Drowning Machine. Until I actually looked it up, I didn't really know what it was talking about. But apparently, the Drowning Machine is like a common name for a weir, which is a low head dam, which if you've seen pictures of them, basically what happens is the water just cycles. And just if you get if you end up going over one of these dams you're.Track 1:[53:02] Pretty much not getting out and so gourd had apparently read a story about um about some girls being saved from the the bow river in alberta and um there was actually i i kind of looked up this this bow river and there's this this notorious um spot on the river where where i believe it said had 14 deaths in 30 years and they actually had a there one story there was there was actually a boom across so if you if you're totally out of you know if you miss all the signs and you you keep going down you can grab on to this boom at one point a storm had washed it washed it away and so a couple of men died in in i believe 2007 because the the boom had been washed out and so finally they did some construction and they and they have now made it into uh an area called the Harvey, this is called the Harvey passage. And apparently people go there to do white water rafting. And there's actually two kind of, um, passages that go through now two channels, uh, at different levels of, you know, for, for different levels of experience, um, for, for rafters. I had, I had done some research on the, um, Glenora song and there's a very treacherous river that it's like, Hey, don't go there, fly over it.Track 1:[54:20] And this reminded me of, reading about that, it reminded me of Niagara Falls, just the immense force of the water at the bottom. And you're not going to get out of there if you go over the falls.Track 1:[54:37] We had a deer camp when I was a kid on the Huntington Gorge here in Vermont. And there's a plaque with a list of 30 or so names of all the people that have died in the gorge. And our deer camp was the spot where the state police would fish the bodies out of the river every time there was one that ended up there you know we we couldn't get to the to the camp because they would use the front porch to be their their base of operations oh yeah wild and i i have to say at the end um there is some lead guitar at the end by dale that really at this point in the album when I was, especially on first listen, when I wasn't totally jiving with some of the earlier tracks, this song was the one that immediately I loved, like right off the bat. And hearing that guitar when Dale finally cuts loose and really leans into that dissonance, I felt like, okay, I'm starting to get this. And Kirk, what did you think of this? Yeah, I am fascinated, obviously, with Gord's fascination with water and the nautical side of things. But again, I think this song was just another great example of their time together and how they really... And I don't know if you guys noticed this.Track 1:[55:58] I don't think they played this on that six-part one, but I really enjoyed that it wasn't like a monarchy. You know, it wasn't Gord was given direction. It was everyone was involved. And I really loved the different parts that you would see with Chris Swala and his just subtle, nice guy production tips. So, um, I really love that interaction of, of how now that they've been done.Track 1:[56:25] A couple albums together and now it had been a little bit. And I also read something about how, yeah, they wanted to definitely get that indie vibe and they definitely wanted to have a variety of different styles of music, but how they also, you know, they're also very accomplished musicians and they've spent some time with some big bands and have played in some pretty, pretty big arena. So they could bring that to the songwriting and, and, and, and the music within this. So, and I really felt that too, moving into Yellow Days, which was the next one.Track 1:[1:00:51] I love this tune. This tune to me, and maybe I'm hearing something wrong, but there was almost kind of like a jazz bossa nova, just a real kind of amazing groove to it. And I also loved hearing about the story about Josie Dye, I think was her name. And they had had a passing at a festival way back when, when I think she was a hip fan and he was just walking around and that that that's That's actually part of the lyrics in this particular tune. But I love this song. He talks about it in some of the interviews and the descriptions about just the Canadian summers and how much the Canadians love that summer, but it goes by so quick.Track 1:[1:01:36] And so they're really just trying to make the most of every time they have good weather and they have a good moment and also keeping with Craig's color theme, which I love that you brought that up and along with the storytelling that's going on uh you know this is the here we are and and enjoying that summertime and almost reminiscent of them recording this album right for the two weeks i think in august and in 09 so justin did you dig this song yeah because we have the same summer and winter pattern that that you guys would up north today you know inside baseball we're not recording this in the summer when this is coming out we're recording it well before and it was the first warm day this year and I wore shorts and it was only 61 degrees outside. It was very windy. I shouldn't have had shorts on. But you take those moments and you wrap your life around them when you can get them. And 61 felt like 81 today. And I know the Canada gray because we have that here. It's Canada gray. Even as it's warm today, it's Canada gray outside. And just the imagery of it is wonderful. wonderful yeah and i mentioned the earlier the you know the theme of of days and nights so you know that's very obvious here uh and going into the next song and um.Track 1:[1:02:53] A couple of things, Kirk, when you were saying, you know, that beat at the start, I had the same thing. I was actually trying last night to figure out what type of beat this really was. The word that came to my mind was Calypso, but then I looked it up and it was not correct. But like this South American, like it's something I've heard. Bossa Nova was what came to my mind. So, you know, Calypso Bossa Nova, it's definitely a Caribbean feel. And, you know, the fact that it's on a Gord album, you know, again, just really talks to, you know, we had your hardcore on the last one and now we're doing Calypso Bossa Nova, you know, jazz type stuff. It's brilliant in my opinion. It reminded me of my grandmother's organ, you know, had those big tab buttons that there's a there's a pre-programmed beat and it's really bad not that the song's bad but on the organ it is yeah kirk your story about the you know everyone you know in this you know having so few.Track 1:[1:03:54] Summer days in certain parts of canada it reminds me of back in 96 my band was was in winnipeg we were playing you know this show at a you know the club that all the you know the all the decent bands played at and so we were really excited about playing this this club and uh it was on a weekend we thought like this is great and it turns out it was the the long weekend in august and everyone in town leaves for the for the lakes and there was nobody in town like not just for our show but anywhere it was just bizarre so those are the the yellow days of winnipeg well let's Let's continue on with you, Craig. Keep this wagon wheel going and talk about Night is Forgetting, which is a great title. Yeah. So, so again, the day, day and night theme and we go from yellow days and tonight is forgetting.Track 1:[1:04:46] And it was really bugging me this song because I'm like, I know that I know this song and I couldn't figure it out. And then I felt so stupid a week ago when I actually looked in my, on my phone and I had the hip version of this, which is from about, I think 2005, it was just a single. As far as I know, it was just released out of nowhere. It was, uh, I think it was left over from in between evolution. Okay. So, so I did have it. So I definitely been listening to it, you know, in the past, but it never was a song that, that interested me very much. So this one again, grew on me. I think I prefer this version now. It's, it's a little more upbeat. I love the piano. So, so shout out to Dr. P, John Press, who I don't think we mentioned last, last episode, but he is such a great player. I actually looked him up last night. I couldn't find too much about him online.Track 1:[1:05:38] And he is so tasteful. He never overplays until this is like, it was almost like someone said to me, you know, just, just let loose. And you can actually see, I'm sure you guys saw on the, on the bathhouse videos, you can see him rehearsing this on his own, kind of coming up with a part and man, he nails those, those runs. It's very impressive. It's so good. So I wrote, or I heard, and I could have definitely stole it, but I heard piano flurries. And that's exactly what it sounds like as a piano flurry when it starts driving. That's exactly what my note says. Yeah, piano flurries. And the one line that stuck out with me or to me was the dew drops on the luminous veil. And I know he mentioned this in the Alan Cross interview and the luminous veil being the suicide barriers they put up on the Bloor Street street viaduct in Toronto. I guess it was a place where there was just mass amounts of suicides, just 500 suicides and they finally put up this barrier.Track 1:[1:06:41] It's a 10 minute walk from my house, the Luminous Vale. When you guys come here, I'll show you the Luminous Vale. At night, it's very pretty, but in sort of a, I don't even know, like an eerie way because Because the sections that hold the guy wires up all look like crosses. Yeah, it's heavy, man. And so my last thing about this song, in one of the interviews, Gord, he mentions that he read a quote from, I believe, Thomas Jefferson saying something about war is forgetting another country's resources.Track 1:[1:07:19] And he said, I just replaced war with night. On the hip version of this, he actually does sing war is forgetting in the last chorus. us. So he changes that for this version. But I was actually looking up quotes from Jefferson last night. I didn't find anything that resembled such an idea. So if any listeners know what he was referencing here, I'd love to hear from you. So when Gord passed, there was an interview on some news, whatever, with Ron McLean from the CBC, or I don't know if he's the CBC anymore, more, but I knew him from Hockey Night in Canada growing up. And what I think was a quote that Gord said, but I've never been able to find it attributed to Gord, was, night takes the chances, day the reward. I love that quote. And he wrote an op-ed about Gord's passing that included that line as well. And it's just a beautiful line. And I sort of.Track 1:[1:08:19] Think of myself with my work that way. I sleep three hours a night just because that's how my body works. And I'm up till one in the morning and then I get up at 5.30. But I also love that forgetting and forgetting are really just a great sound in the song that can be interpreted in any possible way. Yes, I love that part of it. And as I mentioned earlier, this was one of the songs that I know I had heard before. And honestly, until I just recently had either read or heard that it was a hip song or that it was used on a couple of hip shows, I feel 100% positive that one of the shows that I saw, they played this. I haven't gone back and look at all the set list yet, but I feel pretty confident of that. So yeah. But just love the musicality of the song. I mean, that's the only thing I would add is just the musicality is insane. I have created this little thing that I've called Gord's Annunciation Era, where he's got a section of his career with a hip where he absolutely nails every letter in every word. And think of the lonely end of the rink, and it's a very hard – and this song is a great example of that. You know he says every letter in every word in every phrase and it's just a it's very distinct this this section of maybe eight or ten years of his career whether it's with the hip or solo.Track 1:[1:09:46] And I just love how he really makes his body be an instrument with words. And also the line, he says, weird undercurrent, we're undercurrent. And again, another reference to water in a way, but just thought that was a neat little turn of phrase there. Yeah, he's so good at that. And he changes just little tiny tweaks throughout this album in many different songs with words and lyrics and how he, it sounds the same on first two or three listens. And then you realize, oh no, this is a completely different set of words. Christmastime in Toronto, he did that too on the last album. And at the very end of this song, I love how he's singing over and over. Night is forgetting and then forgetting. And then there's one time when they totally phrase it differently. There's pauses.Track 1:[1:10:37] Do you know what I mean? I mean, the very last line, I think it is just a neat little, I love songs that have just one little quirk like that. Yes, yes, absolutely. You know what? It really goes back to, I'll be leaving you or I'll be leaving you tonight. I mean, right from the beginning, right? It's just a really cool trick that he's always done. Well, another, one of the other tricks that he's famous for is invoking his children and lullabying them. The next song, Moon Show Your Lashes, to me is just the process of writing some of these lullabies and things about his children. That's what it means to me. Mr. St. Louis, how about you? I took it as his battle with insomnia, you know, which is also a common theme throughout his career.Track 1:[1:11:25] And yes, I definitely picked up on the thing. Like, you know, there's a, there's a book that my wife and I love called go the fuck to sleep, you know, talking about your kids, like just give us a break, man. And tonight, in fact, before we recorded, my daughter was taking a bath and she's trying to speak Spanish and she's yelling it and asking my wife questions in the other room in Spanish. And I walked in and Linda looks up at me and whispers, she needs to shut the fuck up. You know, just those moments of give it a rest, kid. But I think that it could be interpreted either way that like, yeah, he's talking about his kids. Like just, okay, relax. We get it. moon slow your lashes.Track 1:[1:12:09] But, you know, I think, The way that I took it was more of Gord by the lamp with a notepad trying to come up with the next song and wondering, you know, there's the line, what must he think? And no more, I think he thinks. And kind of judging himself or his work before it's even completed and just not being able to reconcile that. For what it's worth, I love the lyrics in this song. I friggin' hate the tune. I hate this song.Track 1:[1:12:39] It's so annoying. And I don't know what it is about it. And it's such an earworm. And it's the one I can't get out of my head. I can't stand the song. Get out of here. Wow. Actually just blown away by what Justin said, because I absolutely love the tune. Me too. And I think it's that 2010s, as you mentioned, you know, like there's such a massive influence from all of them individually as artists, but obviously Death Cab and that influence, but I think what they were listening to at the time. And so I mentioned that I really liked this album. So, you know, there's, there's no real duds on it for me. So, I mean, there's little things of course that I could critique, but to me, this particular album and, and, and even this song like this, this one's really up there. For me you know i'm still trying to decide what's going to be my favorite song from this and it's the first time that i didn't know instantaneously i particularly i enjoyed you know again just how it made me feel it gave me that that just that cool this is where we're at in this this time in music like it was it was it had it has some heavy lyrics but it it's i mean not crazy heavy but it was an upbeat song, I think, overall. So I appreciated it. So there was a story, Gord, in one of the interviews online I found.Track 1:[1:14:01] Talks about a radio essay he was listening to by, by someone named Neil McDonald. And he was talking about a woman who would go up to a place called high level Alberta. So when they, when he says high level in the, in the book, in, in, in the song, I had noticed in the booklet, it was capitalized. So it actually is a place up in Northern Alberta. And this woman would go up to um, Northern Alberta and, um, make, make some money. You can probably imagine how she's making her money and, and she would do this in order to support her kids. And, uh, and then when she got back to her kids, I just want to want to hold and smell. And another crazy example of how Gord writes these like incredibly upbeat, like you hear it and you fall in love with it because it makes you feel good, but it's dark AF.Track 1:[1:14:52] It's just got some real, real, real just black undertones in some of it, but the music just keeps you going. And that line that says, when, not if, after, when I get out of high level, when, not if. Yeah. And forget the, in the bridge, I think it is the forget the hawks, jaguars, the knife lickers and creeps. And yeah, it just really changed my perspective of the song and and yeah that that juxtaposition between the the sort of cute music and the dark lyrics some some more themes of um you know burgundy the color burgundy dance dance so again dance is the the one earlier that i was forgetting when i was talking about themes so themes on this album water you've got day and night you've got color and you've got dance and this song has a couple of those things in it and and to me it was like you know the things we do for our family oh like i like i said i i really love the story in the song and the lyrics and trying to figure out what i think i thought but just the tune i can't do it i don't know why man i'm sorry i'm i'm i'm not totally crazy about this song uh it's not my lead i'm actually we passed by my my least favorite without me saying but but to me um The Hard Canadian is the weak link on this album. To me, it's just a... Oh, wow. Yeah, it's just... I think it's the chord progression has just so been done before. Yeah, I'm not in love with it either. And that's the one song that I was familiar with on this album. This song, I wasn't too much of a fan of at first, but I do really like it now. It has grown on me, especially I think hearing that story. Well, are we ready to jump into Retrace?Track 1:[1:20:11] This song, my note, it just says vocally amazing. That's the note I have.Track 1:[1:20:18] I'm sure there's an amazing meaning behind the whole song. I really don't care. I just want to hear Gord sing the main line. I retrace my steps. And it just puts me in this amazing, wonderful, just warm place like we talked about in the beginning. And even Gord in some of his interviews talked about how the process and these songs were company to him. And that's what I felt with this retrace, this tune. And again, another great pairing from harmonies and also great build. And also, as we'd mentioned before, where that whole theory of every four bars coming up with something new, the retrace song, it definitely had additions and installations to create this. I just, yeah, maybe I'm dating myself, but I don't know if you guys are familiar with the band, the Smithereens.Track 1:[1:21:17] Kind of had a Smithereens vibe to it. Had a Lou Reed vibe to it. I know that there'

We've been having a look back through the Tape Notes archive to bring back some of our favourite early episodes that you may have missed. This selection is our conversation with Alt-J's Joe and Gus, along with producer Charlie Andrew, recorded back in February 2019. EPISODE NOTES In this episode John is joined by Gus Unger-Hamilton and Joe Newman from Alt-J, and producer Charlie Andrew to talk about how they recorded and produced the album 'RELAXER'.  The trio give a fascinating account of the thought processes and production techniques used in the recording of RELAXER.  Hear how a friend's pavlovian response to the smell of burning wood, the Gus whistle test, and swearing at an old school master all left their mark on the band's third album.  Tracks discussed: 3WW, House of the Rising Sun, Pleader LINKS TO EVERYTHING TAPE NOTES   Listen to 'RELAXER' here. 'RELAXER' - alt-J, Infectious Music Ltd., a BMG Company Intro Music - Sunshine Buddy, Laurel Collective  GEAR MENTIONS Akai MPC Sampler Melodyne Moog Roland Juno 60 Soundtoys Echoboy Soundtoys Decapitator Teenage Engineering OP1 UAD Plugins Waves Plugins Ableton OUR GEAR https://linktr.ee/tapenotes_ourgear HELP SUPPORT THE SHOW If you'd like to help support the show you can donate as little or as much as you'd like here, (we really appreciate your contributions :)  Donate Or you can join us on Patreon, where among many things you can access full length videos of most new episodes, ad-free episodes and detailed gear list breakdowns. KEEP UP TO DATE For behind the scenes photos and the latest updates, make sure to follow us on:  Instagram: @tapenotes  Twitter: @tapenotes  Facebook: @tapenotespodcast   YouTube: Tape Notes Podcast Discord: Tape Notes Patreon: Tape Notes To let us know the artists you'd like to hear, Tweet us, slide into our DMs, send us an email or even a letter. We'd love to hear!  Visit our website to join our mailing list: www.tapenotes.co.uk TAPE NOTES TEAM Will Brown - Executive Producer, Engineer & Editor Tim Adam-Smith - Executive Producer Will Lyons - Editor Nico Varanese - Videographer, Editor Guy Nicholls - Production Assistant Jessica Clucas - Production Assistant Katie-Louise Buxton - Production Assistant Learn more about your ad choices. Visit megaphone.fm/adchoices

So lange es gut klingt, ist alles erlaubt. Dieser Meinung ist die Berliner Musikerin Mine. Diese Woche stellt sie einige ungewöhnliche Instrumente im Popfilter vor. Heute entdeckt sie das Toy Piano in „Breezeblocks“ von alt-J. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-takeover-mine-altj-breezeblocks

So lange es gut klingt, ist alles erlaubt. Dieser Meinung ist die Berliner Musikerin Mine. Diese Woche stellt sie einige ungewöhnliche Instrumente im Popfilter vor. Heute entdeckt sie das Toy Piano in „Breezeblocks“ von alt-J. Hier entlang geht's zu den Links unserer Werbepartner. >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-takeover-mine-altj-breezeblocks

Todd Hayne's has a new movie out now on Netflix called “May December”, and we talk about it. Like, a lot. We also talk about getting ghosted, Alt J, cram jam, and much much more. Enjoy. 0:00 – Introductions 23:04 – “May December” Spoiler-Free Review 1:00:55 – “May December” Review Continued 1:28:04 – What We've Been Watching Music Intro: Cordelia - Clearbody Outro: Outgrow - Star Funeral

I spoke to the super-chill Oklahoma native Max Rainer of Wilderado in this compelling interview, and it was like meeting an old friend. Max is a family man who cares deeply about the relationships in his life and quite intentionally strives to strike a healthy balance between his home life and his time on the road. However, after having played over 250 shows in 2022, Wilderado is now seeking to maintain a bit more measured pace. But this is not to say that Wilderado is slowing down; the band is doing quite the opposite. With their first full length album coming out in 2021, the self-titled "Wilderado," and new music being released regularly, Max continues to give everything he has to his fans without feeling constrained by standard industry norms. I get deep with Max about life both at home and on the road, and we discuss the beauty of Malibu, his newly released and latest single "In Between" featuring Matt Berninger of The National, and why the connection with his fans is so important to him. Max is a unique talent and special human, and I'm here for that. For more information on Roadcase: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

In this episode of the Musicbed Podcast, Young Replicant explores the value of replacing early confidence with technique and discusses why filmmakers should own their weaknesses and weirdness. Young Replicant (AKA Alex Takács) is known for his high concepts and visual poetry. He's directed videos for Lorde, Alt-J, and Flying Lotus and worked with brands like Sprite and Adidas. Talking Points: Never settling on one technique Accepting weaknesses and weirdness as strengths Growing up around filmmaking Stripping treatments down the essentials Using style as a message Working with intention as your only plan Show Notes: Tibor Takács – https://www.imdb.com/name/nm0847749/ The Gate (1987) – https://www.imdb.com/title/tt0093075/ Sabrina the Teenage Witch (1996) – https://www.imdb.com/title/tt0117534 Cinfex Magazine – https://en.wikipedia.org/wiki/Cinefex Ergatta – https://ergatta.com/ Ergatta - Game On – https://vimeo.com/659831991 Andrew Levy – https://www.pda.inc/ Sam Wilkes – https://www.pda.inc/ Sam Dew – https://www.instagram.com/sam_dew/?hl=en Sam Dew "MOONLIT FOOLS" – https://imvdb.com/n/young-replicant Frank Mobilio – https://frankmobilio.com/ Joe Nankin – https://www.joenankin.com/ M83, "We Own The Sky" – https://www.youtube.com/watch?v=sWsUNbdc5IM Animal Collective – https://myanimalhome.net/ Iamamiwhoami – https://ionnalee.com/?lang=en_US The Seven Faces of Jane (2022) – https://www.imdb.com/title/tt15345936/ Julian Acosta – https://www.imdb.com/name/nm10640147/ Roman Coppola – https://www.imdb.com/name/nm0178910/ The Director's Bureau – https://thedirectorsbureau.com/ Chris Chang – https://thedirectorsbureau.com/contact/ Bentonville Film Festival – https://bentonvillefilm.org/ Brought to you by Musicbed, the filmmaking industry's music licensing platform of choice. Learn more: ⁠musicbed.com⁠. About Musicbed:Musicbed is the leading sync licensing platform for authentic music from relevant artists. We're a one-stop licensing agency representing a curated roster of authentic artists, bands, and composers for film, TV, and advertising. From leading composers to tour-tested bands, and rising singer/songwriters, we believe music brings emotion and has the power to amplify your story.

ALT J – Left Hand Free THE BLACK KEYS – Wild Child ARCTIC MONKEYS – R U Mine QUEENS OF THE STONE AGE – Emotion Sickness ARDE BOGOTÁ – Los Perros SEXY ZEBRAS – Jaleo PRIMAL SCREAM – Country Girl VEINTIUNO – Mañana Lo Dejo CAROLINA DURANTE ft ZAHARA – Joker GINEBRAS – Alex Turner SHEGO – Steak Tar Tar ROMY – Enjoy Your Life JAMIE XX - Kill Dem FRANZ FERINAND – Dark In The Matinée IDLES – Mr Motivator JAMIROQUAI - Virtual Insanity Escuchar audio

This week Oliver checks out demo and remix version of some of his favourite indie rock tracks. Featuring the likes of a demo of a Warren Zevon classic, A Kurt Vile banger and a remix of Alt-J's greatest track. Added visuals on Apple devices thanks to vizzy.fm Follow @asonicyouthpodcast on Insta and Facebook. This show is part of the Free FM 89.0 YOUTH ZONE. Made with support of NZ on Air.

Tyler kicks the show off wondering who in the Bears organization will be under the most pressure this year for the future success of the team. Would you rather the Bears have a consistent season winning at least 9 games or catch a hot streak at the end of the season, but still losing and not making the playoffs. According to a Pro Football article the Bears have the third highest chance of winning the division after finishing last the season before. Lastly, we have song of the night from Alt J.

Welcome to 2023! To kick us off is Lee from Heard This to talk about Alt-J's The Dream!Guest: Lee (Heard This?)Listen to Heard This here: https://www.spreaker.com/show/heard-this----Email: Pick A DiscFollow us on:Twitter | Instagram | FacebookPick A Disc(Ord) Discord ServerWe Made This:@wemadethispodhttps://wemadethispod.com/The Spotify Hall of Fame Playlist

Welcome to 2023! To kick us off is Lee from Heard This to talk about Alt-J's The Dream!Guest: Lee (Heard This?)Listen to Heard This here: https://www.spreaker.com/show/heard-this----Email: Pick A DiscFollow us on:Twitter | Instagram | FacebookPick A Disc(Ord) Discord ServerWe Made This:@wemadethispodhttps://wemadethispod.com/The Spotify Hall of Fame Playlist

Research shows consumers preferred streaming retro more than current in 2022. No matter how hard artists worked releasing new music, the popular songs were either from the past 2 years, or throwbacks that went viral. I can tell you the 40 songs I've selected were promoted in 2022 and vary in genre without repeating artists. Broken up in 2 parts, we'll countdown 40-21 in this episode, and finish 20-1 next week. You guys loved listening to Top 40 2021's list all year, let's see what you think of this new one. Ringing in the New Year with the playlist link attached, these are my top 40 songs of 2022! Theme Song: "Dance Track", composed by Jessica Ann CatenaSpotify Playlist (Part 1): https://open.spotify.com/playlist/5ARRVYoruaA8u0PBr8bFXU?si=71820afb83454f54Related Episodes: Ep. 78 - Silk Sonic's "Leave the Door Open": https://www.spreaker.com/episode/44374994Ep. 81 - Thomas Rhett Top 10: https://www.spreaker.com/episode/44588394Ep. 106 - ADELE's "Easy On Me" Comeback: https://www.spreaker.com/episode/47109676Ep. 116 - Top 40 Songs of 2021 (Part 1): https://www.spreaker.com/episode/48124099Ep. 117 - Top 40 Songs of 2022 (Part 2): https://www.spreaker.com/episode/48218402Ep. 129 - Grammys 2022 Predictions: https://www.spreaker.com/episode/49296265Ep. 132 - Kelly Clarkson Top 20: https://www.spreaker.com/episode/49526903Ep. 133 - Miranda Lambert Discography: https://www.spreaker.com/episode/49608425Ep. 137 - 2022 Summer Song? https://www.spreaker.com/episode/49978293Ep. 141 - Class of 2007 Playlist: https://www.spreaker.com/episode/50328328Ep. 145 - Brian May Top 10: https://www.spreaker.com/episode/50690783Ep. 150 - VMAs Predictions: https://www.spreaker.com/episode/51049884Ep. 151 - End of Summer Playlist: https://www.spreaker.com/episode/51133534Ep. 153 - Camila Cabello Top 10: https://www.spreaker.com/episode/51292378Ep. 155 - Kelsea Ballerini Top 10: https://www.spreaker.com/episode/51437993Ep. 157 - Queen's "Face It Alone": https://www.spreaker.com/episode/51580632Ep. 162 - AMAs 2022 Predictions: https://www.spreaker.com/user/jesscatena/ep-162-amas-2022-predictions

"If you present somebody with the figures on alt-J, it's mental — Madison Square Garden, the O2, Mercury Prize, No. 1 albums, but 99 people out of 100 don't know who we are. It's all about that 1 per cent who love us." - Gus Unger-Hamilton. In this episode, provide an intro to one of my favourite bands - Alt-J. We explore how the group formed and provide an overview of their career and success. Episode Music: Sly - Bryant Lowry Episode Sources: https://www.allmusic.com/artist/alt-j-mn0002867436/biography https://www.songfacts.com/facts/alt-j https://www.bmg.com/de/artist/alt-j https://www.rollingstone.co.uk/music/features/alt-j-on-their-creative-rebirth-and-transformative-new-album-the-dream-8806/ https://www.deezer.com/en/artist/1606315/biography https://eu.usatoday.com/story/life/music/2013/08/04/on-the-verge-with-alt-j/2607921/ https://www.nme.com/photos/alt-j-50-awesome-facts-you-didn-t-know-1411549 https://www.songfacts.com/facts/alt-j https://www.interviewmagazine.com/music/discovery-alt-j

Follow @foobarshow Episode 295 - Catching Up (2:48) The Foos talk about day 2 at Punk at the Park festival and how they got the flu in the days following. -They catch up with Josh and his recent wedding trip -Josh goes to Joe C's show at the Whisky A Go-Go in Hollywood last weekend (17:56) Geeking Out: -Manic Meow Mark Messages Mondays -Pepsi, Where's My Jet? -Pokemon recently releases some shitty games -Chris Hemsworth decides to take a break from acting after shocking discovery -RIP Kevin Conroy -The Foos talk about who they're excited to see at the Los Angeles Comic Con (48:15) Music Highlights: -Dirty Nil have a new bassist and they've released a new single with him called Bye Bye Big Bear -The Rodeo by The Snuts -Joe C loves the new single Surefire by Wilderado, but hates the remix that Alt-J just recently released Give us a 5-star positive review on Apple Podcasts! Get your Foobar Show merch at foobarshow.com SUPPORT OUR SPONSORS -ALF Live Events for all of your live audio/visual needs at alflei.com -Get 30% off on Grassdoor by clicking through our banner on our website. -Check out The Fallen Electric at thefallenelectric.com & @thefallenelectric for music, news, and merch! --- Send in a voice message: https://anchor.fm/the-foobar-show/message Support this podcast: https://anchor.fm/the-foobar-show/support

Ihr Debütalbum machte das Trio (damals noch Quartett) aus dem englischen Leeds über Nacht zu Indie-Stars: Zehn Jahre später sprechen wir mit zwei Dritteln von alt-J darüber, ob sie eigentlich noch immer Lust haben «alte» Hits wie «Breezeblocks» an ihren Konzerten zu spielen, und verlosen 2x2 Tickets für ihre Show in der Halle 622 in Zürich vom Freitag, 11.11.2022 Ausserdem: Unser Mann in London, Hanspeter «Düsi» Künzler, über das neue Nick Cave-Buch «Glaube, Hoffnung und Gemetzel» (seit dieser Woche auch in einer deutschen Übersetzung erhältlich) und Hip-Hop-Experte Pablo Vögtli zum unerwarteten Tod von Takeoff von Migos.

This is a special bonus episode for LSQ listeners of a podcast I had an excellent time collaborating on, as producer, with alt-J. Things Will Get Better is a five-episode podcast miniseries that explores the U.K. band's early days, and the making of their incredible, groundbreaking debut album, An Awesome Wave, in honor of its tenth anniversary. Within the series, the band revisit Ash Grove, the old college house where they played their first gig and wrote songs like "Matilda" and "Breezeblocks," as well as other favorite haunts in Leeds; they discover and listen back to long lost demos, including for the song that lends the series its name and fan favorites such as "Portrait" and "Hiroshima"; they catch up with their longtime producer, Charlie Andrew, and their former bandmate, Gwil Sainsbury; and in the episode I'm sharing, I interview the band, LSQ-style, focusing on their childhood encounters with creativity and how their music practices and passions evolved from there. If you like this one, check out the others at anchor.fm/anawesomewave

This week's guest is Thom from the band Alt-J. He's one of the most creative drummers out there today and the band, as a whole, are young legends. It was truly an honor talking with him and, if you don't know Alt-J, they're crafted a unique blend of folk, indie, electronica, and rock; it's their own genre, really. I hope you enjoy the 5 records that helped shaped Thom into the drummer he is today. He truly is a singular player and it's conversations like this that made me want to switch to this format. Cheers! For more information on Big Fat Snare Drum, check out www.bigfatsnaredrum.com and follow us on Instagram, Facebook, Twitter, and TikTok Artwork by Trevin Frame

The Doc invites Max Rainer of the fantastic band Wilderado on the show! The two discuss playing with Alt-J, living in Tulsa, going to college at Baylor, moving to LA, forming Wilderado, juggling a new band and a family, trying to survive as a band during the pandemic, the release of their album and much more! Listen now! Monologue (Lost Uber items): 0:00:22 Birthday Suit 1: 14:42 Ripped from the Headlines: 18:09 Wilderado - Take Some Time: 33:59 Shoutouts: 40:48 Previously on The Doc G Show: 44:40 Leftover Headlines: 45:51 Max Rainer of Wilderado Interview: 52:04 Wilderado - Head Right: 2:01:05 Birthday Suit 2: 2:10:17 Birthday Suit 3: 2:15:56

Welcome to Roadcase!!  We are stoked to have Louis Smith of Kendall Street Company on the show this week. Louis is a Virginia Beach native who started out jamming with his buddies at the University of Virginia and then took it all out on the road, playing 100s of shows a year before the Covid shutdown. The band is now poised for their first California tour beginning June 10, which coincides with the release of their upcoming album, Untitled California Project, on June 24. Louis is a fun-loving dude with a quirky sense of humor reflected in whimsical songwriting and off-the-wall album concepts designed to keep it light and fun but with super-intriguing Prog Rock and Jam Groove elements. Louis has a great vibe and is super enthusiastic about the future -- and rightly so. He's a hard working road dog, and is chomping at the bit to continue to let his authentic self shine through his music, relying on his hard working ethos along with his stunning guitar chops. So hop on the Roadcase bus as we head out to the Golden State and learn more about Louis Smith and Kendall Street Company. It's gonna be a great ride!For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene (Instrumental)" by Waltzer

The buddies banter session over beers returns after a short hiatus and brings it strong. The regular beer ratings, concerts, travel, the Chiefs, Royals Opening Day chill are on the docket, as well as the always demanded fact check. Enjoy!

Chock full as always with classic album anniversaries, Grammy reflections, documentaries, and a look ahead to summer events. Alt-J, Garth Brooks, Rock Hall concerts, BTS, Jon Batiste, Peter Gabriel, REM, and much more in the mix.

Alt-J's Gus Unger-Hamilton catches up with Kyle Meredith to talk about The Dream, the band's fourth album. The English artist discusses how using more voices in their songs adds deeper dimensions, and why the tracks' characters seem to thrive on dramatic monologues. Unger-Hamilton also touches on the recent Beatles documentary lent some inspiration and made him a bigger fan of the band. Elsewhere, he ponders about the band making a film one day, their penchant to sing about death and fandom of true crime, and the upcoming 10th anniversary of their debut LP. Listen to the episode now, or watch the full conversation via Consequence. Also, make sure to like and subscribe to Kyle Meredith With… wherever you get your podcasts, and follow the Consequence Podcast Network for updates on all our shows. Alt-J are currently on their US tour with Portugal. The Man. Revisit their Two for the Road conversation here, and pick up tickets for the tour here. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Alt-J performs live at the Triple Door - Recorded September 27, 2012. All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ---------------------------------------------------------------------------------------------------- Intro 0:00  Interlude I / Tessellate 3:34 / 4:57 Something Good 8:20 Dissolve Me 12:14 Fitzpleasure 16:30 Matilda 20:23 Interlude II 24:18 Breezeblocks 25:31 Bloodflood 29:31 Hand-Made 34:41 Taro 37:33 Re-shared by Team UNPLUGGED. 

This episode of the Rom Com Rewind Podcast is ALL about YOU! Discussions we're had on the pod that have taken a life of their own on our socials, questions you've had after the fact, this episode we circle back to some of the fun topics that needed JUST a little bit more detail. Who else belongs in the "is that guy good looking!?" list (Jason Sudekis, Andy Samberg, shirt on Channing Tatum). Another round of the Sarah Quick Fact Show Down, and much more!  Also, doesn't Alt J KINDA sound like Adam Sandler? https://www.youtube.com/watch?v=rVeMiVU77wo Sarah's 'How To Make An Alt J' video https://www.youtube.com/watch?v=rlBskd3IaNw  See omnystudio.com/listener for privacy information.

En este episodio de Alejandro Marín en Resonantes tenemos 3 invitados de lujo: Gus Unger-Hamilton, integrante de alt-J habla sobre el álbum The Dream y la canción Hard Drive Gold, que cuestiona la rápida riqueza de las criptomonedas y deja un video memorable sobre una posible tragedia militar. Santiago Sanmiguel explicó los términos básicos para entender qué son los catálogos musicales y cómo los artistas emergentes pueden mejorar sus ganancias a través de los derechos de su música. Nikki Sixx habla sobre lo mucho que le gusta escribir libros, su relación con el fútbol americano, el cuidado que le dedica a su hija menor y, entre otras cosas, el cheque que recibió al vender el catálogo de Mötley Crüe.

The British indie rock band is currently sitting at the top of the Billboard charts with their single "U&ME", and joined JPR's Eric Teel for his final JPR Live Session.

This week Kyle teaches a quality lesson in sales: under promise and over deliver. This episode? It's okay. We talk Logic, Jazmine Sullivan, EARTHGANG, Tchami, MGK, Alt-J and more! We close our by fighting over the slim pickings of artists that start with “Q”. This week's playlist: https://open.spotify.com/playlist/1kLSbe9vDhO3S9yeZbcEAn?si=0sGETCgbS3qypP7xal2yHQ

Scott zooms with Joe Newman and Gus Unger the members of British indie rock sensation Alt-J. Speaking from their homes in England, they dive into their love of obscure and not so obscure podcasts and the bands history from meeting at University in 2007 and the early days with Garageband. They discuss their upbringing and forming a bond and friendship early on. They get into their move to Cambridge and recording their first record and discuss the new record, the process, and the upcoming tour. Along they way they share laughs and stories and their love for Larry David…Tune in!

You'll open up this issue to find a "euphoric collision of post-punk, trance, and deconstructed opera" from Sky Creature and others. Plus, discover a band who were one of the first to play original music in their native country. Enjoy. --- Support this podcast: https://anchor.fm/thebottomforty/support

The new album from alt-J, 'The Dream,' dropped February 11, 2022. What do you think of the latest effort from the band? Let us know on all social media @SpinThoughts! Review written by Ally DeMotte Subscribe to the podcast on YouTube and wherever you listen to podcasts! Tune in every Thursday at Midnight ET on idobi Radio for all new premiere episodes: https://idobi.com/ More free music content including playlists, written/video reviews, social media, interviews + more: https://linktr.ee/spinningthoughts --- Support this podcast: https://anchor.fm/spinning-thoughts/support