Podcasts about Broken Social Scene

A live recording from The Big Romance about a 2008 Sub Pop-released classic album of the 2000s. Listen on Apple | Android | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Podlink Step into a world of misty melodies and cavernous echoes with Seattle band Fleet Foxes' landmark debut – a defining record of the late-2000s indie folk revival. Led by Robin Pecknold, the album blends the lush, pastoral harmonies of the 1960s with a haunting baroque-pop sensibility and lyrical themes rooted in nature, tradition, and introspection. Like the Bruegel painting on its cover, every track reveals a dense, beautiful world that evokes a timeless – almost mythic Americana sound. This podcast episode is a live recording from our listening party in The Big Romance in April, with guest journalist and Fleet Foxes fan Aoife Barry. Our next Listening Party is Smashing Pumpkins later this month and it's sold out. Listen Closely: Fleet Foxes – Fleet Foxes (2008) A Nialler9 listening party, hosted by Niall Byrne with guest Aoife Barry. Before the album Niall: Hello everyone, how are you? Welcome to the Listen Closely album listening party. I'm Niall, and this is Aoife Barry. Aoife: Hello. Niall: We're here tonight because Aoife picked this album, as she has before. You picked Jeff Buckley last year. Aoife: Yeah, and we ended up doing three of them. Niall: We did, we went to Cork. We did two here and then we went to Cork to talk about Jeff Buckley. And you were at the My Bloody Valentine listening party last year as well, back in October. Aoife: It must have been October, yeah. Niall: Well, obviously we're here for a very different album tonight: Fleet Foxes by Fleet Foxes, from 2008. As you heard there, we played a bit of the Sun Giant EP by the band, which came out a few months before this album, because we want to give the album its full due. They're a little different, and we'll talk about that. But yeah, you picked the record. Aoife: I did. I obviously must like it. And it's such an incredible record. Is there anybody here who hasn't heard it? That's really exciting, if so. I'm excited for you to hear it. You got a sneak peek there of what the vibe is going to be. I picked it because I love this record, but I also had a funny story about how I first heard them. Back in 2008, when this record came out, I'd read about this band called Fleet Foxes in a music magazine. I don't even think I'd heard a song yet, this is back in the day. And I was on holidays in Berlin, and in the tiny little hostel we were staying in, they had a sign up on the wall: "Who's playing tonight? Fleet Foxes, Café Zapata." I said to my boyfriend, "I think that's a band I read about in the magazine, will we go see them?" And he was like, "Grand." So we went, and they were unbelievable. It was so good. Beach House were supporting them. So it was 2008 smacking you in the face. Niall: Come on. Aoife: And I took photos, which I found. I have photos. Artifacts. One is terrible, the other one's not so terrible, taken on one of those little Canon digital cameras. And I still have the ticket, I kept the ticket, I'm one of those hoarders who keeps all their gig tickets. But it was so good: the venue they played in had a dragon that breathed fire out every fifteen minutes. Niall: So they'd be playing and this dragon… Aoife: I'm not even exaggerating. Fire would just shoot out of this mechanical dragon. It was so Berlin. And Fleet Foxes were so stunning, and Beach House were so stunning. I love Crosby, Stills, Nash & Young, I love all those harmony vibes, I wish I was born in the seventies, sadly I was not. So I fell in love with them immediately, and I've been a big fan ever since. Although I'll say I probably dipped a little bit around the Crack-Up era, their third album, but then I saw them when Shore came out, their most recent album, and fell right back in love with them. Niall: We're going to talk about all the albums that come afterwards, but we'll start with this one, because this is presumably your favourite, or one of them. Aoife: Shore is up there as well for me, but yeah. Niall: So what was it about Fleet Foxes at the time? For context: in 2008 there was quite a lot of this kind of music around. We previously did Bon Iver's For Emma, Forever Ago as a listening party, and the funny thing, which I only found out when we did this, is that they have the same origin story in a way. Both songwriters went to a cabin in the woods to pour their heart out and write the songs. Aoife: I think Justin Vernon just got there first in terms of the marketing. Niall: So they must have pulled back on talking about it too much, because it's basically the same thing. They never really talked about Robin Pecknold's writing process in those terms. Aoife: For Emma was such a massive moment, everybody was obsessed with this guy who broke up with a girl and went to a cabin and wrote a record about it. It was the ur indie-folk album. Niall: What was really appealing about Fleet Foxes is that they were so young, between about twenty-two and twenty-seven, and Robin Pecknold was twenty-one when he wrote the record. Which is frankly offensive, you shouldn't be allowed to be so talented at twenty-one. Aoife: I know. And they were clearly these people from Seattle, which we associate with grunge, and then it becomes this place where they're bringing out all the pastoral, outdoorsy, mountain-and-sea vibes of the Washington area. They're obviously really influenced by the seventies too, by Crosby, Stills, Nash & Young, by Laurel Canyon, but also by Appalachian folk. There's a real purity to what they're doing. The harmonies are unbelievable, there's even a bit of a gospel feeling. So these young guys made this album that was being called an iconic American record on release. The Guardian called it a landmark American album, something like that. And that's special, because you don't get that many records immediately being called landmark. Niall: It was a very exciting time for music around then. I actually brought some records. We mentioned Beach House and Teen Dream earlier, that's a bit later, 2010. I wanted to do a listening party for that at some point, that'd be good craic. Around that time you had Animal Collective and Panda Bear, Person Pitch was right there, that was the apex for that very experimental scene. A few years later we had Sufjan, our very first listening party. And Bon Iver, of course. There's also stuff like Neutral Milk Hotel very much of that vibe. Aoife: I've noticed people covering Neutral Milk Hotel more now. Niall: I think when we got to it, it was on its second go-round, and now it's getting a third, which is great. It's a great record. So, the band were from Seattle, they had a bit of the scruffy flannel-shirt look, but obviously didn't sound like that. The album was written in the woods, in the cabin, brought to the band, and recorded with Phil Ek. Aoife: Who did a lot of stuff with Built to Spill. Niall: Yeah, and he worked with The Shins, and Modest Mouse, a really long history. Aoife: Are The Shins from Seattle as well? Niall: I think they might be. Band of Horses is another one. So they recorded it themselves with Phil Ek, paid for it all themselves, and then the local major independent label Sub Pop came calling. Obviously known for a lot of grunge traditionally, but they'd clearly been releasing this kind of music around then too, The Shins had been on the label for a few years, Band of Horses. When it came to it, they signed to Sub Pop. Apparently there was a bidding war. Aoife: They'd become quite popular on MySpace. Anybody remember MySpace? Every time I do one of these I feel older and older, mentioning the top eight, the randomers you'd put in your top eight. Word could spread quite quickly once you got popular on MySpace. Niall: What I thought was really interesting, that I discovered when I was researching, is that recording the album was actually a total pain for them. They didn't have much money, so they ended up recording a lot of it in their houses, or in Robin Pecknold's family home. And he re-did all the vocals right before they mastered the record, because he'd been sick during the initial sessions and his voice wasn't in great shape. They recorded it all in one go, scrapped that, did another version, and kept moving the running order around. I'm always fascinated by albums where the creation was a total pain and they had no idea it would even work out. Robin Pecknold actually said, "I hope nobody cares about this album, because I just want to move on to the next one." And then it becomes this iconic record. Aoife: Isn't every artist sick of their album by the time it's done? You're like, "my paintings." Yeah. Niall: 2008 was an interesting time for it to land. The album draws on the Beach Boys and Brian Wilson, Crosby, Stills, Nash & Young, Nick Drake, Simon & Garfunkel, Fairport Convention, Judee Sill, very much old-timey or sixties folk and pastoral stuff. And in 2008 there's a financial crash. The album was worked on before that, but it was released into that environment, and a lot of this music seemed to catch. When things go bad, we retreat, we dream, we listen to music that's maybe the opposite of what we're feeling. There was a gentleness, an unhurriedness to it that resonated. Aoife: Grizzly Bear is another band from that time. When Jay-Z and Beyoncé went to see Grizzly Bear in Brooklyn, that was kind of where all the indie music peaked. Niall: And the other part of it, which I was involved in, was the MP3 blogs, that's where you'd hear this music. Especially the American and Canadian stuff, no one was promoting it over here yet, so you'd be months ahead. You'd hear Fleet Foxes in these MP3 formats. That was a mad period, it showed how the internet could collapse geography, a song could spread really quickly on the blogs. And in an American context, this came out post-Bush, with the Obama era coming in, a more hopeful tone. You had the Lehman Brothers crash, these global pressures, and then these hopeful times too. It's interesting to wonder whether these albums are a reaction to it, or whether they appeal to us because we want nice, happy things. I feel like Fleet Foxes have so much emotional depth: there's yearning, sadness, hope, nostalgia. Aoife: I loved Yellow House by Grizzly Bear, their first record, a complex, complicated, almost jazzy thing that sounded beautiful but had a lot going on. We weren't going for simplistic music, but we wanted music that gave us depth and beauty. Is art a solution to the world collapsing? Niall: We could be answering that in 2026. We live in a cursed timeline, as I keep saying. That's all I'm going to say. But what else happened in 2008 in the wider circle of music? Portishead returned with Third. TV on the Radio released Dear Science. MGMT released Oracular Spectacular, 'Kids' and all that. Cut Copy released In Ghost Colours, Indie Sleaze night on Saturday, folks, come on. Kanye put out 808s & Heartbreak, that was November that year. Rihanna was at the peak of her powers. Aoife: Katy Perry appeared that year. And 'American Boy'. Niall: 'American Boy', still one of the best pop songs, fire. Iron & Wine was the other one I forgot to mention. So it was a really vibrant, varied year. As you heard, there's the Sun Giant EP too. Aoife: The thing about that is it came out before the album, but was recorded after. The album was done, in the bag. Niall: They decided to go into the studio and record Sun Giant, a collection of songs intended to sell on tour. It ended up being quite popular, and for a lot of people it was their first time discovering Fleet Foxes. Aoife: It wasn't like The Coronas' 'San Diego Song', their summer-holiday anthem, or anything like that. But it came out before the album, and then the album arrives. Niall: So what was the reaction at the time? Was it immediate? Aoife: Things happened really quickly. In January that year they got all the MySpace attention, and by June the album was coming out. Really, really quick. There was so much chatter about them, which is partly why I'd seen the name, and a music blog like yours would have seen it too, and known they were one of the big bands. In a way that's harder now. Niall: These days you see bands like Geese getting a lot of attention because they use companies that help them go viral. You didn't really have that then. Now you'd dress yourself up in some gimmick, polka dots, whatever, and go viral all over the internet for it. I couldn't imagine these lads doing that. Aoife: No. But maybe in a way they were cosplaying living in the forest, on the Puget Sound. Niall: Anyway, when the album came out, people loved them, and it really hit it off. Because they sound so seventies, your parents would love the records and you'd love the records. There's almost a lullaby quality to the folk stuff too. The music is applicable to anybody of any generation, and there's something lovely about nostalgic music that reminds you of a better time. To finish on that point: I think there's something very mysterious about Fleet Foxes, they feel out of time. They're these young, scruffy lads with the beards, but there's a mystery to them. They didn't come across as the hipster end of things, they weren't leaning into anything. They were presented as the kind of band that wouldn't have had phones, would have lived off-grid, which is funny because they were a MySpace band. They're the most un-MySpace band you can imagine. Surprise people, do something a bit different, don't be exactly what people want you to be, and they'll love you for it. And then your songs are unbelievable too, soaring and stunning. Can we talk for a second about the cover? It's an original painting from 1559 by Pieter Bruegel the Elder, Netherlandish Proverbs. It depicts a densely populated Flemish village scene illustrating 126 folk proverbs. There's a lot there. Some on this side are cut off, but for example, this woman here, she's putting the blue cloak on her husband, meaning she deceives him. This guy is casting roses before swine, wasting effort on the unworthy. And right at the top there's a man running through a field with his arse on fire, chasing pigs, "he who eats fire craps sparks," do not be surprised at the outcome if you attempt a dangerous venture. There are 126 of those. Aoife: The interesting thing is that the band managed to get permission to use it. Really unusual to be allowed use it as commercial artwork. Niall: And apparently the museum that holds the artwork were delighted. A lot of stars aligned for them. It's an iconic cover because it's so different from what anybody else was doing, clearly of a particular period, and it has that Where's Wally quality. I have a quote about it. Robin said: "We were trying to figure out what we wanted to do, and my brother had been working some stuff out, when I saw this Bruegel painting in a book my girlfriend had. I liked that it had a really intriguing meaning, there's a story to each little scene, which felt fitting for the record. It was dense but unified, not a collage. It has a Where's Waldo quality, something you could look at for a long time on a vinyl sleeve and keep finding new little things. It was very easy to get the museum in Berlin that has it to say yes, they were super excited the band wanted to use it, and put it in their newsletter. When you open it up, on the inside there's a Paisley pattern traced from the back of a book that Skyler's mum got me. We wanted two very different feelings." So, what to look out for when we press play very shortly? Aoife: When I was going back to this, I had it in my head that every song was one of these big songs, because there are so many big moments. But actually there are two tracks that are pretty much acoustic, so it's interesting to notice how they go from the big sound to the small. And for me they're a real emotion-and-feeling band, so notice how you feel listening to it. I always feel this swell of emotion with Fleet Foxes, I was walking down the road listening to Shore and I was like, my God. So lean back and feel into the emotions they're bringing you. And listen to the lyrics if you can make them out, because they're so out of time, all about pack horses and this amazing imagery. Robin Pecknold said he didn't write about a lot of personal stuff because he didn't have enough life experience yet, so instead he wrote these beautifully poetic narratives about pastoral and rural life. So I'd say the lyrics and the feelings are the two things. Niall: Track two, 'White Winter Hymnal', is probably the biggest one, watch out for that. And a few other people thanked and cited as influences, for some extra context: Brian Wilson, Joanna Newsom, Bob Dylan, Noah Lennox and all the lads from Animal Collective, Levon Helm and Robbie Robertson of The Band, Blitzen Trapper, who they toured with at the time and who were bigger than them then. For some reason Joni Mitchell and Neil Young are listed together, which is fair enough. Marvin Gaye, Damien Jurado, Paul Simon and John Lennon listed together. Townes Van Zandt, a legend. Vashti Bunyan, and Van Morrison. There's a nice quote from Robin Pecknold I'll read afterwards. Let's just open it up and listen. I'll play it at full volume, it's about thirty-nine minutes, two sides. Close your eyes, whatever you want to do, vibe away in your own way. [The album plays: Fleet Foxes – Fleet Foxes, 39 minutes.] After the album Niall: It's quite an economical album, isn't it? It doesn't stick around long, thirty-nine minutes. Aoife: I like an economical album. It's also one of the first fairly short records we've done here. Niall: That's part of why I was thinking about Sun Giant in that context too. I'm going to read a bit from the liner notes, because for an album that's very much about feelings, with only a few direct songs, some of what's written here is interesting: "My first memory has always been of me and my mom on a cold grey day down at some beach in Washington, along the Puget Sound somewhere near Seattle. I would be around two or three years old, and we were with a friend of mine from the neighbourhood and his mom, walking among the driftwood looking for crabs. Even now I can remember the smell and temperature of the air, the feeling of the sand and the swaying tall grass. I can even remember looking over at my friend and how his face looked when he smiled back at me. Another memory I'll sometimes recall as my first is dressing up in the dead of summer as Jack London, with tennis rackets on my feet and wearing my dad's hiking pack, after seeing Disney's terrible version of White Fang. Or the memory of stealing my neighbour's Big Wheel and riding it halfway down the block before getting caught and having to turn around defeated. Or wearing a fireman's outfit while washing my parents' car, or eating an orange popsicle from the ice cream truck. These have always been some of my most distinct and persistent memories of childhood. So it came as a disappointment when, one day as a teenager, I opened up a photo album and found pictures of each and every one of these memories. I didn't have a single memory that didn't belong to, or somehow grow from, those pictures my parents had. I guess I've seen all these photographs at some point, forgotten they were just photographs, and over time made them into my most tangible memories. That's scary to me in a way. This leads me to something weird about the power music has: its transportability. Any time I hear a song or record that meant a lot to me at a certain moment, I'm instantly taken back to that place in full detail. Whenever I hear 'Feel Flows' by the Beach Boys, I'm taken straight to the back of my parents' car on the way to my grandparents' place, with Surf's Up in my Walkman and the Cascade Mountains going by in the window. Any song off Radiohead's Kid A brings back the airport near Seattle, from when we were on the way to Colorado for a wedding and Kid A was the only record I brought or wanted to bring. 'Crayon Angels' by Judee Sill is the whole winter of last year. And Brian Wilson's solo version of 'Surf's Up' takes me back to driving my parents' car around town alone at sixteen, windows down at night. I can't ascribe exact memories to songs by The Microphones, Joni Mitchell, Built to Spill, Dungen, Harry Nilsson and so many others, and it's a form of recall I can actually trust, there's no visual element to complicate things, no chance of a planted memory that wasn't actually supposed to be there. Maybe I should be concerned that I'm alone in almost all of these memories, but I guess I was just a private kid, and music was a private experience for me. Music activates a certain mental freedom in a way nothing else can, and that is so empowering. You can call it escapism if you like, but I see it as connecting to a deeper human feeling than the one found in the day-to-day world." Aoife: That's lovely. It's a nice addendum. And he was only twenty-one. Niall: For some reason it's signed "Warren Gamaliel Bancroft Winnipeg Harding," Warren G. Harding being the 29th president of the United States. I don't know why, he thought it was funny. Dated April 6th, 2008, Chicago, Illinois. So, any particular highlights, anything that stood out? Aoife: I was reminded how much I love 'Blue Ridge Mountains', the second-to-last song. I just love those four- and five-part harmonies so much. There's something that really gets me about beautiful harmonies stacked on each other that sound so natural. My dad was really into Neil Young and all of that era, my mum's really into Simon & Garfunkel, so I feel like I came out of the womb going, this is the music I love. Niall: There was another one I meant to mention. Aoife: I'm really bad at remembering song names, which isn't great for an arts journalist. They go in one ear and out the other. Niall: 'He Doesn't Know Why'. Aoife: That was it. I always forget the name of that one, and it's an absolute banger. It's quite a direct song, the last one on the first side. Niall: He mentions his brother Sean in 'Blue Ridge Mountains', which is interesting. And Oliver James is his younger brother, that's the last song. Aoife: His sister is Aja, after the Steely Dan album. The parents were really into them. Niall: It holds up so well. The harmonies and vocals sound incredible, there are those beautiful little flourishes, a flute on one of the tracks, the guitar is stunning, lovely little bass lines. I love the way Robin Pecknold and the band hear music. There's a really good Song Exploder episode with him talking about a song from Crack-Up, and the way he thinks about translating his thoughts and emotions into music is so illuminating. He has a beautiful melodic flow that's really similar to the flow of water and nature. There are so many nature references, it's almost parody there are so many. Aoife: You could do a Portlandia sketch about it. "Power of nature, man." "Come down from the mountain, you've been gone too long." Niall: In terms of the line-up: alongside Robin Pecknold on vocals there was Skyler Skjelset on lead guitar, his best friend from Nathan Hale High School, later joined by Casey Wescott, Christian Wargo on bass, and Nicholas Peterson on drums, who left after this album. Aoife: And who came in as the drummer? Niall: A man who's been a main character in one of these listening parties himself: Josh Tillman, Father John Misty, played drums with them. Aoife: For how long? Niall: Only a year or two, pretty short. As I said, main character, he was making his own record. Any Father John Misty fans? He writes really good songs and he's handsome, so we all love him, but he's also a bit of a pain, and he didn't get on very well with Robin Pecknold, which isn't surprising. When I was looking back at the Pitchfork interview they did in 2008, a few months after the album came out, it was a big joint interview with Robin and Josh Tillman, and Tillman is answering the questions at the start. That's confidence. Do you want to hear a quote from what Robin Pecknold said? I've written it in my little notebook, so old-school, that's the only way I remember these things. In a 2020 Reddit AMA, Pecknold said that on that tour, the Helplessness Blues tour, Tillman was supposed to bring out his own record, but his label said he could only release it after the tour. So he was on tour thinking, "I want to bring out my own record, I'm tired of Fleet Foxes." Pecknold said he "had to endure being around a lot of substance abuse, sabotaged shows, general ill treatment and shit-talking, all while paying him for songs he didn't have anything to do with. It sucked." And then Tillman left the band. Whereas in that Pitchfork interview he'd said, "I love playing in this band, these are all my friends, I'm having the best time, I'm sorry if that's a corny quote, but that's the best thing about this experience right now." Aoife: So he was lying through his teeth. I think he's the kind of person who really has to be a solo artist, too iconic a personality. You wouldn't want to wrangle him out of bed to get to the next show. Niall: Too big a price. You mentioned Pitchfork, the album was number one on their end-of-year list in 2008, and they listed Sun Giant alongside it, breaking the traditional conventions of end-of-year lists. What they said was: listing Fleet Foxes' debut album and EP together may be awkward, but it just feels right, they're two sides of a coin that equally express the band's mastery, "a catch-all Americana that takes a wide slice of our popular music spectrum and pulls it through a reverse prism to create a gorgeous and focused sound of the band's own. The threads of Brian Wilson's coastal pop, Appalachian folk, modern indie rock, Grateful Dead jams and other influences are masterfully synthesised in the band's harmonies." Robin Pecknold's sense of dynamics, they said, flows like a river, wild and free but logical, filling what needs to be filled and moving on. I swear I didn't rip that off Pitchfork, I came up with something similar on my own. Aoife: Very good. Niall: It was Uncut's album of the year too. But more than anything, and this is a strange accolade, the album was ranked number 36 on Rolling Stone's list of the greatest stoner albums. Aoife: I don't think Robin Pecknold was a stoner. It doesn't really fit. He's a reader. Niall: So what came after? Helplessness Blues, which is really difficult to say, in 2011, then Crack-Up in 2017, then Shore in 2020. Big long gaps, some personnel changes. And Robin Pecknold, as we've established, is a very literary guy, he went to Columbia to do an undergrad in English literature, because he'd left high school early and gone to a community college, and he really wanted that college experience. So that was part of the break. He's also had difficult times, he's spoken about mental health issues and suicidal ideation, many tough experiences that contributed to the gaps too. They haven't released anything since 2020, and he does a lot of cover events. There are two live records. He's actually playing a gig tonight, I think, where he covers Judee Sill. Any Judee Sill fans? Aoife: Oh my gosh, she's amazing. Nobody ever knows Judee Sill. If you listen to anything, listen to Heart Food, it's iconic. He loves her, mentions her on this record. She's the one who does 'The Kiss', people might have seen her perform it on the Old Grey Whistle Test, it's on YouTube. She had a really tragic life. Niall: One of those I've been meaning to listen to properly for years. She only has two records, so it's easy to get into. There's a documentary about her as well, which I haven't seen. Aoife: She's one of those ill-fated seventies musicians, really religious imagery, did a lot of drugs, really interesting. Niall: Did you get to see them again after your first foray in Berlin? Aoife: I saw them when they toured, though it's really bad when you can't remember what you were doing in the 2010s. Niall: Did anybody see them at that Dublin gig, the outdoor one in 2022? Wasn't it amazing. They've played here a fair bit: Vicar Street in 2008, Electric Picnic 2009, The Marquee in Cork 2011, the Iveagh Gardens in 2017. I don't know if I've missed any, maybe you can tell me. So if you were to pick, is there any further listening or reading you'd suggest to somebody, not necessarily Fleet Foxes? Aoife: Some of it is obvious. As I said, I'd definitely check out Judee Sill, because if you really like Fleet Foxes you'd really vibe with her. And he mentions Harry Nilsson, also unbelievable, more well known than Judee Sill, did the cover of 'Everybody's Talkin''. I'd also mention a guy people would have known at one point but isn't very well known now: Richard Swift. He sadly passed away a couple of years ago. He was friends with Robin Pecknold, a hugely talented musician who struggled with addiction. He has an amazing double album from around 2005 or 2006 that's brilliant, and a record called The Hex, which is referenced on 'Sunblind' on Shore, that's the song where Robin name-checks a lot of musicians he loves, like Elliott Smith, David Berman and Richard Swift. It's such a beautiful record for finding new people to listen to, and it's lovely to hear a musician pay tribute to musicians he loves. The imagery is him talking about this beautiful day where he'll go for a swim and listen to all these beautiful bands, an ecstatic kind of song. So check out all of those records, but Richard Swift deserves more fans, and The Hex is really, really good. Niall: Good shout. What we'll do now is play a tune, and then maybe give Sun Giant another go if you want to stick around. Our next listening party is on the 27th of May, and it's an indie-rock album very close to my heart: Broken Social Scene's You Forgot It in People. I've been wanting to do this one on record for a long time. They're playing here later in the year, but I want to give this record its flowers, it's incredible. My niece has just turned seventeen and I bought her a copy, because it's an anthemic record for a seventeen-year-old. I can't believe that band are still going, which is kind of mad, but it's hard to underline what Broken Social Scene meant to a certain segment of indie. Aoife: And there's four hundred of them on stage. They're from Canada, and we were all like, my God, these people are the best. Niall: For me it's the MP3 times again, we'll talk about this next month. I heard about them through the music blogs, and then I got to see them in the Button Factory, which was the Temple Bar Music Centre at the time. It was one of the first things I ever wrote about, back in 2005. A transcendental experience. Aoife: They're so good live. Niall: I once DJ'd in Galway after one of their gigs, and one of the members of the band, I'll leave him nameless, came over and turned off the decks while I was DJing. Aoife: On purpose? Niall: He was that drunk. I can't remember what I was playing, but I was like, great, DJing after Broken Social Scene and then a band member ruins it. I don't think he liked it. No, I think he was just really drunk and thought it was funny. Thumbs down to him. In a way it's surprising a man like that has managed to persist in a band with so many members. Anyway, I digress. We'll talk about it next month, May 27th. Aoife: I cannot wait. I've been listening to it a lot lately again, it's fantastic. Niall: Thank you for being here. Let's play a bit of this and see what happens. Thanks for being here, appreciate it.

The band Broken Social Scene is a group that's all about creative friendships, inspiring and building upon each other's contributions, and collective joy through sharing music on as big a scale as possible. Their greatly anticipated new album Remember the Humans is the first in more than 20 years to feature the production work of Dave Newfeld. Broken Social Scene's Kevin Drew took some time backstage to chat with CKUA's Grant Stovel, in a tiny dressing room before soundcheck, to reflect on the past, present, and future of one Canada's most beloved, renowned, and influential rock groups. Subscribe to the Hidden Track podcast on Apple Podcasts and Spotify. Credits: Executive Producer: Arianne Smith-Piquette Senior Producers: Jasmine Vickaryous, Bronson Kashino Associate Producer: Scott Zielsdorf Host: Grant Stovel Music: Doug Hoyer Graphics: Tomas Spasiuk Special thanks to CKUA's Events and Marketing teams. The Hidden Track Podcast is a CKUA production, made possible by the generosity of our donor community. Thank you for your support!

By 2004, the indie rock scene was dominated by loud, sprawling collectives, but Leslie Feist stepped away from the noise of Broken Social Scene to release a delicate, intimate masterpiece that completely defied expectations. Let It Die traded the chaotic indie-rock energy of her peers for a smoky, Parisian mix of bossa nova, folk-pop, and jazz lounge covers. This week, the Random Album Generator gives us the international solo breakthrough of one of Canada's most beloved songwriters—an 11-track journey through romance, heartbreak, and undeniable vocal charm.Inside This Episode:First Half Reaction: We're splitting this 11-track indie-pop gem down the middle. If you're listening with us, hit pause after track five, "Leisure Suite." Jeremy and Jon react to the breezy, acoustic perfection of "Mushaboom" and the devastatingly beautiful title track, "Let It Die," and discuss how Feist manages to make whispered, intimate vocals feel incredibly commanding.5 Fast Facts: We uncover the tiny Nova Scotia village that gave "Mushaboom" its name, the magic of her Parisian studio sessions with Chilly Gonzales, and how she effortlessly transformed a forgotten Bee Gees disco track into a sultry lounge anthem.Second Half & Final Thoughts: We hit play on the back half of the record and dive into the cover-heavy section of the album, exploring tracks like her take on Ron Sexsmith's "Secret Heart" and the traditional "When I Was a Young Girl." Does the shift from original compositions to jazz standards and covers disrupt the album's flow, or does it perfectly cement its smoky, late-night atmosphere?The Verdict & Standout Tracks: Jeremy and Jon lock in their 3 essential tracks. Is this the absolute pinnacle of 2000s indie-folk lounge pop?Join the Polyphonic Press Community: Love collecting classic vinyl and want to talk about? Reach out and let us know! Website | Join the community on Patreon | Contact

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Raymond Mason.   About Raymond: At 35, Raymond James Mason has rapidly carved out a place as a sought-after studio musician and one of the leading trombonists in the high-demand world of pop music horn section work. From Taylor Swift to Ed Sheeran, Alicia Keys to Bruno Mars, Erykah Badu to Kelly Clarkson, Ray has performed alongside an eclectic roster of superstars across generations. His expansive career bridges genres, with notable collaborations including Don Henley, The Roots, Randy Newman, David Byrne, Jessie J, and many more. Ray's presence on Live TV is equally impressive. He was a key player in the 2020 Super Bowl LIV Halftime Show with Jennifer Lopez and Shakira, and performed with Eminem at the Academy Awards that same year. Other notable TV appearances include Saturday Night Live with Bruno Mars, The GRAMMY Awards with Nas, and the CMA Awards with Earth, Wind & Fire and Lady A. A seasoned touring artist, Ray has lent his trombone and multi-instrumental skills to acclaimed acts such as Bon Iver, Mumford & Sons, Blood, Sweat & Tears, Mark Ronson, FELA! The Musical, Lukas Graham, GRiZ, Valerie June, Bright Eyes, and Broken Social Scene, among others. As a studio trombonist, Ray's horn section work is featured on global hits like "Uptown Funk" by Mark Ronson feat. Bruno Mars. His credits also include records by Mac Miller, Lizzo, The Roots, Macklemore, Norah Jones, Little Big Town, and more. He's contributed to projects on renowned labels like Daptone, Truth & Soul, and Big Crown, including Charles Bradley's "Change For The World," Sharon Jones & The Dap-Kings' "Soul of a Woman," and Lee Fields & The Expressions' "It Rains Love." Ray's arranging skills have found their place with top producers including Dan Auerbach, Mark Ronson, Adam Blackstone, Diplo, El Michels Affair, and Danger Mouse. He's written for artists like Ed Sheeran, Lee Fields, Beck, Kelis, and Yola. In the world of soundtracks, Ray's work appears in major releases like the Amazon Prime Sports Theme, The Boys Season 3, The Get Down on Netflix, and upcoming projects for Disney+, Hulu, HBO Max, and AppleTV+. His music also resonates in ads for global brands such as Nike, Facebook, Taco Bell, and Garnier, alongside shows like Marvel's Captain America on Disney+, Suits on USA, Made For Love on HBO Max, and the theme for Barry on HBO. As a member of the Brooklyn afrobeat collective Antibalas, Ray earned a GRAMMY nomination for Best Global Music Album in 2020. His work with Antibalas has taken him to festivals around the world, where he's shared the stage with artists like My Morning Jacket, Brittany Howard, The Roots, Dr. John, Angelique Kidjo, and even Bill Withers in his final Carnegie Hall performance. Ray's musical foundation was built at NYU, where he studied under some of the most respected trombonists of our time: Tom Hutchinson, Mark Patterson, Robin Eubanks, Alan Ferber, and Elliot Mason. His mentorships with SNL Bandleader Lenny Pickett, GRAMMY-winning composer Brian Lynch, and Director of NYU Jazz Dave Pietro deepened his approach to the wide-ranging musical landscape of the 21st century. A native New Yorker, Ray spent over a decade honing his craft in NYC, followed by five years in Nashville, and now lives in Los Angeles with his wife.

The May 2026 New Music Train is making its monthly swing through South Carolina and that means two things: Harris and Rachel King! The fantastic husband and wife duo pick out songs from May 2026 by Aldous Harding, Cola, Broken Social Scene, Moon Machine and Blondeshell.Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends.Visit our website at SuburbsPod.comEmail Jim & Patrick at rock@suburbspod.comFollow us on the Threads, Facebook or Instagram @suburbspodIf you're glad or sad or high, call the Suburban Party Line — 612-440-1984.Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Part 2 of my conversation with guest Jay Breitling as we count down our favorite music of 2026 so far. Show notes: Breitling's #6: Kurt Vile's love letter to Philly KV writes songs about nothing and they're great Kumar's #6: Great album from Chicago's Ratboys Leading the wave of bands with sweet female vocals and rocking instrumentation Breitling's #5: 17-track compilation from the Laughing Chimes It's like a typewriter, retro and satisfying Kumar's #5: Hot indie rock from Philly's Gladie Led by former singer of Cayetana Breitling's #4: First new LP from Broken Social Scene in a decade Reembracing the combustible Freakin' Fanelli Bootlegs became readily available in the early '00s Kumar's #4: Montreal post-punk trio with an excellent release Political lyrics Breitling's #3: The Notwist returns with a sound that combines their different phases Back to basics Documentary captures their weirdness Kumar's #3: Austin synth-punk weirdos Drakulas return with gloriously fun release Featuring members of the Riverboat Gamblers and Rise Against Breitling's and Kumar's #2: We did it! Courtney Barnett with a triumphant album recorded in California Sings about everyday issues in her life Breitling's and Kumar's #1: We did it again! Alex Edkins of METZ with his second Weird Nightmare album Not as dark and heavy as METZ, but exciting and exhilarating Very hooky and uplifting Looking forward to new stuff from Kiwi Jr., Strange Pains, Johnny Foreigner, Afghan Whigs, The Cramps (archival release), The Fall, Eddy Current Suppression Ring, Evil Island   Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

On this week's show, we celebrate Pride Month and Juneteenth loudly and proudly, spend quality time with new records from Kurt Vile, Elephant Gerald, and Bruce Springsteen, and spin fresh tracks from Jack White, The Last Dinner Party, and Cigarettes After Sex. All this & much, much less! Debts No Honest Man Can Pay is a curated collection of musical eclectica & other noodle stories. The show started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Broken Social Scene is back with a new album, Remember The Humans. Founding members Kevin Drew and Charles Spearin reflect on their early days making music as a loose collective of friends, and talk about why 2026 felt the right time to reunite and release new music.

Broken Social Scene (BSS) revient après neuf ans d'absence avec Remember the Humans, et d'emblée le ton est posé : ce n'est pas un album de come-back calculé, c'est un disque de vie. Enregistré dans la foulée d'une réunion inattendue avec leur producteur historique David Newfeld, BSS n'essaie pas de […] The post Broken Social Scene: Ensemble, Encore first appeared on Radio Vostok.

Broken Social Scene (BSS) revient après neuf ans d'absence avec Remember the Humans, et d'emblée le ton est posé : ce n'est pas un album de come-back calculé, c'est un disque de vie. Enregistré dans la foulée d'une réunion inattendue avec leur producteur historique David Newfeld, BSS n'essaie pas de […] The post Broken Social Scene: Ensemble, Encore first appeared on Radio Vostok.

...y más nuevas canciones de Rita Ojanguren, Marina Paredes, The Rolling Stones, Ringo Starr, Of Montreal y Broken Social Scene.Escuchar audio

BRIAN FALLON – “Not Bad For New Jersey” NIA ARCHIVES – “Boys in Blue” THE CORAL – “Let the Music Play” WESTSIDE COWBOY – “Kick Stones” PETEY USA – “Kiss the City” KIWI, JR. – “Blowin' Up” MOUNTAIN GOATS – “Charlie Sheen Reaches Out to the Feds” TOUCH GIRL APPLE BLOSSOM – “The Springtime Reminds Me of…” THE MARLOES – “I'd Be Lost” STARCLEANER REUNION – “Weather Instrument” BROKEN SOCIAL SCENE – “Paying for Your Love” TRASCAN SINATRAS – “Melodramatic” MICHAEL STIPE, ANDREW WATT – “I Played the Fool” JAMES MADDOK – “Let My Guard Down” BROTHER WALLACE – “Who's That” MICHIGANDER – “Freaking Out” HOTT MT – “Time Banisher”  DUCKS LTD. – “Easy Come, Easy Go” CAROLINE ROSE – “Yip Yip Yow” NEIL YOUNG, CHROME HEARTS – “Big Crime” JOBI RICCIO – “Wildfire Season” WILD PINK –  “Round of Applause at the End of the World” LOS MIRLOS, JUANES – “De Jueves a Jueves” THOMAS DOLLBAUM – “Rabbits” ROLLING STONES – “In the Stars”

...y más nuevas canciones de Finn Wolfhard, Ryan Bingham, Kevin Morby, Metric y Broken Social Scene.Escuchar audio

Broken Social Scene is music for the people. Band leader Kevin Drew tells us how over 25 years, a rotating cast of characters and millions of fans' lifelong memories and moments, the Toronto band continues to capture moments that look towards a better life. Their excellent new album Remember The Humans is out now. Get in touch giles@mightymoonmedia.com Thanks Rough Trade East for having us. Get yourself some top class Shure microphone gear: https://shu.re/3YhV7p2 Set up Your Band's merch store, for free at Distrokid Direct: https://distrokid.com/direct/ Learn more about your ad choices. Visit megaphone.fm/adchoices

...y más nuevas canciones de Gilla Band, Telehealth, Squarepusher, Kelela, Peter Gabriel y Broken Social Scene.Escuchar audio

Durante toda esta semana repasamos el nuevo álbum del colectivo canadiense, comentado por uno de sus integrantes, Brendan Canning.En el programa de hoy también sonaron nuevas canciones de Arcade Fire, Modest Mouse, The Strokes, Iceage, Tommy Barlow, Muna y Charli XCX.Escuchar audio

There's a point in every long music career where survival becomes more interesting than success. Not survival in the purely commercial sense. Not chart positions, algorithmic reach or streaming milestones. But survival of identity. Survival of friendship. Survival of purpose. The good stuff that can easily get buried away in the cut & thrust of a fickle business like music. That's where Kevin Drew of Broken Social Scene finds himself now, nearly 25 years after the collective first emerged from Toronto's indie underground and quietly became one of the defining musical communities of the 2000s.Drew is thoughtful, funny, open & revealing; and utterly uninterested in rock mythology. There are no grand narratives about being an artist in the world of “rock & roll”. In fact, he actively rejects them.“I can't handle any more Daisy Jones & The Six bullshit. It's all drugs, drugs, drugs. The road's about constipation, man. It's not about partying. It's about how my metabolism works on the road but nobody wants to make that movie.”The refusal to romanticise the cliché is central to Broken Social Scene's longevity. And that's just what we love about The Art of Longevity. In fact I'm going to call it “getting beyond the cliches of being an artist in the modern music business”. While many bands implode under the pressure of ego, success or repetition, Drew talks about music instead as community: messy, imperfect, emotional community.“Our success is not of an individual. It's a group of people. We're in this together. We're still going. Some of us have more success than others. Some people have swimming pools, some of us are renting. We have great lives, we have great kids, we have success, because success is honesty”. That philosophy runs through Remember the Humans, the band's first album in nine years. It's a record shaped not by urgency or any loud “comeback” ambition, but by reflection. The album opens with a trio of mid-tempo songs, thereby breaking every rule there is in the modern biz. Except the three songs are just great, and set the listener up for a journey that ebbs & flows like all good albums do. A collective is a very different beast from a band. For the various rotating members of Broken Social Scene (some 20 I could count), life and careers intersect in a spaghetti junction of a band dynamic. Parents have died. Relationships have changed. Careers have diverged. Some members of the collective found “mainstream” success through projects like Feist, Metric and Stars. Others remained closer to the margins. “We're not owed anything,” Drew says. “We already did the best we could. Our career peaked. We never made it into the mainstream. We never sold our catalog. We never signed the “big deal”. We never took the money, man. We stayed with the people.”As social scene indeed, and one very much not literally broken, but working just as it should. The Art of Longevity Season 13 is powered by Bang & Olufsen. The book of the podcast, Riding the Rollercoaster, is now available. Support the showGet more related content at: https://www.songsommelier.com/

...y más nuevas canciones de Fat Dog, Kneecao, Soulwax, Boards Of Canada, Rey Don Perro, Broken Social Scene y Snail Mail.Escuchar audio

New music from Shark School! New single Don't Trust A Man is out now. The album, Selachimorpha, is available for pre-order now too! Check it out on strangebrew.ie and bandcamp. Rua Rí's album is out and it is deadly. Don't forget that Broken Social Scene (new single, album next week!) are in Ireland with Stars & Metric in September. Also, always great to play Stars. Death Cab For Cutie also back with a new album on the way and a September show in Dublin. Goldbug announces debut album Swings And Roundabouts is on the way next month. Dark Tropics have announced a tour and new music on the way, but let's revisit last year's single because it's great. Dose - single, tour, EP on the way - what more could you want? The Afghan Whigs also drop a new single and Kneecap have a collab with the awesome Kae Tempest ahead of the album next week. Have a great weekend

...y más nuevas canciones de Yard Act, Broken Social Scene, Lido Pimienta, Instituto Mexicano del Sonido + Meridian Brothers (con Beck), Little Simz y Thundercat.Escuchar audio

Indie News, Kevin Morby, The Strokes, Broken Social Scene ...

El Canad

"We should see how many disco records were made in the winter," Kevin Drew of Broken Social Scene said. And with that, we ventured into the intersection of songwriting and meteorology: how weather patterns and temperature affect the creative mind. The Canadian songwriters I've interviewed tend to be seasonal writers. Many tend to write more during the winter, when they're likely to be holed up inside. Drew and I even dared start a new east coast vs. west coast feud as we pondered whether east coast writers are more productive because their seasons are more defined. But regardless of location, Drew says morning is his best time for writing because "it's one of your best chances to be free."The latest Broken Social Scene album is Remember the Humans on Arts & Crafts Records. 

Nesta edição, Cleber Facchi (@cleberfacchi), Renan Guerra (@_renanguerra), Nik Silva (@niksilva) e Deslange (@deeslange) conversam sobre o line-up do Primavera Sound São Paulo 2026, evento que contará com Gorillaz, FKA Twigs, The Strokes, Lily Allen, Yung Lean e outros artistas.Apoie a gente: https://apoia.se/podcastvfsmNão Paro De Ouvir➜ Charli XCX https://tinyurl.com/sekm5xhj➜ Kelela https://tinyurl.com/3fmdv6tt➜ Juçara Marçal & Thais Nicodemo https://tinyurl.com/55jahf7c➜ Seu Jorge https://tinyurl.com/3jua9nbp➜ Lykke Li https://tinyurl.com/h4burezb➜ Juliana Linhares https://tinyurl.com/43v2kjds➜ Bruno Berle https://tinyurl.com/mskm7x9e➜ The Womack Sisters https://tinyurl.com/3wd6dpyu➜ Cornelius https://tinyurl.com/y7n65kun➜ Blue Lab Beats https://tinyurl.com/47hjt9xd➜ Cola https://tinyurl.com/2wbkswsy➜ Knats https://tinyurl.com/2s4jjfnx➜ Boards of Canada https://tinyurl.com/4p7j5zz8➜ Lambchop https://tinyurl.com/4nsfvfp8➜ Ursamenor https://tinyurl.com/2ccw8v2j➜ Ogermano https://tinyurl.com/bde3w6vp➜ Ana Roxanne https://tinyurl.com/ynd8c7w3➜ Aldous Harding https://tinyurl.com/y955zjjh➜ Broken Social Scene https://tinyurl.com/dcna28k7➜ Safety Trance https://tinyurl.com/mse9mh7a Você Precisa Ouvir Isso➜ The Boys (Prime Video)➜ Dorohedoro (Netflix)➜ Alma Negra: Do Quilombo Ao Baile (Cinemas)Playlist Seleção VFSM: https://bit.ly/3ETG7oEContato: sobremusicavamosfalar@gmail.com

Hablamos con el colectivo Broken Social Scene sobre su regreso tras casi 10 años. Kevin Drew habla sobre el esfuerzo que supone seguir de gira con los años y el valor de la amistad como motor creativo y forma de protesta. También repasa el proceso de varias canciones de su nuevo álbum y la memoria compartida que les llevó a volver al estudio.Escuchar audio

Lo de Zara Larsson no tiene nada de habitual. La viralidad inesperada de una canción publicada hace una década la ha rescatado del cementerio de las estrellas del pop. En 2025 aprovechó esta ola en su álbum 'Midnight Sun', y ahora invita a sus amigas a este viaje a la relevancia en un disco de remezclas en el que participan desde Robyn y PinkPantheress a Shakira. 'Midnight Sun: Girls Trip' promete un verano en rosa con olor a aftersun. Además, Silvia Pérez Cruz responde a nuestro cuestionario cultural en FAQ! Y hablamos sobre la fuerza de la amistad y el paso del tiempo con Kevin Drew que nos presenta 'Remember the Humans', el álbum de regreso de Broken Social Scene. Playlist:Laaza, Rodrigo Cuevas - VerdeLorena Álvarez - IncreíbleJuana Molina - Siestas ahíMcEnroe - Can FernandoEl Columpio Asesino - A la Espalda del MarLos Planetas - Hierro y níquelDove Ellis - Heaven Has No WingsBuck Meek - GasolineBig Thief - Vampire EmpireBaba Stiltz, Okay Kaya - I Believe in Lovemori, rusowsky - StarKate Bush - Army DreamersMitski - First Love / Late SpringAlex G - MaryThe Smiths - Heaven Knows I’m Miserably NowGorillaz - Orange County (feat. Bizarrap, Kara Jackson, Anoushka Shankar)Kneecap, Kae Tempest - Irish GoodbyeWhite Fence - Your EyesThe Lemon Twigs - I Just Can’t Get Over LosingMGMT - When You DieCharli xcx - Rock MusicLykke Li - Not Gonna CryAvalon Emerson - Country MouseHostia Pedagógica - Estás rotoMala Gestión - DiéselTriángulo de Amor Bizarro - SacrificioBaiuca, Mondra - MazarocasNita, BRONQUIO - MilagroOvermono - LockupZara Larsson, PinkPantheress - Midnight Sun (Girls Trip)Rostam, Clairo - HardyVampire Weekend - M79Bon Iver - HEY, MA (Pitchfork Music Festival, Chicago IL. July 23 2023)The Strokes - Falling out of LoveNew Order - KraftyBroken Social Scene - The CallArcade Fire - Ready to Start TEMPLES - VendettaFat Dog - Go Fuck UrselfFontaines D.C. - StarbursterBad Bunny, Chuwi - WELTiTAHelado Tropical - Tocando Nathy Peluso - MENINA (MURA MASA REMIX)Daniela Lalita, Mura Masa - TiroteoEscuchar audio

Esta semana en Toxicosmos abrimos con auténtica historia de la música electrónica: Daft Punk y su imprescindible “Da Funk”, punto de partida para dedicar parte del programa al libro Daft Punk: We Were the Robots, publicado por Contra Editorial. Una obra que nos sirve para repasar la historia del dúo francés, su impacto en la música electrónica contemporánea y esa transformación que los llevó de la escena club parisina a convertirse en los robots más famosos del planeta. Además, recuperamos algunos momentos clave de su carrera con canciones como “Harder, Better, Faster, Stronger”, “One More Time”, “Robot Rock”, “Something About Us” y “Get Lucky”. Pero el programa también llega cargado de novedades. Escuchamos el nuevo single de Tommy Richman, el pop emocional y bailable de Muna, la sensibilidad alternativa de Second Spring, el regreso de Lykke Li, la electrónica fronteriza de Kerala Dust, que además pasarán por el inminente Deleste Festival de Valencia, y el nuevo golpe oscuro de Editors con “Call It In”. También suenan propuestas como st. art, Romance Writers, De'Wayne junto a Lenny Kravitz, Broken Social Scene, loveoleglove, Rikas, Wrabel, Ava Valianti y Paris Paloma, en un bloque internacional lleno de pop alternativo, guitarras, electrónica, soul y canciones con mucho pulso emocional. En la recta final recuperamos a Mercury Rev aprovechando la gira española con la que celebrarán el aniversario de All Is Dream, escuchamos lo nuevo de Death Cab for Cutie, la versión con guitarras de “Children” a cargo de Adam Guerrero, y cerramos el repaso con novedades nacionales de Shinova, Daniel González, Yo Somos y Leo Rizzi. Un programa con Daft Punk como grandes protagonistas, pero también con muchas canciones nuevas para seguir tomando el pulso a la actualidad musical alternativa.

In this episode of the XS Noize Podcast, Mark Millar is joined by Kevin Drew and Charles Spearin of Broken Social Scene to discuss the band's new album, Remember The Humans. Kevin and Charles talk about where the title came from, how a joke about AI ended up capturing the emotional centre of the record, and why Broken Social Scene returned now with their first new studio album in nearly a decade. They also discuss reuniting with producer David Newfeld, the shared grief that shaped the album, the "enjoyable PTSD" of getting the band back together, and the beauty and difficulty of collaboration inside a band built on so many voices. The conversation also touches on songs including "Not Around Anymore," "The Call," "Briefest Kiss" and "Relief," the documentary It's All Going To Break, the Toronto music scene, and why music still has the power to connect, heal and keep people going. Remember The Humans is released via City Slang in the UK/EU and Arts & Crafts in North America. Follow / subscribe to the XS Noize Podcast for more in-depth conversations with artists, songwriters and music legends.  

Lechler, Bernd www.deutschlandfunk.de, Corso

MUNA. Stephen Sanchez. Lykke Li. NPR Music's Stephen Thompson chats with Celia Gregory from WNXP in Nashville about their favorite albums out Friday, May 8. Plus, a handful of NPR Music writers and critics offer personal picks in our lightning round. The Starting 5(00:00) MUNA, 'Dancing On The Wall'(08:17) Aldous Harding, 'Train on the Island'(16:00) Deb Never, 'Arcade'(22:15) Lykke Li, 'The Afterparty'(28:12) Stephen Sanchez, 'LOVE, LOVE, LOVE'(34:46) The Lightning Round- Ashley McBryde, 'Wild'- Broken Social Scene, 'Remember The Humans'- Ray Bull, 'Please Stop Laughing'- Anastasia Kristensen, 'Bestiarium Sombre'- Amy Grant, 'The Me That Remains'Sample the albums via our New Music Friday playlist and see our Long List of notable releases on NPR.org.Credits:Host: Stephen ThompsonGuest: Celia Gregory, WNXPAudio Producer: Noah CaldwellDigital Producer: Dora LeviteEditors: Otis Hart, Elle MannionExecutive Producer: Suraya MohamedSpecial thanks to Robin Hilton, Ann Powers and Lars GotrichSee pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

In this 1897th episode of Toronto Mike'd, Mike chats with singer songwriter Charlotte Cornfield about her time in Montreal and Brooklyn before settling down in Toronto and touring with Broken Social Scene and collaborating with Feist. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, Nick Ainis, and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com.

Neue Alben von Broken Social Scene, Lykke Li, Social Distortion, Action Bronson, MUNA – klar, alles geil. Aber, how about that: Beastie-Boys-Legende Mike D spannt mit seinen Söhnen zusammen und veröffentlicht mit «Switch Up» das erste neue Stück Musik aus dem Beastie-Boys-Universum seit 15 Jahren!

Jeden Freitag stellen vier Popmusikjournalistinnen und -journalisten ab 21 Uhr ihre Alben der Woche im "Soundcheck" auf radioeins vor. Andreas Müller diskutiert diesmal mit seinen Gästen Nadine Lange (Tagesspiegel), Joachim Hentschel (freier Journalist) und Christoph Reimann (Musikjournalist) über diese Neuveröffentlichungen: "Remember The Humans" von Broken Social Scene, "Train On The Island" von Aldous Harding, "Wild At Heart" von Neil Diamond und "Boys Cry Too" von The Haunted Youth.

Kevin Drew from Broken Social Scene is my guest on this episode of That's How I Remember It. I met Kevin years ago at some festivals our bands played together, and have always really enjoyed speaking with him, so I was thrilled to have him on the show. We talked about the great new BSS record as well as AC/DC, losing a parent, Rosie Grier, not having children, Dinosaur Jr., and the Broken Social Scene set at Lollapalooza 2006 - the best music festival set I've ever witnessed. This was such a great talk, huge thanks to Kevin for joining. Listen and subscribe!

Toronto-based band Metric have come a long way since their official formation over two decades ago, but as they sang in their 2008 single "Help, I'm Alive," their hearts are still "beating like a hammer." Metric co-founder and lead singer Emily Haines is here to guide us through the "minefield of memory" and unpack the urgent and emotional songs on the band's just released 10th album, Romanticize The Dive (Thirty Tigers/MMI), and Metric's impending tour with fellow Canadian legends Broken Social Scene and (friends of the podcast), Stars.   For the most up-to-date news about all things RSD, visit RecordStoreDay.com. Didn't find everything on your RSD lists? Maybe you'll still find it on RSDMRKT.com.   The Record Store Day Podcast is a weekly music chat show written, produced, engineered, and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton.   Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends!

This week, we three social sons form a social scene for Broken Social Scene's Broken Social Scene and if that sentance hypnotized you please mail me your wallet. Also up for Fire Eye'd Boyscussion (that's boy-discussion, not concussion thats football stuff): We eulogize Fuddruckers and speculate on how guys used to be horny different style, Kevin Drew has written a much raunchier I Saw Mama Kissing Santa Claus, and WADS-1 is dead, long live DUMP-6.10/10 You're Great is presented by The Alternative. Support the site and our show on Patreon.Follow us on Instagram. You can also find Chris @ChrisFavata on most social media sites.Call the Hot Hotline: 360-559-2371Send an email: 1010youregreat@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Lana del Rey firma "First Light,", el tema oficial de 007, el nuevo videojuego protagonizado por James Bond. Lo ha hecho junto a David Arnold, uno de los nombres más importantes en la historia musical del agente 007 y compositor de hasta cinco películas de la saga. Escuchamos también "Drop Dead", el primer adelanto del próximo disco de Olivia Rodrigo, dos de las canciones de "Oniria Popular", el nuevo e inmenso disco de Xoel López y a Rosalía con "Focu ‘Ranni". Aparte, compartimos novedades de Muna, Niña Polaca, Eaves Wilder, Buscabulla, Kuve y Broken Social Scene.   THE CRANBERRIES - DreamsXOEL LÓPEZ - Mundo FlotanteXOEL LÓPEZ - Monstruo FinalLORI MEYERS - En Lo TotalNIÑOS BRAVOS -Todo mi potencialMUNA - WannabeherONA MAFALDA - NadaLANA DEL REY - First LightOLIVIA RODRIGO - Drop DeadNIÑA POLACA - Policía-HachísEAVES WILDER - Just Say No!TEMLES - VendettaROSALÍA - Focu ‘RanniBUSCABULLA - Miraverahi (Slow Jamz Remix)KUVE - Modo AviónBROKEN SOCIAL SCENE -The CallEscuchar audio

On today's episode, I talk to musician and producer John McEntire. Originally from Portland, OR, John started playing drums as a preteen and eventually went to school at The Oberlin Conservatory to study music. At Oberlin, John started playing in David Grubbs post-Squirrel Bait band Bastro. The group then moved to Chicago, and Bastro morphed into the first incarnation of Gastr Del Sol. After their debut album The Serpentine Similar was released in 1993, John left to co-found Tortoise, who he's played with ever since. John also performs in The Sea and Cake and Red Krayola, and as a producer and engineer has worked with everyone from Stereolab to Broken Social Scene to Yo La Tengo, and of course, this is just scraping the surface of John's accomplishments. Most recently, Tortoise released their eighth album Touch through International Anthem and Nonesuch Records, and folks, like everything else they've done, it's wonderful! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

My internittent series on albums that have over (usually) a long period of time continued to be outstanding. Canada's fabulous Broken Social Scene's second album is a fair contender for greatest indie guitar album in history, certainly in North America.

FULLY & COMPLETELY: REDUX"In Violet Light" - The Tragically HipEpisode Show Notes——————————————————————————————————Fully & Completely: Redux | "In Violet Light" - The Tragically Hip (2002)——————————————————————————————————Hey, it's jD here.Some albums don't just meet you where you are - they find you exactly when you need them. **"In Violet Light" is that record.** Released in June 2002, it's the one that pulled jD hard back into The Tragically Hip after a stretch of distance. And if you listen closely, it makes total sense why. This isn't a band trying to hold on - it's a band that has let go of every obligation and is just making music for themselves. **The result is one of the most quietly assured records of The Hip's entire career.**This week on Fully & Completely: redux, jD and Greg LeGros go track by track through "In Violet Light" - the eighth studio album from The Tragically Hip, recorded in the Bahamas with legendary producer Hugh Padham - and make the case that this record has no business being this good, this far into a career.——————————————————————————————————EPISODE OVERVIEW"In Violet Light" landed in a 2002 music landscape that included Coldplay's "A Rush of Blood to the Head," Queens of the Stone Age's "Songs for the Deaf," Beck's "Sea Change," and Broken Social Scene's "You Forgot It in People." The indie pop explosion was just beginning to blow the roof off Canadian music. The Hip were eight albums deep, the mainstream had largely written them off, and **they responded by making one of their best records.** No fat. No filler. Eleven tracks of lean, confident, beautiful rock and roll.The album was recorded at Compass Point Studios in the Bahamas - the same studio where AC/DC recorded "Back in Black" and Bob Marley cut some of his most enduring work - with Hugh Padham, the producer behind the gated drum sound that defined the 1980s (Phil Collins' "In the Air Tonight," Sting's solo catalogue, The Police's "Synchronicity"). **jD and Greg break down why that combination - this band, this producer, this place - produced something genuinely special.**——————————————————————————————————TRACK BY TRACK HIGHLIGHTS**'Are You Ready to Love'** - The opener sets the whole album's thesis. jD hears the first verse as a direct response to the critics and mainstream fans who had written The Hip off. **"They're pulling the plug. They've got our whole dug." And then - the chorus arrives like a shrug and a fist at the same time: are you ready for love?** A great rock and roll song that doubles as a mission statement.**'Use It Up'** - Built on a lyric attributed to the booklet of a Raymond Carver collection, this is a track about seizing everything, wasting nothing, and making music for the love of it. Greg hears Radiohead's "OK Computer" in the verses and the Georgia Satellites in the chorus - **and somehow The Tragically Hip pull both of those things off in the same song.** A slow burn that rewards headphones.**'The Darkest One'** - jD turns up whatever he's listening to every single time this song starts. **"The wild are strong and the strong are the darkest ones - and you're the darkest one."** Greg calls it a safe place. A song about freedom of expression, comfort, and the strange intimacy of being fully understood. Don't let the Trailer Park Boys video fool you - this song could have broken them wide open.**'It's a Good Life If You Don't Weaken'** - The centrepiece. The lead single. **Both jD and Greg pick this as their track of the record - the first time in the history of Fully & Completely that hosts have landed on the same song.** Named for a Canadian graphic novel by Seth and a phrase used by band staffer Molly Lorimer to describe life on the road, it's a song about mortality, aging, and the strange grace that comes when you stop fighting. Death is swirling all around it - and it's still one of the most uplifting things The Tragically Hip ever made.**'Silver Jet'** - The one that changes gears just right. Greg connects this song personally to the empty skies over the Danforth in the days after 9/11, and the feeling of the first plane cutting back through the silence. **A song about hope, fear, and the things that pull your gaze forward.** The wolves of Northumberland. An archipelago. A green star. Only Gord.**'Throwing Off Glass'** - Companion piece to 'Trick Rider' from "Phantom Power" - if that song is about his son, this one is about his daughter. A slow builder that rewards patience. **A soundscape that would fit comfortably on "Coke Machine Glow."****'All Tore Up'** - A great drinking rock and roll song. Dottie the bluegrass singer. Open concept. Getting a little happening with old friends. **No one else writes a lyric like this and makes it fit inside a song this well.** Turn it up.**'Leave'** - A waltz in 3/4 time. Beautiful backup vocals. A late-night phone call at three in the morning. **"You better be dying." And they were.** An emotional gut-punch that doubles as a permission slip - to leave a job, a relationship, a place that no longer fits.**'The Dire Wolf'** - A pseudo-history lesson disguised as a rock song. Tallulah Bankhead and Canada Lee, stars of Hitchcock's "The Lifeboat." Ann Harvey of Isle of Morts, Newfoundland, who rescued 163 shipwrecked souls in 1828. A poem called "Sea Surface Full of Clouds" by Wallace Stevens. **Greg pulls all of this from memory. It's an entire university lecture wrapped in six minutes of music that absolutely slaps.****'The Dark Canuck'** - The closer. Possibly the longest Tragically Hip song ever recorded at six and a half minutes. A time signature change halfway through. **Canadian soldiers as peacekeepers. Apple, Zippo, and Metronome as record labels. Jaws at the drive-in. The Dark Canuck playing second on the double bill.** Nobody at the drive-in is staying for it. And that's sort of the whole point.——————————————————————————————————WHY THIS EPISODE MATTERSThis is the album that brought jD back to The Hip in earnest - **the record that cracked open the second half of his relationship with this band.** It's also the episode where he and Greg pick the same song for the first time. And it's the one where jD, partway through discussing 'Leave,' pauses to talk about his mother. **Listen for that moment. It's what this podcast is for.**"In Violet Light" is a masterpiece with no business being this good eight albums in. And this episode earns every minute of its runtime.So there's that.——————————————————————————————————SOURCES & CREDITS• HipMuseum.com• This Is Our Life: The Tragically Hip in the 1990s (Michael Barclay)• "It's a Good Life If You Don't Weaken" - graphic novel by Seth• "Sea Surface Full of Clouds" - poem by Wallace Stevens• Ann Harvey of Isle of Morts, Newfoundland - historical record• Compass Point Studios, Nassau, Bahamas - production history• Raymond Carver - attributed quote in "Use It Up"——————————————————————————————————CONNECT WITH THE SHOW• Facebook: facebook.com/groups/tthpods• Instagram: @tthpods• YouTube: youtube.com/@tthpods• Email: tthpodcastseries@gmail.comThe Tragically Hip Podcast Series - Est. 2018#TheTragicallyHip #TheHip #InVioletLight #FullyCompletely #GordDownie #TragicallyHip #CanadianRock——————————————————————————————————Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

LAPÊCHE – “Autotelic Nosebleed” LANGKAMER – “Crows” FRIKO -”Seven Degrees”  LALA LALA – “Does This Go Faster” WITCH – “Once In A Lifetime” THE SOPHS – “Sweetiepie”.  BROKEN SOCIAL SCENE – “Not Around Anymore” THEY MIGHT BE GIANTS – “Wu Tang”  ANA CALVI, IGGY POP – “God's A Lonely Man” KEVIN MORBY – “Javelin” lucky break – “City Lights” GLADIE – “Car Alarm” EMMANUELA HUTTER – “Mean Lovin' Machine” THE OLYMPIANS – “In Search Of A Revival Part One” THE NEW PORNOGRAPHERS – “Pure Sticker Shock”  METRIC – “Victim Of Luck” OWELU DREAMHOUSE – “Niger River” GUN OUTFIT – “Unfelt Loss” MARIACHI EL BRONX – “Songbird” ASHER WHITE – “Night Faces” REMEMBER SPORTS – ”Bug” DIRT BUYER – ”Get To Choose” YOUMI ZOUMA – “Drag” BONNIE PRINCE BILLY – “Hey Little” VICTORYLAND – “No Cameras”, BILLY BRAGG – “City Of Heroes' PETER GABRIEL – “Been Undone”  

Relax. Escape. Enjoy. 

Nesta edição, Cleber Facchi (@cleberfacchi), Isadora Almeida (@almeidadora), Renan Guerra (@_renanguerra) e Nik Silva (@niksilva) conversam sobre a origem do termo, sua popularização, a apropriação das grandes gravadoras e como um simples rótulo se transformou em estilo musical. Apoie a gente: https://apoia.se/podcastvfsmNão Paro De Ouvir➜ Arctic Monkeys https://tinyurl.com/mtv8u6zp➜ Mitski https://tinyurl.com/2wdtkczc➜ Robyn https://tinyurl.com/47yp67ew➜ Animal Invisível https://tinyurl.com/yuzkn7u7➜ KiiiKiii https://tinyurl.com/36vxbrzm➜ Katy da Voz e as Abusadas https://tinyurl.com/32n4cnau➜ Charlotte Day Wilson https://tinyurl.com/38yenyh9➜ Pedro Lanches https://tinyurl.com/2fmw7h6p➜ Friko https://tinyurl.com/36v32p3j➜ Dua Saleh https://tinyurl.com/3zwzmaf8➜ Broken Social Scene https://tinyurl.com/9emk4jw5➜ Mandy, Indiana https://tinyurl.com/3zfm4b6m➜ Ratboys https://tinyurl.com/58hu8wc9➜ Daphni https://tinyurl.com/yy8thvy8➜ Joshua Chuquimia Crampton https://tinyurl.com/5n82wyxf Você Precisa Ouvir Isso➜ Bad Bunny no Super Bowl➜ O Corpo Crítico - Jean-Claude Bernardet➜ Megbonk (Nintendo Switch, Nintendo Switch 2, PC)➜ Jujutsu Kaisen (Netflix)➜ Coração Acelerado (GloboPlay)Playlist Seleção VFSM: https://bit.ly/3ETG7oEContato: sobremusicavamosfalar@gmail.com

In Part 2 of our deep dive into Post Rock, we explore the bands and ideas that have shaped this experimental and atmospheric approach to music. From Slint and Mogwai to Sigur Rós and Explosions in the Sky, we look at how these bands create something cinematic...emotional...and entirely unexpected. We also look at how post‑rock influences artists like Radiohead and Broken Social Scene, and why this musical philosophy continues to spread all across the globe. Prepare to discover new bands, new sounds, and a new way of thinking about what rock can be. Learn more about your ad choices. Visit megaphone.fm/adchoices

Seven-piece American indie rock, post rock band Racing Mount Pleasant walk an easy line from Black Country, New Road to the Mountain Goats, Radiohead to Broken Social Scene, Sigur Rós to Pavement. They draw you into their immersive musical world of complex, sometimes heavily contrasting themes: simple joy and catharsis rides atop intricate instrumental arrangements and time signatures, softer sounds build up to climactic crescendos, placeably Gen Z themes are sung over timeless music, as 300 of us descended into a hot, hot Garrison on the coldest day of the year so far.I went down to the Garrison with Toronto photographer Owen Forbes, friend of the show and occasional fellow-concert reviewer, on Tuesday, 20 January to catch an exceptional set by Racing Mount Pleasant. Here's what we thought of it.Podcast cover art: Racing Mount Pleasant by Owen Forbes.Try and support artists independently through buying their music, merch, going to shows! Bandcamps/websites linked above.Touch that dial and tune in live! CFRC 101.9 FM in Kingston or cfrc.ca⁠, Sundays 8-9:30 PM! Full shows in the linked archive for 3 months from broadcast.Like what we do? ⁠Donate⁠ to help keep our 102-year old radio station going!Get in touch with the show: email ⁠yellowbritroad@gmail.com⁠, IG @⁠⁠yellowbritroad⁠⁠.PS: submissions, cc ⁠music@cfrc.ca⁠ if you'd like other CFRC DJs to spin your music on their shows as well.

You Forgot It in People captures Broken Social Scene at their most expansive, an indie rock communal experience balancing meticulous arrangements and unhinged joyfulness. Layers of guitars, synths, horns, and rotating vocalists creates a warm chaos that rewards repeated listens, as new details constantly surface. Songs like “Anthems for a Seventeen Year-Old Girl” and “Cause = Time” balance intimacy and grandeur, pairing fragile emotion with sweeping crescendos. Two decades on, it still sounds like the 2000s blueprint for how indie rock bands like Arcade Fire, Godspeed, You Black Emperor, and many more could be messy, emotional, and deeply human without losing their ambition.   Songs In This Episode Intro - Stars and Sons 12:15 - KC Accidental 20:29 - Cause = Time 26:03 - Anthems For A Seventeen Year-Old Girl Outro - Pacific Theme   Support the podcast, join the DMO UNION at Patreon. Listen to the episode archive at DigMeOutPodcast.com.

This week, I'm joined by David Longsreth (of Dirty Projectors and musical collaborator with David Byrne, Bjork, Solange, and Rihanna) to talk about his life in music, and the experience of composing his first soundtrack for A24's The Legend of Ochi.We discuss the head-bending Dirty Projector's take on the Black Flag Damaged LP, punk rock mix tapes, touring with Xiu Xiu and going 'method' on that tour, David making his early records in basement bedrooms on 4-track cassette recorders, embarrassing imperfections in music, an early eureka moment while opening for Broken Social Scene, working solo vs. collaborating with others, the different modes of Neil Young, John Cale's touch and attack, how they did the vocal gymnastics live with Bjork, Einstein On The Beach and Phillip Glass, slowing down songs to half speed, being fans of people you collaborate with, the soundtrack to Rumblefish, David's early work on Ochi and the film's 10-year gestation period, vocal hocketing, creating the creatures' voices in the film, how it feels to hear your music played by an orchestra, my video store colliding with David creating his 1st record while sleeping in a hallway in Portland, and more...So come find out if I put a bag over my head for asking naive questions on this episode of Revolutions Per Movie!!!DAVID LONGSTRETH/DIRTY PROJECTORS:https://www.davidlongstreth.com/https://www.dirtyprojectors.net/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

In the eight years since The Barr Brothers last released an album, Andrew has been drumming with people like Feist, Mumford & Sons, and Broken Social Scene while Brad released a solo record and underwent incredible personal change. Brad made the huge decision to get sober, which he talks about candidly in our Basic Folk interview. Anything you read about the new record, 'Let it Hiss,' might allude to his newfound sobriety while not mentioning it directly. The band made a conscious decision not to include it in any press releases, specifically so that their audience could have their own relationship with the new music. It seems like getting sober has impacted every aspect of the album, but one could listen and project just about any personal pivotal shift onto these songs. Regardless, I am so appreciative that Brad opened up about his sobriety, so we could better understand the music and the incredible relationship that he and Andrew share.In our conversation, we talk about Brad's deep connection to the number 216, its origin, and why he's kept that number close to him for most of his life. He shares his reflections on the music lessons given to him and Andrew from visiting Malian musicians, who exchanged their services for free dental work from their father. Those lessons completely changed the musical trajectory of the brothers and still impact them today. We also talk about their former band, The Slip (who are actually still active every now and again), a much loved Boston group that was fully embraced in the jamband world. I find the music of Andrew and Brad Barr to be completely transformative and not of this world – and I'm so grateful for the new record. Please go see them live, especially if you are into celestial experiences!!Follow Basic Folk on social media: https://basicfolk.bio.link/Sign up for Basic Folk's newsletter: https://bit.ly/basicfolknewsHelp produce Basic Folk by contributing: https://basicfolk.com/donate/Interested in sponsoring us? Contact BGS: https://bit.ly/sponsorBGSpodsAdvertising Inquiries: https://redcircle.com/brands

This week's Mixtape Rewind takes you back to January 2022 when Matt and Sam gave you 12 new tracks from the latter part of 2021.  Sam is almost certain one song is Norwegian but later realizes it was actually French - you'll have to listen to find out what that's all about. (The perils of recording early in the morning).Nearly four years ago, we went from a posthumous Juice WRLD cut with Justin Bieber to a high-voltage rocker from Goodbye June, before swerving into Nas's compact masterclass and The Smile's angular warning shot from Thom Yorke and Jonny Greenwood.The middle of the journey softens without losing purpose. Save Face disguises a dark story in glittering pop-punk; Stromae returns with a beautiful, aching meditation on isolation; Nathaniel Rateliff & The Night Sweats bring blues rock warmth with a simple promise: I'm on your side. We keep that thread alive with Aurora's poetic electro-pop and a cinematic surprise—U2's Your Song Saved My Life from Sing 2—proof that film can spark songs meant to be felt by every age in the room.We land the plane with intimacy and legacy. JJ Wilde and Billy Raffoul trade lines like late-night confessions, Brian Wilson reminds us what a signature sound really means, and Broken Social Scene closes with a winter-walk tempo and a lyric about moving slowly through uncertainty. It's a mix built for replay and for sharing—equal parts adrenaline and reflection, discovery and comfort. Here's the mix available on our Super Awesome Mix app (requires Apple Music): https://app.superawesomemix.com/qdjkzrCDUd7y4sx68 Here's the mix on Spotify: https://open.spotify.com/playlist/6Qc8jOICb2quuMWO8XnrJy?si=d510dc3ff85e4430Wandered to LA by Juice WRLD & Justin BieberStep Aside by Goodbye June40-16 Building by NasYou Will Never Work In Television Again by The SmileGLITTER by Save FaceL'enfer by StromaeI'm On Your Side by Nathaniel Rateliff & The Night SweatsEverything Matters by AURORAYour Song Saved My Life by U2Let Me Go by JJ Wilde & Billy RaffoulRight Where I Belong by Brian Wilson & Jim JamesCurse Your Fail by Broken Social Scene Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

When you think of catchy pop anthems from the late '60s and '70s, chances are Andy Kim's fingerprints are all over them. The Canadian singer-songwriter carved out a space in music history with a string of hits that defined an era, yet his journey stretches far beyond his chart-toppers. From his humble beginnings in Montreal to penning global hits, stepping away from fame, and eventually enjoying a triumphant comeback, Andy Kim's story is as fascinating as his music.Born Andrew Youakim, the son of Lebanese immigrants, Andy grew up in a large family surrounded by music . He was drawn to the excitement and energy of rock and roll, idolizing Elvis and Buddy Holly, while dreaming of making it big himself. By his teens, he was already writing songs, learning the ropes of show business, and imagining a future far beyond the streets of Montreal.At just 16, Kim headed to New York City with little more than ambition and determination. He knocked on doors in Manhattan's famous Brill Building, the mecca of songwriting in the '60s, where legends like Carole King, Neil Diamond, and Jeff Barry were crafting timeless hits. His persistence paid off—he eventually landed a meeting with producer Jeff Barry, who became his mentor and collaborator.In '68, Andy Kim released his first single which cracked the Top 20 in the U.S. This early success was just the beginning. The following year, he co-wrote Sugar, Sugar for the fictional band The Archies. The bubblegum pop anthem became a worldwide smash, selling over six million copies. Even though Andy wasn't the face of the Archies, his contribution to one of the biggest hits of the decade cemented his reputation as a first-class songwriter.Andy followed up with his own string of solo hits. His knack for crafting feel-good melodies kept him on the charts and in demand throughout the early '70s.The defining moment of Andy Kim's career came in '74 with Rock Me Gently. Written, produced, and recorded entirely on his own terms, Kim initially struggled to get labels interested. Refusing to give up, he pressed the record himself, and the gamble paid off. The song soared to No. 1 and became an international hit. At the height of his fame, Andy Kim was a household name. But the music industry can be fickle. After the success of Rock Me Gently, the hits became harder to come by. By the late '70s and '80s, Andy chose to step back from the spotlight. He adopted the pseudonym Baron Longfellow and released music under that name, but the commercial magic of his earlier work proved elusive.Still, he never stopped writing and recording. Though he wasn't topping charts anymore, he was quietly influencing younger artists and remaining connected to the craft he loved.In the '90s and 2000s, Andy's legacy started to be celebrated more widely. Younger musicians, especially in Canada, cited him as a pioneer. In 2004, he made a triumphant return with I Forgot to Mention, written with Barenaked Ladies' Ed Robertson. That collaboration rekindled his profile.In 2015, he released the album It's Decided, produced with Kevin Drew of Broken Social Scene. Andy Kim's contributions haven't gone unnoticed. He's been inducted into Canada's Music Hall of Fame, received the Order of Canada, and continues to be recognized as a national treasure. His enduring influence lies not just in the timeless appeal of Rock Me Gently and Sugar, Sugar, but also in his perseverance, humility, and generosity.Even today, Andy is active in the music world, performing, mentoring, and celebrating the power of song. His story is a testament to resilience—a reminder that the peaks and valleys of fame can't overshadow genuine talent and passion.Andy joins us today to share his story. I really hope you enjoy it.