Podcast appearances and mentions of Damien Jurado

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.

    ---- 1 - Nicholas Krgovich - Boss Tape - Gave It a Name  2 - Marine Eyes & Sleep School - commUNITY BROADCAST - ...Becoming the Ocean 3 - Shabason & Krgovich - Four Days in June - Begin Again 4 - Tracey Nelson - Hercules - 86 5 - My New Band Believe - My New Band Believe - One Night 6 - Ed O'Brien - Blue Morpho - Thin Places  7 - Ed O'Brien - Blue Morpho   - Sweet Spot 8 - Radiohead - A Moon Shaped Pool - Glass Eyes 9 - Masakatsu Takagi - ... - Marginalia #226 10 - Tujiko Noriko - PON - Boku Wa Obake 11 - Martin Kohlstedt - Kluft - MEM 12 - Roger Eno - Without Wind, Without Air - Rarities - False Memory Waltz 13 - Holland Andrews x Methods Body - REMAIN - Lightning Rod 14 - Laurie Anderson - Homeland - The Lake 15 - Oliver Coates - The History Of Sound (OST) - House at Night 16 - Oliver Coates - The History Of Sound (OST) - Suitcase of Cylinders (Feat. Briana Middleton) ---- 17 - Ted Lucas - Rainy Days (1970-1974) - Rainy Days 18 - Bill Orcutt & Mabe Fratti - Almost Waking - Almost Waking 19 - Bill Orcutt & Mabe Fratti - Almost Waking - Todo Puede Ser Error 20 - Maria BC - Marathon - Sabotage 21 - Deathcrash - Somersaults - Love For M 22 - NewDad - ... - Kick The Curb 23 - Picture Frames - ... - 3:25pm 23 - Tommy Barlow - ... - Earth Killer 24 - Damien Jurado - ... - Allocate (Live) 25 - Wendy Eisenberg - Wendy Eisenberg - The Walls 26 - Alela Diane - Who's Keeping Time? - Endless Waltz 27 - Jo Mango - The Lightswitch - The Windowpane 28 - Spencer Krug - Same Fangs - Pinecone King 29 - Asher White - Titles Under Pressure - Jessica Pratt

Rosie Thomas is a singer-songwriter who came up alongside artists like Damien Jurado, Pedro The Lion and Sufjan Stevens. She was one of the first folk artists signed to Sub Pop Records and had a long-running comedic alter ego named Sheila Saputo. Her most recent music project is Lullabies For Parents.In this interview she talks about her experience as a child performing in musicals, joining Velour100, working at a daycare with Damien Jurado, signing to Sub Pop, performing at Lilith Fair in 2010, breaking through Sufjan Stevens' defenses and acting alongside Steve Zahn. ---Do you have a Christian rock story to tell? Want to respond to this episode? Leave us a message at ‪(629) 204-4264‬.If Rock That Doesn't Roll is important to you, support us on Patreon. https://www.patreon.com/rtdr (join via the website, not the iOS app for a 30% discount)Or make a one-time donation: https://coff.ee/rtdrIf you can't afford a donation, please tell five friends about the show.You can connect with us on Instagram or by emailing RTDRpod@gmail.comSign up for our Substack to keep up with show developments.Buy RTDR merch here.

Esta semana, en nuestras Islas de Noche, sesión de actualidad y profundidad. Suenan: JOAN SHELLEY - "Here in the High and Low" ("REAL WARMTH", 2025) / DAMIEN JURADO - "Nature with All Her Force Have the Final Word" (2026) / BILL CALLAHAN - "The Man I'm Supposed to Be" ("MY DAYS OF 58", 2026) / BONNIE "PRINCE" BILLY - "Strange Trouble" ("WE ARE TOGETHER AGAIN", 2026) / CASS MCCOMBS - "Home At Last" ("INTERIOR LIVE OAK", 2025) / JEFF TWEEDY - "Over My Head (Everything Goes)" ("TWILIGHT OVERRIDE", 2025) / ALDOUS HARDING - "One Stop" ("TRAIN ON THE ISLAND", 2026) / LUKE TEMPLE - "One Heavenly Body" ("HUNGRY ANIMAL", 2026) / SAM BLASUCCI - "In Your Grave" ("STAR OF BEAUTY", 2026) / DAGMAR ZUNIGA - "A Car With No Lights On" ("IN FILTH YOUR MISTERY IS KINGDOM / FAR SMILE PEASANT IN YELLOW MUSIC", 2026) / HALEY HEYNDERICKX & MAX GARCIA CONOVER - "This Morning I Am Born Again" ("WHAT OF OUR NATURE", 2025) / DEAN JOHNSON - "Painted Smile" ("I HOPE WE CAN STILL BE FRIENDS", 2025) / HERMAN DUNE - "369 (The Sun Gon' Shine)" ("ODYSSEUS", 2025) /Escuchar audio

Running a town is an act of stewardship — of land, money, people, and possibility.Ojai City Manager Ben Harvey joins host Bret Bradigan for a candid, wide-ranging conversation about what that stewardship looks like in practice. We unpack the real constraints of municipal governance — housing mandates, fiscal realities, and the delicate balance between preservation and change.And then we talk music.From Jonathan Richman and the Modern Lovers to Okkervil River and Damien Jurado, we reflect on how live music shapes community — and tease some exciting possibilities for Libbey Bowl this coming season.Because in Ojai, civic life isn't just policy. It's culture. It's memory. It's the shared experience of gathering under the oaks for a show.A conversation not just about how towns are run, but how they are felt.

Interview with singer songwriter Robert Deeble. Born in 1966 in Long Beach, California, Robert cut his teeth as a songwriter in the gritty underground of the LBC, which introduced him to longtime collaborators like drummer Stephen Hodges (Mike Watt/Tom Waits) and folk heroine Victoria Williams, who helped launch his early records. His 1998 release, EarthSide Down, earned notice for its orchestral textures and spirit- infused lyrics—reminiscent of Leonard Cohen and Nick Drake. By his third album, Paste had described him as “truly an arresting talent, able to gain entry to places rarely imagined by most songwriters. Following his This Bar Has No One Left EP in 2005, Deeble completed a Master's degree in psychology—a journey that has deeply informed his songwriting and emotional perspective. His 2012 album Heart Like Feathers marked his musical return, with themes of Robert Deeble - Bio depression and struggle but with “a redemptive hope that brought glimmers of light (Performer Magazine).” Robert emerged again in 2018, with one of his more personal works, Beloved. Born from his experience of fostering and then adopting a child with his wife, the album captures the agony and tenderness of temporarily caring for a child, the heartbreak of letting her go, and, finally, becoming her parent. Robert's recordings over the years have featured such industry veterans as Rachel Blumberg (The Decemberists), Jen Wood (The Postal Service), Tomo Nakayama and others. He has shared bills with artists such as Low, IDA, Jason Molina, Sam Phillips, M. Ward, Over the Rhine, Mike Watt, Damien Jurado, David Bazan and Victoria Williams. The Space Between Us shows Deeble to be a craftsman of understated, emotionally resonant songwriting. Or as Bandcamp put it, "Every new record from Seattle musician Robert Deeble is like stumbling across some secret grotto.   Robert's info:  https://robertdeeble.com/ https://en.wikipedia.org/wiki/Robert_Deeble https://robertdeeble.bandcamp.com/music https://www.instagram.com/rdeeble/?hl=en https://www.facebook.com/robert.deeble.music/ https://open.spotify.com/artist/42LPbMxQThbZsibL4OdqMZ  

Podcast #760 likes new tunes from Big Life, The High Frequencies, Nervous Twitch, Guided by Voices, Tape Trash, Damien Jurado, & Cataphract.

Ein Multiinstrumentalist aus Wien, der sich in den vergangenen Jahren mit seinen feinfühligen Indie-Pop-Produktionen einen Namen gemacht hat. Sein aktuelles Album "Golden Days" erschien 2024 und nun ist Eder damit auf Tour gewesen. Ein letzter Stopp führt ihn heute ins studioeins! Nach einer Ausbildung zum Toningenieur und einem Jazzgesangsstudium in Wien – und inspiriert von Musikern wie Elliott Smith, Damien Jurado oder Nick Drake, widmete sich Eder zunächst als Teil der Band Wa:rum der Musik. 2006 zog Eder für mehrere Jahre nach Berlin, veröffentlichte Soloalben wie "The Livingroom Sessions" und "Tales from the East Side" und arbeitete für Theaterproduktionen – und ging schließlich zurück in die Wiener Heimat. Seine aktuelle Tour führte ihn vor allem durch den Süden von Deutschland; nun – zum Abschluss – aber noch einmal nach Berlin!

Ein Multiinstrumentalist aus Wien, der sich in den vergangenen Jahren mit seinen feinfühligen Indie-Pop-Produktionen einen Namen gemacht hat. Sein aktuelles Album "Golden Days" erschien 2024 und nun ist Eder damit auf Tour gewesen. Ein letzter Stopp führt ihn heute ins studioeins! Nach einer Ausbildung zum Toningenieur und einem Jazzgesangsstudium in Wien – und inspiriert von Musikern wie Elliott Smith, Damien Jurado oder Nick Drake, widmete sich Eder zunächst als Teil der Band Wa:rum der Musik. 2006 zog Eder für mehrere Jahre nach Berlin, veröffentlichte Soloalben wie "The Livingroom Sessions" und "Tales from the East Side" und arbeitete für Theaterproduktionen – und ging schließlich zurück in die Wiener Heimat. Seine aktuelle Tour führte ihn vor allem durch den Süden von Deutschland; nun – zum Abschluss – aber noch einmal nach Berlin!

Ein Multiinstrumentalist aus Wien, der sich in den vergangenen Jahren mit seinen feinfühligen Indie-Pop-Produktionen einen Namen gemacht hat. Sein aktuelles Album "Golden Days" erschien 2024 und nun ist Eder damit auf Tour gewesen. Ein letzter Stopp führt ihn heute ins studioeins! Nach einer Ausbildung zum Toningenieur und einem Jazzgesangsstudium in Wien – und inspiriert von Musikern wie Elliott Smith, Damien Jurado oder Nick Drake, widmete sich Eder zunächst als Teil der Band Wa:rum der Musik. 2006 zog Eder für mehrere Jahre nach Berlin, veröffentlichte Soloalben wie "The Livingroom Sessions" und "Tales from the East Side" und arbeitete für Theaterproduktionen – und ging schließlich zurück in die Wiener Heimat. Seine aktuelle Tour führte ihn vor allem durch den Süden von Deutschland; nun – zum Abschluss – aber noch einmal nach Berlin!

Ein Multiinstrumentalist aus Wien, der sich in den vergangenen Jahren mit seinen feinfühligen Indie-Pop-Produktionen einen Namen gemacht hat. Sein aktuelles Album "Golden Days" erschien 2024 und nun ist Eder damit auf Tour gewesen. Ein letzter Stopp führt ihn heute ins studioeins! Nach einer Ausbildung zum Toningenieur und einem Jazzgesangsstudium in Wien – und inspiriert von Musikern wie Elliott Smith, Damien Jurado oder Nick Drake, widmete sich Eder zunächst als Teil der Band Wa:rum der Musik. 2006 zog Eder für mehrere Jahre nach Berlin, veröffentlichte Soloalben wie "The Livingroom Sessions" und "Tales from the East Side" und arbeitete für Theaterproduktionen – und ging schließlich zurück in die Wiener Heimat. Seine aktuelle Tour führte ihn vor allem durch den Süden von Deutschland; nun – zum Abschluss – aber noch einmal nach Berlin!

Critic Matthew Crawley shares his top tunes, Waste Away by Void Waves and For Each Familiar Scene by Damien Jurado.

In this special episode, we sit down with Belfast-born, Berlin-based songwriter Mahuna, whose debut album Forever Is Mine is a deeply personal, 25-year journey through memory, place, and emotional evolution. With the lead single Shimmering Light already setting the tone with its nostalgic glow and lyrical warmth, Mahuna opens up about the stories behind his evocative tracks—from the stillness of Berlin winters to amber dawns in Paris and the windswept fields of Monaghan.We explore the raw, live-recorded nature of the album, his reflections on fatherhood, the role of grief and healing in songwriting, and how time can transform both music and memory. For fans of Nick Drake, Glen Hansard, and Damien Jurado, this is an intimate look into the making of a debut that's taken a lifetime to arrive.Discover more here : https://www.mahunamusic.com/Join us as Mahuna unpacks Forever Is Mine—a sonic memoir shaped by stillness, sorrow, and shimmering light.

This week on the show, something different: an extra-sized Transmission that's been locked in the vault for years, a two-hour talk with singer/songwriter Damien Jurado.  Way back in 2022, host Jason P. Woodbury sat down with Jurado in the recording studio at Gold-Diggers in Los Angeles for a career spanning conversation, exploring the stories behind his oracular visions, his history, and his collaborators, including the late Richard Swift. The idea was that perhaps the talk would be chopped up for a mini-series, but the project never materialized—and instead this revealing talk was locked away on a hard drive, that is until now, as the time has come to share it via Transmissions. Woodbury been listening to Jurado's music for about 25 years; first encountering his 2000 Sub Pop release Ghost of David, a haunted album of lo-fi folk songs. Years later, Jurado's sound bloomed into psychedelia when he began collaborating with the late Richard Swift for 2010's Saint Bartlett, which was followed by the Maraqopa Trilogy, a series of psychedelic epics. Jurado has been on a tear since—sharing a string of self-produced recordings that include 2021's The Monster Who Hated Pennsylvania, 2022's Reggae Film Star, and three albums in 2023, Sometimes You Hurt the Ones You Hate, Motorcycle Madness, and Passing The Giraffes. Recently, he's expanded the view of these albums with a series of demo collections shared also by his own label, Maraqopa Records.   Jurado's songs are worlds meant to be lived in, full of strange characters in dream states, caught between the static on flickering TV channels, and with this episode, the penultimate, which is a fancy word for “second to last” of our 10th season, we explore those worlds with the man himself. You can read a ⁠⁠⁠⁠full transcript⁠⁠⁠⁠ of this conversation at Aquarium Drunkard, where you'll find 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. With your support, here's to another decade. ⁠⁠⁠⁠Subscribe at Aquarium Drunkard. ⁠⁠⁠⁠ Stream a ⁠⁠⁠⁠playlist of bumper music featured on Transmissions⁠⁠⁠⁠, as well as selections from our guests. Transmissions is a part of the ⁠⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠⁠. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

Folks we've done it once again: we have radiated so much electric hotness that we had to go folk with Damien Jurado's The Horizon Just Laughed. I'd say this was our Bob Dylan's going electric moment but in reverse but in fact we remain the Bobs of Never Shutting Up.Speaking of speaking we speak with Rapt AKA Jacob Ware about this album and we also listen to his music and nod sagely and weep. Big thank you to him for putting up with our yank antics. Also John Cougar Mellencamp is discussed for unknowable reasons. When a musician's genre is labeled "heartland rock" on Wikipedia we should not be bothering Europeans about that, keep that under lock and key.Please enjoy Rapt anywhere music is found: http://linktr.ee/jacobwrapt Hosted on Acast. See acast.com/privacy for more information.

This week, hosts Reggie Worth and Jason Jefferies discuss the new releases of 1/17/25 and 1/24/25, including albums by Songhoy Blues, Damien Jurado, Mogwai, Rose City Band, and Matt Berry.  Also discussed are actors who cross over into music, and Bob Dylan.  Thank you, and happy listening!

Episode 39 of Campfire Songs with Big Blood, Here We Go Magic, Clark Hutchinson, Stevie Wonder, Peter Case, The Wickies, Phil Yates, The Hypos, Damien Jurado.

 Part one of the episode is our hilarious chat with Adam Monda (guitar and vocals), Ethan Anderson (guitar, vocals, and the occasional flute), and Dave Goedde (drums)of Massy Feguson (and a cameo by keyboardist Fred Slater). We discussed how they started out with their first gig at a farmer's market, working with Damien Jurado, and their newly released album “You Can't Tell Me I'm Not What a Used to Be” their first vinyl release!  Part two of the episode features Cindy Emch and Clint Cleveland of Secret Emchy Society. We talked about Cindy's starting the band under the guise of filling in on egg shaker for some friends, curating the Queer Country events at AmericanaFest and being ‘outlaw countrythat lives at the intersection of shit-kickery and tenderness.'  Honestly our faces hurt from smiling after these two conversations!  Be sure to listen for the plug for Bolton's Famous Hot Chicken in East Nashville.   Find them here:   Massy Ferguson—  Website: www.massyfergusonband.com  Facebook: Massy Ferguson  Instagram:massyfergusonband  YouTube: massyfergusonband   Secret Emchy Society—  Website: www.emchy.com  Facebook: Secret Emchy Society  Instagram: secretemchysociety  YouTube: Secret Emchy Society 

We update our running list of the year's best songs with the shapeshifting rock of Caleb Landry Jones, Angélica Garcia's dystopian grooves, a searing look at infidelity from Damien Jurado and more.Featured songs and artists:1. Caleb Landry Jones: "Hey Dawn," from Hey Gary, Hey Dawn2. Angélica Garcia: "El Que," from Gemelo3. Damien Jurado & The Fremont Abbeye: "Sheets ('24)," from Sheets ('24)4. Laura Marling: "Patterns," from Patterns In Repeat5. Carlos Ares: "Cigarra," from Peregrino6. Melt-Banana: "Stopgap," from 3+5Feedback, questions, comments or suggestions always welcome: allsongs@npr.orgLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Scrump and Drew talk about the music of Beyonce, Jay-Z, Chingy, Queen, David Bowie, mau, Cordae, Lil Wayne, Rancid, Damien Jurado, King Geedorah, and more! Crazy in Love-Beyonce ft Jay-Z Right Thur-Chingy Under Pressure-Queen & David Bowie Find Me-mau Saturday Mornings-Cordae ft Lil Wayne Time Bomb-Rancid Silver Joy-Damien Jurado Next Levels-King Geedorah   Patreon Merchandise   Social Media: Twitter Instagram 

Esta semana, en Islas de Robinson, finales de los 90, primeros 2000. Suenan: ERIC MATTHEWS - "TO CLEAR THE AIR" ("THE LATENESS OF THE HOUR", 1997) / NINA NASTASIA - "STORMY WEATHER" ("DOGS", 2000) / ELLIOTT SMITH - "BETTER BE QUIET NOW" ("FIGURE 8", 2001) / PETE KREBS & GOSSAMER WINGS - "THUNDERSTORMS AND ALCOHOL" ("SWEET ONA ROSE", 1999) / NEIL HALSTEAD - "MARTHA'S MANTRA (FOR THE PAIN)"("SLEEPING ON ROADS", 2002) /DAMIEN JURADO - "CURBSIDE" ("REHEARSALS FOR DEPARTURE", 1999) / RICHARD BUCKNER - "4 A.M." ("DEVOTION & DOUBT", 1997) / GILLIAN WELCH - "REVELATOR" ("TIME (THE REVELATOR)", 2001) / JESSE SYKES & THE SWEET HEREAFTER - "LULLABY" ("RECKLESS BURNING", 2002) / CAT POWER - "MAYBE NOT" ("YOU ARE FREE", 2003) / SILVER JEWS - "WE ARE REAL" ("AMERICAN WATER", 1998) / BECK - "DEAD MELODIES" ("MUTATIONS", 1998) / GORKY'S ZYGOTIC MYNCI - "HOW I LONG" ("HOW I LONG TO FEEL THAT SUMMER IN MY HEART", 2000) /Escuchar audio

Bonjo Iyabinghi Noah is the percussionist and vocalist behind African Head Charge, the experimental dub project he co-founded with legendary studio wizard Adrian Sherwood in the late 1970s. With dozens of albums to his credit, he's been established as an influential and singular performer with a sound all his own. Today I'm speaking with Bonjo about how he found his musical and spiritual calling in the Poco churches of Jamaica in his youth, how an encounter with Fela Kuti changed the course of his life, his collaborations with classic reggae and soul artists like Desmond Dekker, Prince Far I, Creation Rebel and the Foundations, how he turned an experimental studio project into a large live ensemble, and insights into African Head Charge's latest album, A Trip To Bolgatonga on Adrian Sherwood's On-U Sound label. Scherler Sundays is returning to downtown Olympia for summer 2024!! That means ten weeks in a row of free outdoor concerts and live interview tapings for future broadcast.  Come see your next favorite artist and get to know them in one fell swoop, week after week! This year's lineup includes Little Wings, Mirah, Tender Forever, Lois, Damien Jurado, Michael Hurley, Chris Cohen, Oh Rose, Jonny Kosmo and more than 20 others, all curated and hosted by yours truly.  It's happening every sunday at 3pm from July 21st through September 22nd. Find more info at ScherlerBeer.com If you're a fan of this show, please consider taking a moment to support this show by committing to a flexible monthly donation at patreon.com/lowprofile. It would mean the world to me if I could set aside a proper work week at a living wage every month, and I believe with enough of the regular listeners chipping in 5 bucks, it could happen.  So thanks a lot to those of you who have continued to support me on Patreon, and if you haven't yet, give it a try! It will be great for your karma, I bet! You can find links to more of their work on this episode's website at lowprofilepodcast.com, where you'll also find a treasure trove of oral history from exceptional musicians of all stripes. Low Profile is a part of the Ruinous Media podcast network, and this episode's artwork was drawn by Jack Habegger.  Thanks to Howard Wuelfing at Howlin' Wuelf Media for facilitating today's interview.

Veteran acoustic-indie hump Damien Jurado was looking to get adventurous when he linked up with gifted producer and multi-instrumentalist Richard Swift in 2010. Over an eight-year stretch, the pair would create some of the most musically-enriched LPs in Jurado's catalog. One random weekend after the release of the first of those albums, the pair hung out and spontaneously recorded nine cover songs in Swift's dining room. Never originally thought to be album-worthy, a few years later this collection would be formally released as Other People's Songs Volume One - a half hour of huggable audio that thrives in the freedom of having no intent.

"See God, it ain't me.They 'bout to start a world war;I'm just tryna practice peace." - Leikeli47"How the hell you walk outta Heaven?" - Leikeli 47"LEARN A TRADE" - Me"I. CHOOSE. LIFE!" - Ricci OprahTo anyone reading, I've missed you. If anyone out there is struggling with, well anything, I hope you can find the resources that are best, comfortable and affordable to you. I always recommend Al-Anon, as many of my listeners have heard before. I've yet to meet a person who doesn't "qualify" for the miraculous program it can be. And I actually did end up finding tremendous help through Betterhelp.com by the way; that wasn't entirely a joke. So there's that, but it's very expensive. Be kind to yourselves, be extra kind to children, and I'll talk to you very soon. With infinite love to every person reading this, even you, Robynp.s. THE AL-ANON PROMISES If we willingly surrender ourselves to the spiritual discipline of the Twelve Steps, our lives will be transformed. We will become mature, responsible individuals with a great capacity for joy, fulfillment, and wonder. Though we may never be perfect, continued spiritual progress will reveal to us our enormous potential. We will discover that we are worthy of love and loving. We will love others without losing ourselves, and will learn to accept love in return. Our sight, once clouded and confused, will clear and we will be able to perceive realityand recognize truth. Courage and fellowship will replace fear. We will be able to risk failure to develop new, hidden talents. Our lives, no matter how battered and degraded, will yield hope to share with others. We will begin to feel and will come to know the vastness of our emotions, but we will not be slaves to them. Our secrets will no longer bind us in shame. As we gain the ability to forgive ourselves, our families, and the world, our choices willexpand. With dignity we will stand for ourselves, but not against our fellows. Serenity and peace will have meaning for us as we allow our lives and the lives of those we love to flow day by day with God's ease, balance, and grace. No longer terrified, we will discover we are free to delight in life's paradox, mystery, and awe. We will laugh more. Fear will be replaced by faith, and gratitude will come naturally as we realize that our Higher Power is doing for us what we cannot do for ourselves.p. 269-270 "From Survival to Recovery"

On this week's show, we wrap up the merry month of Debts-cember (and the year in general) with... the most honorable of mentions the runners-up that fill our cup the best of the rest of 2023  All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

Podcast #674 is going to take you places with a soundtrack from Single Mothers, Raspberries, Dori Freeman, Olympic Size, The American Analog Set, & Damien Jurado.

On this week's show, we... spend quality time with new records by Black Pumas & Damien Jurado  unearth a great lost jangle-psych classic from Detroit's Under Water Rain  feature a long-overdue Doppelbangers segment  All this & much, much less!Debts No Honest Man Can Pay 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.ys

This week, the panel is joined first by Isaac Butler, co-host of Slate's Working podcast and author of The Method: How the Twentieth Century Learned to Act, to debate the merits of David Fincher's The Killer and whether the director's latest “thriller” (which stars Michael Fassbender) is a masterful example of craft or simply a logic-free time-suck. Then, Dana, Julia, and Stephen explore the world of Letterboxd, the self-proclaimed “Goodreads of movies” that may be the only positive social media platform left. Finally, the trio is joined by Extreme Friend of the Pod Chris Molanphy to discuss his wonderful new book, Old Town Road, which considers Lil Nas X's debut single as pop artifact, chart phenomenon, and cultural watershed. In the exclusive Slate Plus segment, the panel asks: what's the deal with long movies? Are today's films getting longer or is it just a figment of our imagination?  Email us at culturefest@slate.com.  Endorsements: Dana: A hometown endorsement of Slate's excellent coverage of the Sam Bankman-Fried trial, specifically a piece by Nitish Pahwa entitled “The Days the Chips Fell,” which chronicles what Pahwa witnessed in the courtroom the day Bankman-Fried was found guilty. Julia: The Last Waltz, Martin Scorsese's iconic 1978 concert documentary that captures the Band's legendary farewell performance in San Francisco. It depicts a very specific image of the male rockstar era, highlighting both the vanity and vulnerability of its stars. Dana also wrote about The Last Waltz for Slate in 2012!  Stephen: Taken by the retro-feel of The Holdovers' trailer, Stephen endorses the song featured in it, “Silver Joy” by Damien Jurado.  Outro music: “Go Slow” by Daniel Fridell Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, the panel is joined first by Isaac Butler, co-host of Slate's Working podcast and author of The Method: How the Twentieth Century Learned to Act, to debate the merits of David Fincher's The Killer and whether the director's latest “thriller” (which stars Michael Fassbender) is a masterful example of craft or simply a logic-free time-suck. Then, Dana, Julia, and Stephen explore the world of Letterboxd, the self-proclaimed “Goodreads of movies” that may be the only positive social media platform left. Finally, the trio is joined by Extreme Friend of the Pod Chris Molanphy to discuss his wonderful new book, Old Town Road, which considers Lil Nas X's debut single as pop artifact, chart phenomenon, and cultural watershed. In the exclusive Slate Plus segment, the panel asks: what's the deal with long movies? Are today's films getting longer or is it just a figment of our imagination?  Email us at culturefest@slate.com.  Endorsements: Dana: A hometown endorsement of Slate's excellent coverage of the Sam Bankman-Fried trial, specifically a piece by Nitish Pahwa entitled “The Days the Chips Fell,” which chronicles what Pahwa witnessed in the courtroom the day Bankman-Fried was found guilty. Julia: The Last Waltz, Martin Scorsese's iconic 1978 concert documentary that captures the Band's legendary farewell performance in San Francisco. It depicts a very specific image of the male rockstar era, highlighting both the vanity and vulnerability of its stars. Dana also wrote about The Last Waltz for Slate in 2012!  Stephen: Taken by the retro-feel of The Holdovers' trailer, Stephen endorses the song featured in it, “Silver Joy” by Damien Jurado.  Outro music: “Go Slow” by Daniel Fridell Podcast production by Cameron Drews. Production assistance by Kat Hong.  If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows. You'll also be supporting the work we do here on the Culture Gabfest. Sign up now at Slate.com/cultureplus to help support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Podcast #671 is programmed so you can bop and then drop w/ Who Is She?, Young Francis Hi Fi, Paul Warren & Explorer, Alice Cooper, Damien Jurado, The Distant Now, Nytt Land, & The Menzingers.

TW Walsh is a songwriter, multi-instrumentalist, producer, and engineer who's worked with Sufjan Stevens, Jimmy Eat World, Julien Baker, J. Tillman (Father John Misty), Nathaniel Rateliff and The Night Sweats, Benjamin Gibbard (Death Cab for Cutie), The Shins, Chris Staples, Damien Jurado, David Bazan, Starflyer 59 and many others. Over the years, he's been in several bands, including Pedro the Lion, Lo Tom, Headphones, and The Soft Drugs. Currently based in Boston, he continues to master records, write and record songs, and collaborate with other artists. IN THIS EPISODE, YOU'LL LEARN ABOUT: To go to recording school or not? Making the switch from analog to digital How loud should your mixes and masters be? Navigating the loudness wars How loudness can impact the sound quality of a mix Should you master to -14LUFS? Creating cohesiveness between songs on an album Using AI tools during the mastering process Personal taste vs. consumer expectations Using templates in mastering Picking a DAW for mastering Mastering in a non-mastering-specific DAW Why you don't always want to master each song to sound the best it can To learn more about TW Walsh, visit: https://twwalsh.com/ For tips on how to improve your mixes, visit https://masteryourmix.com/ Looking for 1-on-1 feedback and training to help you create pro-quality mixes? Check out my new coaching program Amplitude and apply to join: https://masteryourmix.com/amplitude/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of the #1 Amazon bestselling book, The Mixing Mindset – The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Join the FREE MasterYourMix Facebook community: https://links.masteryourmix.com/community To make sure that you don't miss an episode, make sure to subscribe to the podcast on iTunes or on Android. Have your questions answered on the show. Send them to questions@masteryourmix.com Thanks for listening! Please leave a rating and review on iTunes!

The king welcomes history podcaster Rudyard Lynch, host of the WhatIfAltHist YouTube channel. He began it to ruminate about the big "what ifs" of history, but recently moved on to geopolitics, philosophy, demographics, and other issues focused on the big-picture trends changing our society and our world.Jon then rambles on about all the stuff in the news: the end of Title 42, illegal immigration, Fox News's travails, and more. Subscribe to the King of Stuff Spotify playlist featuring picks from the show. This week's track is “Percy Faith” by Damien Jurado.For video versions of the interviews, subscribe to Jon's YouTube or Rumble channel!

On this week's show, we... nerd out over the highlights of this year's High Water music festival  spend quality time with new records by The New Pornographers & Damien Jurado  spin fresh tracks from PJ Harvey, The Gaslight Anthem & Low Cut Connie  All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

Podcast #643 is, as always, just the records I bought this week from Calvin Johnson, Damien Jurado, Warren Zevon, Airiel, Clan of Xymox, & The Hold Steady.

Jay and Clifton try to decode an inscrutable emblem from our past, Roadside Monument's Beside This Brief Hexagonal. https://www.facebook.com/roadsidemonument https://web.archive.org/web/20070608220652/http:/www.roadsidemonument.com:80/home.html https://mbird.com/religion/17-years-at-mars-hill-life-after-disillusionment/

On this week's show, we... spend quality time with brand new records from The Long Ryders & Lucero  spin fresh tracks from Jason Isbell & the 400 Unit, The The & Sparks  nerd out over the triumphant return of The Rain Parade       All this & much, much less!Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

On this week's show, we wrap up the merry month of Debts-cember (and the year in general) with... the most honorable of mentions the runners-up that fill our cup the best of the rest of 2022  All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

"We got to install microwave ovens, custom kitchen deliveries." - Dire Straits "I love turkey sandwiches." - MeLINKS:Check out the Dire Straits video for "Money For Nothing" HERE!See Damien Jurado's website for tickets to his upcoming 25th anniversary show.My #1 Favorite Damien live video: https://www.youtube.com/watch?v=w1d1eobg9QYMy #2 Favorite Damien live video: https://www.youtube.com/watch?v=L-SEQrHvd2oMy #3 Favorite Damien live video: https://www.youtube.com/watch?v=F-kGUJOnuY4My #4 Favorite Damien live video: https://www.youtube.com/watch?v=PNHTmqAny3UMy #5 Favorite Damien live video: https://www.youtube.com/watch?v=PcqTZ7P_IKQMy #6 Favorite Damien live video: https://www.youtube.com/watch?v=14pegmYlozISend your questions to: info@robynoneil.comMy website: www.robynoneil.comMe on Instagram: https://www.instagram.com/robyn_oneil/?hl=en

Matt Johnson, former Mars Hill elder and drummer in the "Christians in a band not Christian Band" bands Roadside Monument, Blenderhead, and Raft of Dead Monkeys talks with us about the pre-Mars Hill 1990s Seattle Christian punk community, centered around Calvary Chapel in the University District, where Damien Jurado, Dave Bazan and many others also attended. We talk about his time in those bands, particularly Roadside Monument, who recently played a reunion show at Furnace Fest. We also talk about his 17 years at Mars Hill, what it was like being on staff as it was imploding, and the lingering trauma of that experience. -Buy Matt Johnson's book "Getting Jesus Wrong" right here: https://www.barnesandnoble.com/w/getting-jesus-wrong-matt-johnson/1124724146 -Matt Johnson writes in Mockingbird while looking back at his experiences at Mars Hill Church and after: https://mbird.com/religion/17-years-at-mars-hill-life-after-disillusionment/ -Follow Roadside Monument on Instagram: @roadsidemonumentband -Read about and see a video of their 2017 Seattle reunion show: https://www.npr.org/sections/allsongs/2017/06/19/532960633/roadside-monument-15-years-and-2-700-miles-later-reunite-a-lost-seattle -Check out Zach's music by going to: https://muzach.bandcamp.com -Buy VCW merch: https://www.etsy.com/shop/VCWHall Twitter: Twitter: @vcwpod Zach- @muzach Dave- @Davejlester Podcast music by Zach Malm Logo by Zach Malm

Esta semana en Islas de Robinson, todo 2022. Suenan: KEVIN MORBY - "THIS IS A PHOTOGRAPH" ("THIS IS A PHOTOGRAPH", 2022) / MADISON CUNNINGHAM - "ALL I'VE EVER KNOWN" ("REVEALER", 2022) / ANNA TIVEL - "HEROES" ("OUTSIDERS", 2022) / CASS MCCOMBS - "YOU BELONG TO HEAVEN" ("HEARTMIND", 2022) / DAMIEN JURADO - "DAY OF THE ROBOT" ("REGGAE FILM STAR", 2022) / PAPERCUTS - "MY SYMPATHIES" ("PAST LIFE REGRESSION", 2022) / MARINA ALLEN - "CELADON" ("CENTRIFICS", 2022) / FLORIST - "DANDELION" ("FLORIST", 2022) / ANDREW COMBS - "ANNA PLEASE" - ("SUNDAYS", 2022) / SKYWAY MAN & ANDY JENKINS (FEATURING MOLLY SARLÉ) - "NOTHING NO.1" ("NOTHING NO.1", 2022) / MOSES RUBIN - "RUNNING FAR BEHIND" ("DREAMS AND CERTAINTIES", 2022) / PABLO SOLO - "CAN'T GET ENOUGH OF YOU" ("SOLO SINGS SIMON", 2022) / THE GABBARD BROTHERS - "YER A ROCK STAR"´("THE GABBARD BROTHERS", 2022) / Escuchar audio

On this week's show, we...  spend quality time with the superlative new record from The Mountain Goats celebrate 30 years of Sugar's Copper Blue feature 4 albums that - in our humble opinion - represent the artistic sweet spot of 4 very distinctive singer/songwriters.  All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

On this week's show, we...  spend quality time with new records from The Dream Syndicate & Damien Jurado spin fresh tracks from Cory Branan, Amanda Shires & The Dropkick Murphys  celebrate 20 years of Bruce Springsteen's The Rising All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

Podcast #610 puts in that bounce thanks to Art d'Ecco, Fime, Stud Count, Marine Research, Merry Widows, Wire, The Dodgers, & Damien Jurado.

“My imagination functions much better when I don't have to speak to people.” - Patricia Highsmith "Honestly, same." - Me LINKS:Buy Patricia Highsmith - Her Diaries and NotebooksInfo on my show AMERICAN ANIMALSOnline Viewing Room for AMERICAN ANIMALSCatalogue for AMERICAN ANIMALSwww.robynoneil.comMe on Instagram

Dee interviews Corrina Repp, one of his favorite singer-songwriters! Corrina talks about her new album Island, her recent European Tour with Damien Jurado, painting her neighbor's hallway, the joys of Memphis, her time in Tu Fawning, playing that Annoying Waitress on Portlandia, and much, much more. We are excited to have her join us, and she's our first woman on the show!(Michael and Anu are out this week.) Corrina's new album Island on Jealous Butcher Records:https://corrinarepp.bandcamp.com/album/islandCorrina on Bandcamp:https://corrinarepp.bandcamp.comhttps://en.wikipedia.org/wiki/Corrina_Repphttps://www.facebook.com/CorrinaReppmusichttps://www.instagram.com/corrinarepp/?hl=enhttps://twitter.com/corrinareppCorrina on Spotifyhttps://open.spotify.com/artist/6VhCOB0YOxq4S2a8GuPtvzCorrina's music video for "One Summer" off of the new album:https://youtu.be/DjjqY1Q5hkMCorrina's music video for "The Shore" off of the new album:https://youtu.be/hQw2E-qswP8Corrina's music video for "Count The Tear Drops" off of the new album:https://youtu.be/VP4kZ-o_krQCorrina's reel from "Portlandia"https://vimeo.com/223541537--Dee, Michael, and Anu:Anu Kirk:https://www.anukirk.comAnu on BandcampSid Luscious and The Pants on BandcampLuscious-235 on BandcampRêvenir on BandcampMichael Hateley:Lotus Mastering   http://lotusmastering.com/       Extra Fancy "You Look Like a Movie Star":https://youtu.be/0pE1TqlWHCkBaldyloks (Michael Hateley & John Napier):https://soundcloud.com/baldyloks-1Dee Madden:https://www.deemadden.com/Penal Colony live, 1992:https://youtu.be/wjo-x0jJpR4Dee Madden on Spotify:https://open.spotify.com/artist/4jsYxJ4QxzoGn9t0HRllPk 

Damien Jurado - Taped in Front of a Live Studio Audience from the 2022 album Reggae Film Star on Maraqopa. Longtime KEXP-favorite Damien Jurado is on the heels of releasing his 18th album Reggae Film Star this June. The album comes 25 years after his debut album Waters Ave S. and is just one of seven albums the prolific songwriter wrote and recorded during the pandemic. 2021's The Monster Who Ate Pennsylvania was the first of those to be released. Our Song of the Day is the short but sweet “Taped In Front of a Live Studio Audience.” Over a softly driving beat and warm, thrumming guitars, Jurado paints a picture of a day in the life of an exhausted working mother, doing her best to keep it together or at least stay awake. With lines like “Who's screaming at the top of their lungs? /Well I don't have time, and my patience is running thin,” the song is a relatable story for those familiar with the comedy of parenting. Reggae Film Sta is due digitally and on CD June 24 via his own Maraqopa Records, with vinyl arriving July 8. Damien produced it himself alongside multi-instrumentalist Josh Gordon and recording engineer Alex Bush. Read the full post on KEXP.org Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

"Bury me in wood / And I will splinter / Bury me in stone / And I will quake / Bury me in water / And I will geyser / Bury me in fire / And I'm gonna phoenix" - Bill Callahan"My favorite website is whodatedwho.com" - MeLINKS:Kevin Prufer's website: https://www.kevinprufer.comInfo on my show AMERICAN ANIMALS here: https://www.inglettgallery.com/exhibitions/191-robyn-o-neil-american-animals-april-28-2022-june-4/overview/Online Viewing Room for AMERICAN ANIMALS: https://www.inglettgallery.com/viewing-room/42-robyn-o-neil-american-animals/Catalogue for AMERICAN ANIMALS: https://en.calameo.com/susan-inglett-gallery/read/006031000dd8300a9821f?pagefxopacity=0My website: www.robynoneil.comMe on Instagram: https://www.instagram.com/robyn_oneil/?hl=enMe on Twitter: https://twitter.com/Robyn_ONeilHandwritten Notes: https://www.instagram.com/handwrittennotesontv/

On this week's show, we... nerd out over Cat Power's show at The Neighborhood Theatre in Charlotte, NC spin fresh tracks from Drive-By Truckers, Guided By Voices & Angel Olsen spend quality time with new records from Jack White, Wet Leg & Orville Peck All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

On this week's show we...  catch up on January records we slept on from Elvis Costello & The Imposters and St. Paul & The Broken Bones spin fresh tracks from Arcade Fire, Pixies & The Dream Syndicate nominate the legendary Dolly Parton for sainthood All this & much, much less! Debts No Honest Man Can Pay is over 2 rock-solid hours 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.

The King of Stuff is flying solo to talk about Biden and Fauci's fumbling of the Covid messaging, the CDC “pausing” Johnson & Johnson's vax due to a less than one-in-a-million chance of blood clots, and the riots and looting following another Minnesota police shooting. Subscribe to the King of Stuff Spotify playlist featuring picks from the show. Jon chose “Tom” by Damien Jurado. Also... Source