Podcasts about Drag City

1ere émission de la 62e session...Cette semaine, freebop et free jazz! En musique: Natural Information Society & Bitchin Bajas sur l'album Totaliy  (Drag City, 2025); Jeff Williams sur l'album Circadian Rhythms Live at the Internet Café 1999 (Indépendant, 2025); Rashied Ali Quintet feat. Frank Lowe sur l'album Sidewalks In Motion  (Survival, 2025, enr. 2002); Blind Io sur l'album Pillars of Creation (Part 1)  (Rat, 2025); Sophie Agnel sur l'album Song  (Relative Pitch, 2025)...

Edith Frost, en octobre 2024, sur un banc du Pease Park de sa ville d'Austin, dans le Texas. © Samantha Tellez EDITH FROST. SOMETHING ABOUT THE WAR – 3:00In Space, Drag City, 2025 MARIKA HACKMAN. TEMPORARY LOAN – 3:55Covers, Sub Pop, 2020 TANYA DONELLY. BETWEEN THE BARS – 2:20Say Yes!: A Tribute to Elliott Smith, […] Cet article Errance #185 : de Edith Frost à Michael Kiwanuka est apparu en premier sur Eldorado.

Artist Album Track Label Year Time Spurv Brefjære Som skyer Pelagic 2023 5:25 Nils Petter Molvaer Khmer Access / Song of Sand I ECM 2019 5:51 Oren Ambarchi, Johan Berthling and Andreas Werliin Ghosted II en Drag City 2024 9:32 Kayo Dot Choirs Of The Eye Marathon Tzadik 2003 10:14 BEAK> >>>> The Seal Invada […]

Hosts Jim DeRogatis and Greg Kot share new music they're digging that flies under the mainstream radar, buried treasures! They also pay tribute to singer-songwriter Jerry Butler.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:girlpuppy, "Champ," Single, Captured Tracks, 2024The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Jerry Butler, "Only the Strong Survive," The Ice Man Cometh, Mercury, 1969Jerry Butler and The Impressions, "For Your Precious Love," Single, Vee-Jay, 1958Loveworms, "Heartbeat," Heartbeat, Antena Krzyku, 2025Jetstream Pony, "Captain Palisade," Single, Spinout Nuggets, 2024Meat Wave, "Dehydrated," Voicemail / Dehydrated, Self-Released, 2025Maruja, "Break The Tension," Single, Music for Nations, 2024Prism Shores, "Tourniquet!," Out From Underneath, Meritorio, 2025Denison Witmer, "Making Love," Anything At All, Asthmatic Kitty, 2025Psycho-O-Positive, "Mothra!," Single, Self Released, 2025The Penrose Web, "I Dreamt I Woke Up Dead," It's....The Penrose Web, Gare du Nord, 2025Middle Part, "Dial*," Disruptor, Little Planet, 2024The Sewerheads, "It Came as a Surprise," Despair is a Heaven, Tall Texan, 2024Wand, "The Leap," In A Capsule Wardrobe, Drag City, 2017L.A. WITCH, "777," 777 (Single), Suicide Squeeze, 2025Joveth, "Bubblegum," Bubblegum (Single), Voracious, 2024Sly and the Family Stone, "Everyday People," Stand!, Epic, 1968See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

brianturnershow.com, eastvillageradio.comPATEN LOCKE -  Movement ft. Kat Thundergun - Dance On My Grave (Full Plate, 2024)DOTZ & DJ GOBLIN - Charlie Sheen -  Mirtazapine Dreams (True Unity, 2024)BONZO DOG DOO-DAH BAND - Tent - The Complete BBC Recordings (Strange Fruit, 2002)ARTHUR BROWN'S KINGDOM COME - Come Alive - Journey (Polydor, 1973)FOETUS CORRUPTUS - Fin / Don't Hide It - Rife (Rifle, 1988)PYREX - Digits - Body (Forthcoming, 2025)BAG PEOPLE - Dead Meat - Bag People (Drag City, 2025)SIZE - Go-Go Girl - V/A: 音の宇宙模型 -Sound Cosmodel-ELEMENT/L (-----) - Bels - V/A: 音の宇宙模型 -Sound Cosmodel-YUNG TSUBOTA - One From Ten - V/A: 音の宇宙模型 -Sound Cosmodel-JOHN BENDER - Nippon Projectile - V/A: 音の宇宙模型 -Sound Cosmodel-SUBJECT - Fever - V/A: 音の宇宙模型 -Sound Cosmodel- (1984, re: Yaso Extra, 2025)ZOH AMBA - Morning Doubt - V/A; The Suzanne Langille Songbook (Family Vineyard, 2025)JULES BAPTISTE - Red Decade - 12" (Neutral, 1979)THE CABANISTS - Lizard Mouse - The Cabanists (Watusi, 2025)MAYO THOMPSON - Venus In the Morning - Corky's Debt To His Father (1970, re: Drag City, 1994)MARGARETA SÖDERBERG & ARBETE OCH FRITID - Den Bortsålda - Käringtand (YTF, 1976)HOLY TONGUE - Ambulance Dub - Ambulance (Trule, 2025)SKI - 1111111101 - KRE (cs, Pointless Geometry, 2023)MIŁOS KĘDRA - Airborne - Their Internal Diapasons (cs, Pointless Geometry, 2025)THE ARGOS FIASCO - Ar - If I Start Making A Noise Like That You'd Better Come And See What's Wrong (Blank Audio, 1997)THE BEVIS FROND - Who Knows? - V/A: If 6 Was 9 (Imaginary, 1990)BILL FAY - Laughing Man - Time of Last Persecution (Deram, 1971)THE SUN ALSO RISES - Green Lane - The Sun Also Rises (The Village Thing, 1970)BROTHER ATEN & ZE R - Fragmented Dystopia 2 - Fragmented Dystopia (Bruk, 2025)RHYS CHATHAM - Guitar Ring - Factor X (Moers Music, 1983)

Fast könnte man meinen, das Debütalbum dieser Zürcher Multiinstrumentalistin sei ein verschollener Indie-Klassiker aus den 90er Jahren, der auf einem Kultlabel wie Matador oder Drag City veröffentlicht wurde und bei Release zu wenig Aufmerksamkeit erhielt... ...bei genauerem Hinhören merkt man dann aber doch, dass es sich bei Palinstars Solodebüt um eine Platte einer Schweizer Musikerin handeln muss. «Backtrain Places»? «Shaking Frost»? «Fat Air»? Palinstar nimmt uns auf dem neusten Sounds! Album an der Woche an ihre Rückzugsorte mit, mit gelegentlichem Schüttelfrost und Dicker Luft. (Na, gecheckt?) «Backtrain Places» gibt's diese Woche bis und mit Freitag jeden Abend auf CD oder Vinyl zu gewinnen. Nur live in der Sendung! +++ PLAYLIST +++ · 22:57 – SOMETIMES ALWAYS von THE JESUS AND MARY CHAIN · 22:52 – DREAMS von THE CRANBERRIES · 22:48 – THE MASTERPLAN von OASIS · 22:42 – DRAGGIN' von HANNAH COHEN · 22:38 – EMOTIONS von JOHN GLACIER · 22:35 – DER SEHER von TOCOTRONIC · 22:31 – ALES NOMOL ZRUCK von STAHLBERGER · 22:28 – FLY von WISHY · 22:23 – TRIPLE SEVEN von WISHY · 22:20 – MEGA CIRCUIT von JAPANESE BREAKFAST · 22:17 – IT'S AMAZING TO BE YOUNG von FONTAINES D.C. · 22:13 – FIND MY BABY von MOBY · 22:09 – THE FIRST TIME EVER I SAW YOUR FACE von ROBERTA FLACK · 21:57 – CATCH von THE CURE · 21:53 – GUMSHOE (DRACULA FROM ARKANSAS) von YOUTH LAGOON · 21:49 – TOUGH GUY von PHIL HAYES & THE TREES · 21:41 – COMPLICATED von PALINSTAR · 21:37 – FEELS BETTER NOW von PALINSTAR · 21:33 – PINK PONY CLUB von CHAPPELL ROAN · 21:29 – WHO KNOWS von PALINSTAR · 21:21 – BACKTRAIN PLACES von PALINSTAR · 21:18 – YOU MAY KNOW HIM von CAT POWER · 21:12 – IT'S TIME von PALINSTAR · 21:03 – DÉJÀ VU von PALINSTAR

Welcome to our first full episode of the new year as Louie, Ryan & Al have a barber shop conversation about the Indie legends Pavement and their music video for their hit, "Cut Your Hair."

"Future Thoughts Ft. Spaceface" by Brothers Griin from Joy City; "Docudrama" by Nyx Nott from Themes From; "DISinformation Desk" by The Black Dog from Music for Real Airports; "The Yips" by James Ellis Ford from The Hum. Courtesy of Warp; The single "Vento a Favor" by Sessa. Courtesy of Mexican Summer; "Cascade" by Niecy Blues from Exit Simulation. Courtesy of Kranky; "Sacred and Profane" by Moundabout from An Cnoc Mor. Courtesy of Rocket Recordings; "Reel Life (Evolution 2)" by Cinematic Orchestra from Man with a Movie Camera. Courtesy of Ninja Tune; "Theme from a Personal Prison" by Emil Amos from Zone Black. Courtesy of Drag City; "Delivery" by Black Duck from the self titled album. Courtesy of Thrill Jockey; "Visiting" by Craig Leon from Anthology of Interplanetary Folk Music Vol. 1. Courtesy of RVNG Intl; "Sunset Theater" by Golden Hallway Music from Rules and Chance Vol 3. Courtesy of Not Not Fun; The Actress remix of Carmen Villain from Smalltown Supersound Remix Anthology Vol. 1-4 2002-2022.

Esta semana, en una nueva sesión de Rebelión Sónica, los invitamos a escuchar música de “Ballads of Harry Houdini”, el nuevo disco del importante músico estadounidense David Pajo (Slint, Tortoise), que editó con su pseudónimo de Papa M. Lanzado por el sello Drag City el 22 de noviembre, es el primer disco del cantante, multinstrumentista y compositor en seis años. Según la disquera: “¡El “Gran Artista del Escape” ha vuelto! No, ESE no: ¡el tipo está muerto! Estamos hablando de Papa M. Y ÉL está hablando de Harry Houdini; en el título del álbum, de todos modos, no estoy seguro de ningún otro lugar”. La declaración añade que “entonces, seis años desde su último LP, el totalmente acústico “A Broke Moon Rises”, Papa M llega a la zona de trituración, con los panecillos glaseados, ¡con su quinto largometraje en 25 años de Papa M-itude! Seis canciones geniales: un par de baladas, sí, pero aquí en su mayoría son verdaderos ritmos”. Al final del programa, viajamos al pasado en la discografía del artista, para escucharlo con material del disco “1968” (2006), publicado simplemente como Pajo. Semana a semana, Rebelión Sónica se transmite por radio Rockaxis los jueves a las 10 y 22 horas, con la conducción de Héctor Aravena.

Order and disorder, a freeform haze of garbage guitars, shorted electronics, found detritus, collage, linear songs, sounds from strange lands. Contact me at btradio85@gmail.com. brianturnershow.com, eastvillageradio.comMOMS ON THE INTERNETMARTHA STEWART VS COOKIE MONSTERCARMIKE - Smokin (ft. DJ Paul & Kingpin Skinny Pimp) - Comin At Yo' Ass (Memphis Rap Collection, 2024)ENEMA AND GAJONTE -  På Mitt Kafé - Enema and Gajonte (Borft, 2024)PADKAROSDA - Sötét Végek - Sötét Végek (World Gone Mad, 2022)THE FALL - Touch Sensitive (Dance Mix) - Touch Sensitive (Artful, 1999)SECOND DEATH - Sycophant - Second Death (La Vida Es En Mus, 2024)IMPOTENTIE - Sloop De Grens (ft Terre Neuve) - Zonder Titel Deze Keer (Roach Legs, 2024)HAN-SHAN - Black Teagarden - Han-Shan (1994, re: LG, 2024)KI-GA KI-GA KI_KYO -  飢餓々々帰郷 - 7" (Lucky Strike, 1994)FAXED - Truckin' - Warlocks (NL, 2024)MATT BERRY - Thames Television / Rainbow - Television Themes (Acid Jazz, 2024)MARIAM REZAEI -  Frenzy ft. Elvin Brandhi - Fractured (Heat Crimes, 2024)SPALARNIA -  Jeszcze Nie -  Wolne Tańce (Poza, 2024)KIM BLACKBURN - Oceania - V/A: Outnumbered By Sheep (Campus Radio BFM, 1986)NINA HART - Love - Soundtrack: Taking Off (Decca, 1971)ANTHONY MOORE - Lucia Still Alive - Home of the Demo (1979, Drag City, 2024)ROJIN SHARAFI - Othered Bodies - O.O.Orifice (BC, 2024)FAKE LAST NAME - Another Persuasion (Ana da Silva Mix) - Three Persuasion Domains (Yes We Cannibal, 2024)CHIMERS - Gossip - Through Today (12XU, 2024)SON OF DRIBBLE - Sick In the Hills - Poking a Hole In a Bag of Tears (Minimum Table Stacks, 2024)ENZO BONTEMPI - Italian Spider Man Theme - 7" (Soulful Torino, 2008)MAXX MAN - Just Like A Razor - V/A: Deep Entries : Gay Electronic Excursions 1980-1985 (Dark Entries, 2024)BLUD BARBI & LIL GODD - Nsync In the Moshpit - 666/10 (Bludrip, 2024)EKSEPTION - Bottle Mind - 3 (Philips, 1970)LOVE CRY WANT - Peace - Love Cry Want (New Jazz, 1997)HAYDEN CHISHOLM / MARTIN HEINZE / HILARY JEFFERY / SUSANNE SZAMBELAN - Marais Kyrie + Dowland Flow My Tears (Live From Kantione #1 Berlin, Oct 2024)

Welcome back to Transmissions—far out conversations for far out times. This week, we're joined by synthesist Jill Fraser. She's lived a remarkable life in music: mentored by Morton Subotnick, she went on work in film and television, with projects like 1974's sci-fi fantasy Zardoz and Paul Schrader's 1979 film Hardcore to her name, in addition to a litany of commercials featuring her inventive sound design. In the '80s, she found herself on the outskirts of LA's thriving punk scene, and now, she's released a new album, Earthly Pleasures, on the storied Drag City label. A science fiction saga in sonic form, it finds Fraser working with tools like her 1978 Serge Modular, Prism Modular and Ableton Push 3 to reconfigure, expand, and transmute revival hymns of the 19th and early 20th centuries, asking the question: what might this music sound like to some extraterrestrial or robotic intelligence countless years in the future? In this thoughtful conversation with host Jason P. Woodbury, Fraser opens up about her working relationship with composer Jack Nitzsche, her excitement about AI technology, and how the sci-fi trappings of Earthly Pleasures belie reflections about art, family, spirituality, and mortality. What did Jill think the first time she say Sean Connery's infamous Zardoz costume, close your eyes and drop into this transmission to find out. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Gregg Turkington, arguably more widely known from his guise as comedian Neil Hamburger, is possibly best described as a comic himself, but also as a cultural critic and commentator. Having spent his younger years as a zine publisher, a musician in multiple bands, and running a label, he has since risen to greater prominence as a collaborator with Tim Heidecker in On Cinema at the Cinema, a web series put out by Adult Swim, among many other endeavors. Hear how songs by Jimmy Webb, Leonard Cohen, and Frank Sinatra influenced his work, including his newest record, Neil Hamburger Presents: Seasonal Depression Suite, which is out now on Drag City.See omnystudio.com/listener for privacy information.

Multi-instrumentalist Nathan Bowles has been hard at work this year with the recent release of his Trio's debut album on Drag City entitled "Are Possible" as well as the highly anticipated follow up from Setting, "At Eulogy". These recent years haven't been in favor of anyone creative, or brave enough to share thier process with the certain ecosystems and landscapes that are seemingly drying up like that of something from a biblical text, but Bowles has always been someone known for his ability to pivot and make it happen.  On this episode we talk about our mutual heroes and friends, the late Jack Rose, Joseph Allred and Ben Chasny (SOOA), the undeniable bridge that connects the skateboarding culture to the world of music, growing up in the country and finding that unique connection to the arts, Bowles' particular process and remarkable ability to conjure certain elements into his music, and so much more. 

This week Steve West calls in to chat with jD about a variety of things including song # 16Transcript:Track 2:[0:00] Previously on the Pavement Top 50. There you have it. Song number 17 is Zurich is Stained from the debut long play Slanted and Enchanted. Mike, is this song in fact slanted and or enchanted? Discuss. Yes, indeed. I love this song. This song, it really is. And it's sort of an oasis. I love where it appears on the record. it's coming straight out of the chaos of uh conduit for sale and right before the chaos of chelsea's little wrists and you get this like really light breezy but fast song i mean it's not a ballad it's not like here it is it is this breezy light almost feels like it would be, at home on the Velvet Underground's third record. Hey, this is Westy from the Rock and Roll Band Pavement.Track 3:[1:03] And you're listening to The Countdown. Hey, it's JD here, back for another episode of our Top 50 Countdown for Seminole Indie Rock Band Pavement. Week over week, we're going to count down the 50 essential pavement tracks that you selected with your very own Top 20 ballads. I then tabulated the results using an abacus and a motorcycle and sidecar driven by an orangutan. How will your favorite song fare in the rankings? You'll need to tune in to find out. So there's that. This week, we're joined by Pavement superfan. No, wait a minute. Pavement superstar, Steve fucking West. Westy, how the fuck are you? I'm doing pretty good today. Yes. It's a good day, right? Yeah. Good day. Well, let's get right into it. Everybody else has been coming on and talking about their pavement origin story. I feel like that's sort of a strange thing because we've talked about it a little bit in the past. But I'm curious what it was like for you, I don't know, getting the call or getting the letter or whatever it was, the communication, the telephone call or whatever, that they were looking to fill Gary's role or like how that looked like. What what did that look like on your end?Track 3:[2:25] Well, it was kind of a long process of, you know, knowing Bob from high school and then being in Manhattan and Brooklyn and meeting Stephen and Bob and David. And then knowing that they were having difficulties kind of with with Gary.Track 3:[2:46] I can't say that I didn't know that it might be coming. And there was a phone call, like you said. But um i didn't really you know you know it kind of blew me away when it when it happened i think it was on a pay phone in manhattan and i was working at a um at a gallery helping to put up some artwork for leo castelli oh wow and i talked to steven and he was like i don't know man just put those drumsticks in the oven and keep them worn because i don't know what it's going to happen. So, you know, he was, he was giving me a heads up, but he wasn't promising me anything and understandable because, you know, the things were up and down with Gary. And so, and then, uh, I really, when it actually happened, I don't really remember any other phone call where it was because we, Steven and I would see each other quite a lot. And we lived in Brooklyn and, And we would hang out together when he wasn't on tour.Track 3:[3:56] And, you know, we play music together with David. When Bobby wasn't around, we were I kind of sat in as a drummer for them for the Silver Dudes and those little jam sessions we'd have in Brooklyn. So that kind of was the thing that kind of eased me into the whole playing music with with Stephen as well as with David. Wow and I had a loft in Brooklyn on 1st and 1st I think it was.Track 3:[4:31] South fifth. And it was a really crappy loft and it had, you know, we can make a lot of noise and it was right next to the Williamsburg bridge. And yep. And there was a tiny room in the back that Steven and I rehearsed, all those crooked rain songs when, you know, Gary had broken up and I guess I had joined the band and then we were like there jamming he was kind of introducing me to those songs in this room you know smaller than the bedroom that you have right there it was a small room it was like 10 by 10 not even probably, and uh i remember the guys upstairs complaining and banging on the ceiling and i was like come on this is a loft this is what you do in brooklyn this is what you're here you're an artist and you're musicians, and you make noise. You get a loft, and you make art, and you make noise. Totally. Yeah, we rehearsed those a few times, and then went in to record in Manhattan.Track 3:[5:41] Wow. That's pretty whirlwind, too, then, right? Yeah, I mean, it happened over a couple of months, but over a summer, that summer of, I guess, 93, um spring when i think gary quit i'm not hard for me to remember all the logistics of that's that's cool that's cool this isn't uh uh that kind of podcast where we you know get too into the weeds yeah yeah so what do you remember about um like a first show or when did you meet the rest of the guys like you were you were jamming with steve and you guys were coming up with crooked rain stuff and you were you know laying down drums for it in manhattan at the um, at that uh oh my gosh i forget the name of it right now but that uh pseudo studio, right while i recorded that that's right yeah that's right um yes so i think what happened was that spring before we recorded Crooked Rain um.Track 3:[6:54] There was a Drag City Invitational, and it might have been late spring, early summer. And we drove out to Chicago and played that. And that was the first time I played with the full group.Track 3:[7:13] I played with Steven and his girlfriend, Alexa, and maybe Mark. And we played at a show in New York City for a matador like in reunion or something like that show but that wasn't really pavement and we just played new songs or whatever I don't know what it was but the first pavement show was at the drag city thing drag city invitational um it was at a club that was across the street from where Dillinger was uh captured caught shot and captured um in Chicago and uh you know a lot of great bands on Drag City were there and Silver Juice played and um I guess uh Royal Trucks played as.Track 3:[8:01] Well and they recorded those stood a bit of it in the basement and um I remember playing that show and we had never practiced so it was just kind of like guessing really about everything yeah I don't think we practiced at all no we just went out there and played it and i had played you know the some some of the songs with steven but you know the crooked rain songs but the old songs we had never played all together so i just had to kind of they knew them and i had to you know make sure i kind of knew them and we got through it was a short set but it was good yeah that's pretty cool that's that's pretty cool it would be a cool.Track 3:[8:43] Ticket stub to own for the, you know, the first complete Pavement Band show, you know? Yeah.Track 3:[8:53] So you getting your hands dirty with Crooked Rain, does that tend to be the record that you would go back to if you were the type of person to listen to your own content? I don't know if you do. Like, I don't know if you, you know, listen to records that you've been on or whether you, you know, sort of avoid it. Like, I don't listen to very many of these podcasts, for example, just because, you know, they're done. They're done. They're done. Exactly. Like, I got their history. Yeah. What is that like with you with records? Is there one that you go back to that you're really proud of or anything like that?Track 3:[9:30] No, I mean, technically, I just go back to listen to practice to them. So I'm prepared for whatever's coming ahead. But, you know, each one has different memories for me. And of course, Crooked Rain was this fresh guy trying to figure out how to play with Stephen as well as with the whole band live as well as the recording. Recording um and uh wowie dowie would probably be more of a band thing where i would be like that was nostalgic was a really fun recording session in memphis and everything so but you know they're all different and they all have good and bad memories so i don't go back to them to listen that way i'm not that old yet.Track 3:[10:24] But when i go to practice to him i try to practice to like our live stuff that we did this past year right as well as um the rehearsals that we did in portland and i have all like the hard drives of the breakdown of the songs and you know the tracks and everything so, i'm probably more prepared for what could be thrown at me as you know how we play the songs live as a as a six piece and how we record them over the years in different setups so right it's two different ways of you know being prepared for all the things to be thrown at you yeah i suppose so like i mean was this was this tour like the well i call it this tour but the 2022 tour was that the most you guys had rehearsed like for uh for a series of shows before.Track 3:[11:17] I think so. I mean, the 2010, I think we practiced about five or five to eight times. But this time was a much better environment. And I think we practiced at least 10 or 12 days to prepare for that Fonda show in, I guess it was L.A. Which was great. I was on that one. That was fantastic. That was fun. and we all worked really hard to you know learn a whole lot of songs and be prepared how many did you take on the road um i think it was around 60 jeez yeah 60 songs that we could somehow pull out you know yeah and do that's a lot that's a lot of songs yeah and i mean you You guys were playing like 25, 26 songs a night. So like Toronto shows, for example, I saw it back to back and it was like, they weren't completely different set lists, but it really kept it interesting, you know, to see you guys multiple times because you had this.Track 3:[12:26] You had this log of, of songs that you could just carry around. Right. And Bobby is the master of doing that. He keeps track of everything and really works hard at making the set list different every night, as well as having the standards that you should be playing, but not having those standards be the same standard every night. Yeah yeah i'll tell you what doing this top 50 countdown what i did was i asked people to send in their top 20 lists and when i when i did all the math there was 121 different songs that were chosen so obviously i'm only counting the 50 but there's that many songs in your catalog that people fucking dig like that's you know that's got to be daunting in a certain way when you know There's B-sides and things like that that you guys might not have even played once outside of recording. Yeah, recording. Yeah.Track 2:[13:27] Okay, so what do you say we give song number 16 a spin, Steve? That sounds great to me. All right, let's do it. We'll be back on the other side. Hey, this is Bob Nestanovich from Pavement. Thanks for listening. And now on with a countdown. 16 now.Track 2:[20:31] Fillmore Jive, number 16 on the countdown.Track 3:[20:35] It's the third song from Crooked Rain, Crooked Rain, behind Stop Breathing at 28 and Cut Your Hair at 21. So this song actually beats Cut Your Hair, which is, I don't know. Is that surprising? Is that surprising to you? No, I'd rather pick Fillmore Jive over Cut Your Hair. But, I mean, Cut Your Hair is the pop song. So yeah yeah that's why i was surprised it wouldn't be in the top five or something i was you know just looking at the spotify uh the spotify plays you know cut your hair is like way up there and bill more jive is not right right so is is it do you consider it like a deep cut like when you guys went to it on the most recent tour was it um was it a deeper cut in the bag of songs that you brought? Yeah, I say a deeper cut because I don't think we did it in 2010. And we hadn't done it for years in the 90s. I think we did it in 94 and maybe they did it with Gary too before me.Track 3:[21:51] So I would say it's a deep cut live but in terms of records records you know for people to really enjoy but it's a pretty great number yeah pretty historic number and it really uh puts a nice end to that album yeah i think so yeah it leaves you wanting more for sure yes like in a good way you know not not like yeah okay i was like oh is that insulting thing um what.Track 2:[22:24] Do you say we get back to film our job sorry i'm.Track 3:[22:30] We recorded that, and I don't know if Stephen and I ever played that song except for when we recorded it in Manhattan at Walleye's Place. And then we played it a few times in 94, a handful of times, and didn't really play it again until this previous past couple of years. And it was always up. People loved it. Yeah, I was looking on Setlist FM, and it's like, Like, you guys played it 79 times in total, according to Setlist FM, but probably about 20 times this last tour, maybe something like that. Okay. And I got to tell you, I found it really interesting that you picked Billmore Jive, because it's the song that you're waiting a minute, almost a full minute before the drums come in. Yeah. Right? Right. And then it's that big cacophonous, you know, like I need to sleep with the with the cymbal crash. And yeah, the song really picks up steam at that point. Right now that.Track 3:[23:39] OK, so that song, I think, is where Stephen kind of the producer or the engineer, Bryce Goggin, who. who mixed the album. We recorded it in a different place, but he mixed the album. He was giving Carl Blanc to make it as big as he wanted. Do all the tricks. Do all the production tricks. And the only thing was that there was this previous recording of the intro, like you're talking about, and I don't know if that was recorded at Bob's apartment in Hoboken or at Gary's, you know, uh, studio, um, um.Track 3:[24:24] But they had that previous recording, which he thought was great.Track 3:[24:28] But he wanted to have, you know, a different take for the rest of the song. So that's kind of how we did it. And he kind of, I know that if you could hear the raw track, you'd probably hear him saying, okay, now, you know, we're playing along. He's like, okay, now we're going to get really loud and get crazy. West, go crazy. And now we're going to go quiet. So there's no way I knew that song that well, well because we wouldn't have practiced it it's a long song it's yeah it's almost seven minutes right right it's a feel song and um i think he just kind of like talked me through it and it was just the two of us so there wasn't all that other you know instrumentation to play off of it was more just him talking singing and playing um and trying to get a i feel and it definitely got a feel good or bad it got a good it got a feel oh it's yeah it's got a great it's got a great feel to it i just i can remember going for walks when i discovered crooked rain like you know in 2000 or whenever it was uh i was way off the beaten track and um just walking around listening to crooked rain and it would get to that song and there was just i don't know there's just something about that cymbal crash into the into the you know the main thrust of the song and then bringing it down again you know as he's talking about the punks with spikes and and things like that yeah.Track 3:[25:57] Just like he's kind of narrating uh narrating a music history for like a past couple decades up to that point and um you know making it kind of bringing out the history of it you know talking about the punks and the nightclubs and where he is you know it's not real you can't put your finger on it but you feel like you're being educated in a way about some weird world yeah i agree, yeah i mean doing this has been really fun because on this half you know we talk about the song and just getting people's impressions of what you know these songs are about out is fascinating is really fascinating because you know steve doesn't leave too many breadcrumb trails for you to figure things out it's it's just sort of um these cool phrases and cool little, you know vignettes almost and uh it's just really neat to hear what people think of them and i like like your take on, you know, going through a music history. That's, that's fabulous.Track 3:[27:08] Yeah. Yeah. It was fun. Anything else you want to say about, uh, Fillmore Jive?Track 3:[27:17] Um i love film or drive for its faults as for its um its feeling just as much, because like i said you know i don't think we did it more than once and of course you can always improve if you get a chance to take a test more than once right but you have to look at it that way i have to look at it that way and i listened to it today and i was like wow that's pretty great you know i can hear the things that i would change but um you know on my part not on okay anyone else's part but um you sometimes you just you just have to go with the flow and that's kind of what, being in pavement is and was about it's kind of going out there and and playing the songs and recording the songs and recording a lot and having a lot to throw away or to be on b-sides and um And then put the ones on the album that sound the best and live with the good and the bad, because a lot of times the mistakes are the happy mistakes. And people kind of endear themselves to that. Yeah, I think so. I think so. Happy mistakes is a good way to put it. Yeah. You got to have those happy mistakes. Yeah. Go away with a happy mistake is a great thing to feel when you hit the recorder. I didn't mean to do that, but that sounds awesome.Track 3:[28:44] Yeah, isn't that what they say? When you mess up, you just do it again, and everybody thinks you're jamming. Yeah. Yeah, but, you know, the next time it doesn't have the same feel. And, you know, when you think about the different albums, like the last album, there was a lot of time put into making that album problem as really crisp and time oriented in time, you know, cleaned up a lot of the pavement sound. Right. And I've always said that. There's a good part to that because i really enjoy that album and the production that nigel did um, but you do miss a little bit of the soul of the band too agreed and then when you step back and you go yes but over the five or whatever albums we did they're all different and that's the difference in this album and it's still a pretty great album so i'm all all for it Yeah. So what does 24 bring you guys? You're going to South America.Track 3:[29:55] Yes. When's the last time you played South America? 2010. We played South America. We played one or two shows. No, at least two shows there. And this time you're doing four or five, right? You were doing four shows, one big festival, and then three other cities and like three other countries and um it's like four shows in, six days or something so after that i don't know i think we're probably going to go into hibernation but and we'll see if we'll come out like the groundhog or not.Track 3:[30:35] Well it's been awesome talking to you about film or jive and the rest uh steve you're amazing with your time that's um it really means a lot that you would do this so thanks so much well thank you jamie it's always a pleasure when i see you in person and talk to you on the phone and all of this zoom business too that's right yeah well thanks a lot talk to you soon right wash your hands.Support this podcast at — https://redcircle.com/meeting-malkmus-a-pavement-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Operating outside of the metal infrastructure, but heralding its glory and complexity more so than most “true” metal bands, The Fucking Champs, in their 1994-2007 rampage, cobbled together elements of Trouble, Confessor, Don Caballero, and Kraftwerk and reshaped the geometric possibilities of math metal, all with the insouciance of its indie rock roots. Please join us as we attempt to solve this riddle wrapped in a conundrum. You've got a thirst, Portland! Note I:We talk about the various name changes our San Franciscan heroes have endured…from The Champs to C4AM95 to The Fucking Champs. We failed to mention what might be our favorite name, one they never recorded under but adopted for a short spell: The Champs UK.Note II:Apologies for the confusion on the tracks we sample from V. You'll hear the correction within the episode, and the correct song titles are noted below. Drag City, we are pissed! But…we're already over it.Note III:The Radical Research Patreon page is now set up and ready for your patronage. We are offering tiered subscription levels for those who want a set-it-and-forget-it donation option. As ever, if you choose to support us, we are humbled and grateful! patreon.com/RadicalResearchPodcast Note IV:All past Radical Research episodes can be found here, where you can also find Jeff's Peter Steele and Fates Warning books…and more to come soon! Radicalresearch.orgMusic cited in order of appearance:Intro: “Lamplighter” (IV, 2000) “Guns in Our Schools” (Triumph of the Air Elementals demo, 1994)“So Then I Was All Why'd You Say Fuck My Style” (Songs for Films About Rock demo, 1994)“Merry Go Round” (Songs for Films About Rock demo, 1994)“Flawless Victory” (III, 1997)“Heart to Heart” (III, 1997)“Tonight, We Ride” (III, 1997)“These Glyphs Are Dusty” (IV, 2000)“Esprit De Corpse” (IV, 2000)“Thor is Like Immortal” (IV, 2000)“Children Perceive the Hoax Cluster” (V, 2002)“I Am the Album Cover” (V, 2002)“Major Airbro's Landing” (V, 2002) “A Forgotten Chapter in the History of Ideas” (VI, 2007) “Dolores Park” (VI, 2007) “Earthen Sculptor” (VI, 2007)ep. 120 preview: DBC, “Infinite Universe” (Universe, 1989)Radical Research is a conversation about the inner- and outer-reaches of rock and metal music. This podcast is conceived and conducted by Jeff Wagner and Hunter Ginn. Though we consume music in a variety of ways, we give particular privilege to the immersive, full-album listening experience. Likewise, we believe that tangible music formats help provide the richest, most rewarding immersions and that music, artwork, and song titles cooperate to produce a singular effect on the listener. Great music is worth more than we ever pay for it.

On this week's Talkhouse Podcast we've got a reunion of sorts, in celebration of a new release of old music: It's David Pajo, Cassie Berman, and Tim Furnish. These three met in the fertile Louisville scene of the early 1990s. Pajo played guitar in the wildly influential band Slint and went on to play with Tortoise, Royal Trux, Stereolab, and Interpol at various times over the years—he's currently a member of Gang Of Four. But the subject of this conversation is Pajo's sorta-solo career, which went through various M-names, from just M to Papa M and Aerial M. As Aerial M, Pajo brought on some friends for a brief time to tour Europe, where they recorded a Peel Session—more on that in a minute. The friends that Pajo recruited to play in the Aerial M live band were Tim Furnish, whose legendary Louisville band Crain had broken up recently—and who has since recorded experimental rock with the band Parlour—as well as Cassie Berman and Tony Bailey. Berman had been kicking around in Louisville bands, too, and she would go on to join Silver Jews, the band fronted by her husband, David Berman. Drummer Tony Bailey, as you'll hear, played in about a million bands in the area—he died, sadly, in 2009. The reason for today's reunion of the lineup that burned bright but quick is the release of Aerial M's new Peel Sessions album. In case you're unfamiliar, BBC DJ John Peel used to invite the coolest bands of his day—from the ‘70s into the 2000s—to record a few songs specifically for his show, many of which were later released with the same striking artwork. In 1998, Aerial M stopped by and recorded three songs that would turn out quite different to the versions Pajo crafted in the studio, and would really be the only evidence that this lineup left of its existence. Pajo was recently reminded of this session, so he set about tracking down the tapes, sprucing them up, and handing them over to Drag City for a proper release—including an amazing replica of those original John Peel Sessions sleeves. Check out the song “Vivea” right here. I don't think these three had sat down for a chat in a while, so it's like sitting in on a reunion with three people who have a lot of fond memories. They talk about their '98 tour, including the recording of this record, plus they get into fond remembrances of Tony Bailey, racing Stereolab to the record store, and even what they're up to now: Just a few days before this recording, Cassie Berman participated in a tribute to David Berman on the anniversary of his untimely passing, and Furnish has been working on some cool-sounding visual art for other bands. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to David Pajo, Cassie Berman, and Tim Furnish for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and be sure to check out all the great stuff at Talkhouse.com and in our wider podcasting network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse

Inspired songwriter Bill Callahan joins us today, on how Kim Gordon gave him early support, his first royalty check from Drag City, writing letters, the pathology of songwriting, funding early albums by working at KFC and responsibilities. His latest album Resuscitate! is out now on Drag City and he's playing in Paris, Brussels, Dublin, Manchester and London next month. All info at dragcity.com. Photo: Hanly Banks Callahan Join SON Estrella Galicia on 12 September at Paper Dress Vintage in Hackney, witth Coach Party and The New Eves playing - plus a clothing repair workshop, Soundcrafters interactive workshop and beer pouring. Tix available now on DICE

David Grubbs, who along with Jim O'Rourke comprised Gastr del Sol, ushered in a new, cerebral strain of post-rock upon their appearance in the 90's. Owing more to modern classical composers than what was being played on college radio, the duo toured extensively and put out eight releases, most of which were on esteemed Chicago label Drag City. Their newest release is a box set of their work named We Have Dozens of Titles, and was also released by Drag City in May of 2024. Essential Tremors is produced by Matt Byars and Lee Gardner and distributed by Your Public Studios.See omnystudio.com/listener for privacy information.

Returning guest, filmmaker Alan Zweig (Vinyl, When Jews Were Funny), brings us Will Oldham - a.k.a. Palace Brothers, Bonnie 'Prince' Billy...etc) and his stunning debut: 'There Is No-One What Will Take Care of You'First released in 1993 under a cloud of mystery, Oldham's dark tales of sin, lust, alcohol, and redemption made for rousing conversation - as we name-checked The Louvin Brothers, The Velvet Underground and many others along the way. Songs discussed in this episode: Oh Lord Are You In Need - Glen Dentinger, Joe Manning and Rachel Grimes; Breadcrumb Trail - Slint; O Let It Be - Will Oldham; I See A Darkness - Johnny Cash; The House Carpenter - The Doc Watson Family; A Little Soldier For Jesus - Ralph Stanley & Friends; Idle Hands are the Devil's Playthings - Palace Brothers; The River Of Jordan - The Louvin Brothers; Long Before, I Tried To Stay Healthy For You, The Cellar Song, (I Was Drunk At The) Pulpit - Palace Brothers; Ocean - The Velvet Underground; There Is No One What Will Take Care Of You, O Lord Are You In Need, Merida - Palace Brothers; Walking On Sunshine - Katrina & The Waves; King Me - Palace Brothers; Single Girl, Married Girl - The Carter Family;  I Had A Good Mother and Father, Riding, O Paul - Palace Brothers; O Paul - Bonnie 'Prince' Billy with Natalie Bajandas

You may have heard that Underwood's 1988 primitive classic, "California Sigh" was recently reissued by the great folks over at Drag City for the first time in over 30 years, but did you know that Underwood was also the lead guitarist for the legendary Tim Buckley throughout his short, but incredible influential career? He was responsible for those beautifully transcendent riffs and chord structures on albums such as Buckely's 1966 debut, the monumental "Goodbye and Hello", "Starsailor" and countless others. Eventually Underwood stepped away from recording music and the tiring industry all together to write for prestigious music publications as well as publish books like "Inside Paul Horn" and the acclaimed "Blue Monday: Tim Buckley Remembered". Hear his story through the cadence of this staticky conversation thats both cosmic and contagiously calming. Enjoy!

Making work out of bones, Bach in intergalactic excess, pre-admin ABC karaoke. The composer and improviser discusses three important albums.Jennifer's picks:Meredith Monk – Our Lady Of LateVoyager – The Golden RecordABC – The Lexicon Of LoveJennifer's collaboration with Tony Conrad, In The Merry Month Of May, is out now on Drag City affiliate label Blue Chopsticks. Check it out on Bandcamp. Jennifer's website is here and she's on X as @JenniferWalshe.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

Today on Line Noise we welcome one of my favourite musicians of all time: Laetitia Sadier, of Stereolab, Monade, the Laetitia Sadier Source Ensemble and also a fantastic solo artist. I caught up with her in May when she played in Barcelona with the Source Ensemble. In the interview we talked about France, politics, not being a Marxist, religion, the age of Aquarius, water shortage and so much more, including her brilliant recent album Rooting For Love, which is out now on Drag City. Go and buy it; go and listen to it; and go and check out one of her gigs. Line Noise is with the support of Cupra.

On today's episode, I talk to musician Ben Chasny. Born in Los Angeles, Ben's family moved to rural Northern California when he was young. His recording debut was a heavy, free rock project named Plague Lounge, whose album The Wicker Image, was released conjointly between the New World of Sound and Holy Mountain labels in 1996. Holy Mountain released many of Ben's albums as Six Organs of Admittance as well, starting with his first self-titled album in 1998. Since then, he's released just about three dozen albums and EPs as Six Organs. Ben also plays in the wonderful psyche/noise rock band Comets on Fire, who have four albums on labels like Alternative Tentacles and Sub Pop, and Ben's latest album as Six Organs of Admittance, Time Is Glass, was released at the end of April on Drag City, and folks, it's fantastic! 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!  

On today's episode, I talk to musician Rafael Toral. Born in Lisbon in 1967, Rafael has been intrigued by the potential of sound and the functions of music since he was a teenager. Working with electric guitar and electronics, in the 1990's he pioneered a blend of Ambient and Rock and recorded acclaimed albums like Wave Field or Violence of Discovery and Calm of Acceptance. In 2004, he began the ambitious 15-year project entitled Space Program, which used experimental instruments to explore an approach to electronic music based on silence. Rafael has performed and recorded with everyone from Jim O'Rourke to Alvin Lucier, Phill Niblock, Sonic Youth and so many more, and his latest album, Spectral Evolution, a synthesis of everything he's explored over the course of his career, was just released in February on Drag City. 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!  

An absoutle cherished gem in both the music world and the articulated documentation of the creative human process, Chasny is one of the greats of our generation and a sincere force of nature to be cherished for all of time. On this very special episode of the podcast we explore Chasny's youth growing up in Northern California listening to metal music, being first introduced to the guitar and his unique scholar approach to the instrument, becoming interested in more underground music such as Sun City Girls, influences from the east coast and their growing appreciation of his style of music, touring with the late Jack Rose in the early days of Six Organs of Admittance, albums such as "Asleep on the Floodplains", "Hexadic - Triology", "Burning the Threshold" and his most recent effort on Drag City entitled "Time is Glass".

In 1988, Dead C. member Bruce Russell started Xpressway Records, which quickly became a vital center for New Zealand experimental music. This week on The Spindle, John and Marc dip into the 1991 compilation that Xpressway put together for Chicago's Drag City Records, I Hear the Devil Calling Me—12 tracks in less than 12 minutes and all of them a joy to dig into! Songs featured in this episode: The Renderers - I Hear the Devil Calling MeGate - Never Dead C. - 5.12.90Alastair Galbraith - Milky MiloA Handful of Dust - The Lonesome Death of Albert AylerDadaman - Replicant EmotionsDavid Mitchell - The Blind FishCall us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.

This week on the show: a conversation with Laetitia Sadier. As the main vocalist of Stereolab, her spacey voice shines as the human core in that project's motorik and dense avant-pop, a blend of electronic music, krautrock, space age lounge sounds, and much more.  Outside of that legendary band, Sadier has been an active force on her own. She's appeared in a variety of contexts on albums by Common, Tyler the Creator, Atlas Sound, and Deerhoof. In 1996, she formed Monade, a solo vehicle, and in 2010, she released her debut under her own name, The Trip, on Drag City. Her latest is called Rooting for Love and it's out now. Joined by members of the Laetitia Sadier Source Ensemble and a multiple voice choir, these minimalist tapestries, Brazilian glide, and propulsive ambient funk yearn for a kind of gnosis—sacred knowing. We don't often make a habit of quoting directly from album descriptions, but we can't resist sharing this bit: On Rooting for Love, “Laetitia issues a call to the traumatized civilizations of Earth: we're urged to finally evolve past our countless millennia of suffering and alienation.” Sadier joins host Jason P. Woodbury to discuss, among other things, discussion about taking care of our collective body; the planet itself, the radical potentiality of “love,” what it felt like to reunite Stereolab in 2019, her engagement with hip-hop, and reflections on working with The Trip producer Richard Swift. For heads, by heads. Aquarium Drunkard is powered by its patrons. Keep the servers humming and help us continue doing it by pledging your support via our Patreon page. Transmissions is part of the Talkhouse Podcast Network. Join us next week for a conversation with pianist Vijay Iyer.

This time around Marc and John delve into the origins of Royal Trux, via their first 7-inch and second release, "Hero Zero" b/w "Love Is..."—not coincidentally, the record that launched the now-legendary label Drag City. Find out how Neil Hagerty and Jennifer Herrema got the magic working from the get-go on this episode of The Spindle. Call us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.

For the 25th anniversary of the first Bonnie “Prince” Billy album, we take a detailed look at how it was made. Will Oldham grew up studying acting but decided to pursue music while he was attending Brown University. In 1992, he released his first single with Drag City under the name Palace Brothers. A series of albums followed under several variations of the Palace name, which reflected Oldham's unique approach to treating the album, rather than the artist, as the primary entity. In 1998, he had an epiphany that he could inhabit a new character named Bonnie “Prince” Billy for his music moving forward and put his concerns about an artist identity to rest. He began living in his father's farmhouse in Shelbyville, Kentucky along with his brother, Paul, who had been studying recording and set up a makeshift studio. In this isolated environment, Oldham worked on writing songs and had the freedom to record himself in a way that he never had before. Eventually, Oldham invited other musicians including Peter Townsend, Bob Arellano, Colin Gagon and David Pajo to flesh out the songs that would make up the I SEE A DARKNESS record. In this episode, Will Oldham describes a newfound approach to making music at this time and how he viewed his former Palace work as his apprenticeship years. As Bonnie “Prince” Billy, he found that he could portray a larger than life character who had the power to sing songs across the emotional spectrum. The Bonnie character opened up his approach to songwriting as he began to incorporate some traditional elements like bridges and dramatic builds. From a growing confidence in his singing to a deteriorating relationship and the decision to form a sub label to a love of post-apocalyptic landscapes to adding humor as a release valve to taking inspiration from contemporaries like PJ Harvey to the unlikely events that led to Johnny Cash covering the title track, we'll hear the stories of how the record came together.

On today's episode, I talk to composer and artist Arnold Dreyblatt. Originally from New York City, Arnold is part of the second generation of New York minimal composers, having studied with Pauline Oliveros, La Monte Young, and Alvin Lucier. His first album Nodal Excitation was released in 1982, and since then, he's recorded almost a dozen more, including 1995's Animal Magnetism, which was released on Tzadik. Based in Berlin since 1984, Arnold was Professor of Media Art at the Muthesius Academy of Art and Design in Kiel, Germany for almost a decade and a half and is currently deputy director of the visual arts section at the German Academy of Art. His most recent album Resolve was released last August on Drag City, and it is fantastic! 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!  

Nuevo capítulo de esta colección en donde recordamos canciones que alcanzaron su máximo puesto en listas estadounidenses hace exactamente 60 años. Todo lo que escuches estaba entre lo más vendido de enero de 1964, lo que nos permite ver la variedad de estilos que compartían espacio en la música popular de aquellos días. Playlist;(sintonía) DUANE EDDY “The son of rebel rouser” (top 97)BOBBY VINTON “There! I've said it again” (top 1)THE MURMAIDS “Popsicles and icicles” (top 3)NINO TEMPO and APRIL STEVENS “Whispering” (top 1)BETTY EVERETT “You’re no good” (top 51)THE EXCITERS “Do-Wah-Diddy” (top 78)THE RAINDROPS “That boy John” (top 64)THE ORLONS “Bon doo wah” (top 55)MARTHA and THE VANDELLAS “Quicksand” (top 8)THE SUPREMES “When the lovelight starts shining through his eyes” (top 23)THE MIRACLES “I’ve gotta dance to keep from crying” (top 35)JAN AND DEAN “Drag City” (top 10)THE TRASHMEN “Surfin’ bird” (top 4)SHIRLEY ELLIS “The Nitty Gritty” (top 8)TRINI LOPEZ “Kansas City” (top 10)FATS DOMINO “Who cares” (top 63)BARBARA LEWIS “Snap your fingers” (top 71)BRENDA LEE “As usual” (top 12)RAY CHARLES “That lucky old Sun” (top 20)Escuchar audio

"Future Thoughts Ft. Spaceface" by Brothers Griin from Joy City; "Docudrama" by Nyx Nott from Themes From; "DISinformation Desk" by The Black Dog from Music for Real Airports; "The Yips" by James Ellis Ford from The Hum. Courtesy of Warp; The single "Vento a Favor" by Sessa. Courtesy of Mexican Summer; "Cascade" by Niecy Blues from Exit Simulation. Courtesy of Kranky; "Sacred and Profane" by Moundabout from An Cnoc Mor. Courtesy of Rocket Recordings; "Reel Life (Evolution 2)" by Cinematic Orchestra from Man with a Movie Camera. Courtesy of Ninja Tune; "Theme from a Personal Prison" by Emil Amos from Zone Black. Courtesy of Drag City; "Delivery" by Black Duck from the self titled album. Courtesy of Thrill Jockey; "Visiting" by Craig Leon from Anthology of Interplanetary Folk Music Vol. 1. Courtesy of RVNG Intl; "Sunset Theater" by Golden Hallway Music from Rules and Chance Vol 3. Courtesy of Not Not Fun; The Actress remix of Carmen Villain from Smalltown Supersound Remix Anthology Vol. 1-4 2002-2022.

Thank you to anyone who supports Kreative Kontrol on Patreon! If you or someone you know loves this podcast but isn't yet a donor, please go to our Patreon page and become a member during our membership drive between December 4 and 14! If you become an annual member at the $10 a month tier, you increase your chances of winning draws for prize packs provided by record labels like Beggars Group Canada, Constellation, Drag City, Merge, Rhino, and You've Changed! Winners will also receive a copy of Marc Masters' High Bias – The Distorted History of the Cassette Tape. This show would not exist without you and its future now depends on donor and listener support! So please, visit our Patreon membership page, read this post and listen to this episode for more detailed info about our 2023 campaign, and support Kreative Kontrol today! Thank you so much! Follow vish online. Support this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Andrea Belfi discusses his latest album, Eternally Frozen, a canon-based composition for percussion, electronics, and brass ensemble. Inspired by a visit to LA's Museum of Jurassic Technology, Belfi draws upon the story of Deprong Mori, a mythological bat that could use its powers of echolocation to phase through solid matter, before being captured by an American researcher, “eternally frozen” in lead. Movement, circularity, and stasis are all terms that also describe Belfi's interests as a composer. We discuss his origins in Italy's punk scene, his time as drummer of the noisy instrumental rock band Rosolina Mar, opening for Thom Yorke, and the development of his unique approach to solo performance as a drummer. TRACKLIST Andrea Belfi - “Golden” [edit 1] (Eternally Frozen, Maple Death, 2023) SP INTRO Andrea Belfi - “Golden” [edit 2] (Eternally Frozen, Maple Death, 2023) Andrea Belfi - “Cera Persa 1” (Cera Persa, Latency, 2016) Andrea Belfi - “Wege B” (Wege, Room40, 2012) Andrea Belfi - “Ton”  (Ore, Float, 2017) Thom Yorke - “Atoms for Peace” (The Eraser, XL, 2006) Four Tet - “Pyramid (Atoms For Peace remix)” (Pink Remixes, Bandcamp, 2014) Andrea Belfi - “Pulsing” (Eternally Frozen, Maple Death, 2023) Carla Bozulich - “Pissing” (Evangelista, Constellation, 2006) Andrea Belfi & Ignaz Schick - “Myth 5” (The Myth Of Persistence Of Vision Revisited, Zarek, 2011) Steve Reich / Ulrich Krieger (performer) - “Pendulum Music” (An Anthology Of Noise & Electronic Music / Fourth A-Chronology 1937-2005, Sub Rosa, 2006) Andrea Belfi - “Shale” (Strata, Float, 2019) Steve Reich - “Drumming, Part I” (Works 1965-1995 (Disc 02 - Drumming), Nonesuch, 1997)  John Zorn / Ennio Morricone - “The Battle of Algiers” (The Big Gundown, Nonesuch, 1986) Ennio Morricone - “L'Attentato” (C'era una volta il west, RCA, 1969) Egisto Macchi - “Gare Spatiale” (I Futuribili, Gemelli, 1971) Egisto Macchi - “Jungla I”(Africa Minima, Anya, 1972) Vladislav Delay - “Nesso” (Multila, Chain Reaction, 2000) Vladislav Delay - “Mustelmia” (Tummaa, Leaf, 2009) Medves [Andrea Belfi, Giuseppe Ielasi, Renato Rinaldi, Riccardo Wanke, Stefano Pilia] - “Untitled” [Figures Side] (Medves, Fringes Recordings, 2004) Rosolina Mar - “Malpensa Social Club” (Rosolina Mar, Wallace, 2004) Swell Maps - “Harmony In Your Bathroom” (A Trip To Marineville, Rough Trade, 1979) Antioch Arrow - “David” (Gems Of Masochism, Amalgamated, 1995) Clikatat Ikatowi- “Science Fiction Reality” (Orchestrated And Conducted By…, Gravity, 1996) Antioch Arrow - “Date With Destiny”  (Gems Of Masochism, Amalgamated, 1995) Drive Like Jehu - “If it kills you” (Drive Like Jehu, Headhunter, 1992) Clikatat Ikatowi - “Rise and Shine” (River of Souls, Gravity, 1998) Heroin - “Indecision” [rework] (All About Heroin, Vinyl Communications, 1991) Hiroshima Rocks - “Walking Like US Maple” (Around Isolation Bus Blues, NO=FI, 2001) Stereolab - “Metronomic Underground” (Emperor Tomato Ketchup, Elektra, 1996) Gastr del Sol - “Thos. Dudley Ah! Old Must Dye” (Crookt, Crackt, Or Fly, Drag City, 1995) Gastr del Sol - “The Japanese Room At La Pagode” (The Japanese Room At La Pagode / May [Split with Tony Conrad], Table of the Elements, 1995) Rosolina Mar -  “La Bottega Del Krapftwerk” (Rosolina Mar, Wallace, 2004) Rosolina Mar - “Before And After Dinner” (Before And After Dinner, Wallace, 2005) Rosolina Mar - “L'ora Di Religione” (Before And After Dinner, Wallace, 2005) Rosolina Mar - “Mingozo di Mongozo (Claudio Rocchetti Remix)” (Rosolina Mar Meet Trumans Water, Robot Radio, 2007) Rhythm & Sound - “Trace” (Rhythm & Sound, Rhythm & Sound, 2001) Andrea Belfi - “Picture Burning” (...a gift for (°!°)..., Afe/Grey Sparkle/et. al, 2004) 3/4hadbeeneliminated - “Loop Recorder in the Patient with Heart Disease” (a year of the aural gauge operation, häpna, 2005) Andrea Belfi - “Iso” (Ore, Float, 2017) Andrea Belfi - “Pastorale” (Eternally Frozen, Maple Death, 2023) -—- Sound Propositions produced by Joseph Sannicandro. --- Support this podcast: https://podcasters.spotify.com/pod/show/soundpropositions/support

On today's episode, I talk to musician and actor Will Oldham. Originally from Louisville, Kentucky, Will was an actor before becoming a musician, appearing in John Sayles' Matewan as a teenager, as well as in films like Old Joy, Junebug and The Guatemalan Handshake, as well as TV shows like Wonder Showzen. In the early '90s, he began playing music as Palace - or more accurately, as different permutations of the name Palace - but a few years later, adopted the Bonnie "Prince" Billy moniker which he's used ever since his 1999 album I See a Darkness. In the last two plus decades, he's released almost two dozen albums, some collaborations with artists like Bill Callahan and Matt Sweeney, and his latest Keeping Secrets Will Destroy You was just released in August on Drag City, and like everything else Will does, it's fantastic! 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!  

Exploring the consistently excellent independent label out of Chicago: Drag City. Since 1989.​Playlist here: https://spinitron.com/WRFI/pl/17813056/Searching-For-A-Thread

Digging in near the bridge, one old woman, acting like the Rolling Stones. The American media artist and composer discusses three important albums.Arnold's picks:Tony Conrad With Faust – Outside The Dream SyndicateSacred Guitar and Violin Music of the Modern Aztecs (Smithsonian Folkways)Robert Ashley – Automatic WritingThe new album by Arnold Dreyblatt & The Orchestra of Excited Strings, titled Resolve, is out now on Drag City. Check it out here. Here's Arnold's website and Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

Emil Amos, musician (HOLY SONS/GRAILS), family favorite, and one of Duncan's best friends, re-joins the DTFH! Check out Emil's new album, Zone Black, available right now from Drag City! Original music by Aaron Michael Goldberg. This episode is brought to you by: Squarespace - Use offer code: DUNCAN to save 10% on your first site. Zbiotics - Visit Zbiotics.com/Duncan and use code DUNCAN at checkout to save 15% on your first order!

For our 300th (free) episode, we're joined by Kentucky musician Will Oldham, aka Bonnie "Prince" Billy, aka Palace Music. We talk about various country music scandals, buried treasure, QVC for bones, the new era of digital music, and so much more. Pre-order the new Bonnie "Prince" Billy album at Drag City's website: https://www.dragcity.com/products/keeping-secrets-will-destroy-you And please support us at Patreon: www.patreon.com/trillbillyworkersparty

On this episode I'm speaking to Randy Randall from American noise rock titans No Age, which is a pretty big thrill for me, because I have been a fan of American noise rock titans No Age since the year dot. Principally we discuss the LA band's most recent album, People Helping People – out now on Drag City – but the conversation ultimately ends up with us putting the world to rights and deciding that humanity's best hope for survival lays with aliens and/or the discography of Brian Eno. It's not quite as apocalyptic as the episode I recorded with Deerhoof last time round, but it's there or thereabouts. Good episode though. Hope you enjoy. Twitter - @jamesjammcmahon Substack - https://spoook.substack.com YouTube - www.youtube.com/channel/UC8Vf_1E1Sza2GUyFNn2zFMA Reddit - https://www.reddit.com/r/jamesmcmahonmusicpod/

On today's episode, I talk to musician Oren Ambarchi. Originally from Sydney, Australia, Oren began playing free jazz as a drummer in the late '80s, eventually moving from there to New York, where he became integrated in the experimental and jazz scene. Oren's collaborations and albums are too numerous to mention here, but he's played with everyone from Sunn 0)) to John Zorn to Jim O'Rourke to Phill Niblock, and released albums on labels like Kranky, Tzadik and his own, Black Truffle. Oren now lives in Berlin, and his most recent album is Shebang, which was released on Drag City last year, and it is incredible! 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!  

Bruce Adams joins us for episode # 26. He co-founded kranky records and recently authored a wonderful book, You're with Stupid: kranky, Chicago, and the Reinvention of Indie Music. We talk about Bruce's early history working at Kaleidoscope, Touch and Go and Cargo Records. We also cover his history with kranky records and then talk about how he came to writing You're with Stupid. And, of course, we talk about Chicago.Time Stamps1:39 - Guest host Wade Iverson joins the show today1:45 - Welcome Bruce Adams2:25 - Bruce moves to Chicago in 1987 and begins working at Kaleidoscope. How did that inform your music history?7:00 - Nick the Greek - music or money?7:30 - Corey & Lisa from Touch & Go set the tone and had some great parties!8:45 - Were there kranky parties?11:30 - How did your relationship with Joel Leoschke begin?14:30 - Wax Trax Records provides some useful lessons 17:15 - How compatible were you with Joel?18:10 - How many ECM records do you own?20:30 - Talk about Steve Tibbetts23:30 - Did kranky supply recording budgets to your bands?27:15 - How do you describe Bowery Electric?31:15 - How did you work together with your bands to succeed?33:40 - Did you work together with other labels to share ideas?37:20 - Are people in the music industry good business people?39:10 - How did you decide to move on from kranky in 2005?42:10 - Will you switch from the Maize & Blue to the Fighting Illini?44:00 - What were your formative musical influences?48:00 - How did Chicago impact indie labels like kranky, Drag City, Thrill Jockey and Bloodshot?51:50 - How influential was Labradford?57:25 - Did Monster Truck Five ever release a record?58:40 - When did you start writing You're with Stupid?65:00 - Who plays Bruce Adams in the movie version of You're with Stupid?66:15 - Favorite band of all time, favorite kranky show, did Billy Corgan ever invite a kranky band on tour?67:15 - Mimi Parker / Low memory?72:00 - All the usual Chicago questions

Jim O'Rourke is a composer and producer living in Japan after spending most of his life in Chicago. His solo and collaborative works range from pop songwriting to electronic and avant-garde, being one of the first musicians to use a computer for live improvisations. His albums have been released on Table of the Elements, Drag City, Mego, and his own label Moikai. As a producer he has worked with Joanna Newsom, Wilco, US Maple, Stereolab and countless others. He has been a member of Sonic Youth, Loose Fur, Illusion of Safety, Boxhead Ensemble and Gastr Del Sol. O'Rourke's collaborators include Christian Fennesz, John Fahey, Tony Conrad, Loren Connors, Keiji Haino and the Red Krayola. As a film composer he has made contributions to School of Rock, Werner Herzog's Grizzly Man and a smattering of Japanese films. Jim chats from his home studio The Steam Room with Markly and guest host Dylan Shearer about his formative years, musicians he admires, his current works and aspirations, his take on the world of streaming music, responds to listener questions, and discusses why he no longer writes songs with lyrics or tours. Includes an introduction from Sean O'Hagan of Stereolab, High Llamas and Microdisney.Find this episode's website at lowprofilepodcast.com to dive even deeper.Special thanks to Forrest for editing in the music selections for this program, to Lani Morrison for this episode's illustration, and to Eli Moore and Miles Rozatti for helping with cleaning up the remote audio.If you enjoy this show and want to help support it, you can join the community of patrons at patreon.com/lowprofile. For a flexible monthly donation, most people go for 3 to 5 dollars a month, you'll receive access to things like advance release episodes, behind the scenes footage, insights into my research for this program, first dibs on merchandise, and unedited interview recordings. Plus you'll be helping to make this oral history project sustainable, and if you join up I'll also send you a sticker and a button as a thank you. Again, that link is patreon.com/lowprofile This show also receives in-kind support from several Olympia businesses including Rainy Day Records, San Francisco Street Bakery, Schwartz's Deli, Old School Pizzeria, and Scherler Easy Premium Shitty American Lager from 3 Magnets Brewing Company. Artists and musicians! Want vinyl records but can't afford to order 1000 and wait 8-12 months? Check out our friends at Lathecuts.com. They will make you vinyl singles in quantities as low as 50 as quickly as 3-4 weeks. All of their pricing is ala carte and they can help pick a package that fits your budget. Email Mike at Lathecuts@yahoo.com and Mention Low Profile to get a 10% overrun on your order for free!

Bill Callahan - “Coyotes” from the 2022 album YTI⅃AƎЯ on Drag City. Singer/songwriter Bill Callahan is shaking up reality — literally, with the backwards title of his latest LP, YTILAER, out now via his long-time label Drag City.  “It felt like it was necessary to rouse people — rouse their love, their kindness, their anger, rouse anything in them. Get their senses working again,” he shared in a press release. On today's Song of the Day, that reality takes us to his backyard, where the titular animal made its presence known. “We lived for awhile in a house in the hills,” he explained. “Coyote hills. The coyotes would start their song at dawn. Dawn and dusk were their main appearance times. Our dog would sleep outside sometimes in the morning and our boy was still bite-size. The coyotes would come take notes, edging closer each day. Mornings on the kingsize outdoor daybed. Like a righteous floating tide the coyotes would drift into our world. Predator and prey, blurred. Past and present, blurred. The young, the aged are to be snatched and devoured. Past lives edge in closer to try to speak to us. Current lives eye the past ones like sleeping dogs. And love spans all, that is why the feeling is so deep — deeper than one lifetime.” Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Music legend KID CONGO POWERS (The Gun Club, The Cramps, The Bad Seeds, The Pink Monkey Birds and more...) calls in about his memoir "Some New Kind of Kick” out now on Hachette Books! A special live set of music from Drag City recording artists', WAND! Plus, DAMIAN FROM FUCKED UP calls Tom about the new album "One Day" coming out in January! DARREN FROM WORK checks in! All this, plus a few more states are claimed in the ongoing 50 States of Springsteen! WATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCH https://www.twitch.tv/bestshow4life SUPPORT THE BEST SHOW ON PATREON: https://www.patreon.com/TheBestShow WATCH VIDEO EPISODES OF THE BEST SHOW: https://www.youtube.com/bestshow4life FOLLOW THE BEST SHOW: https://twitter.com/bestshow4life https://instagram.com/bestshow4life https://tiktok.com/@bestshow4life THE BEST SHOW IS A FOREVER DOG PODCAST https://thebestshow.net https://foreverdogpodcasts.com/podcasts/the-best-show Learn more about your ad choices. Visit megaphone.fm/adchoices

Ty Segall - "Distraction" from the 2022 album "Hello, Hi" on Drag City. From glam rock to garage to experimental noise, Ty Segall has covered it all over his 14-album discography. On his latest, titled “Hello, Hi”, he takes an intimate acoustic approach to songs that gestated during the pandemic. The album title itself acknowledges the strange isolation of that period, and how he missed just talking to people. “It's a simple sentiment,” Segall told Esquire. “A salutation. And just, how nice that is. When you can't do it. And it's like, you don't ever think about it, until it's gone. Just saying, ‘Hey!' It's a simple thing.” He adds, "It was like, ‘now here I'm in this room, and I'm daydreaming about all this weird shit around me, just, the window and the cement floors. And I just want to say hi.”  Read the full story at KEXP.orgSupport the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

This week's guest Joe Tunis (Carbon Records, Pengo) once again guides us into the world of post-rock, with Chicago-by-way-of-Kentucky band Gastr del Sol and their 1994 Drag City release 'Crookt, Crackt, or Fly'. Like many of their adjacent bands - Slint, Tortoise, Bastro...etc - the music on this mysterious record is often hard to define. It's a strange, evocative amalgamation of unconventional guitar virtuosity, subtle tape-work and occasional forays into full-on math rock that's definitely not for the timid. Songs featured in this episode: Wedding in the Park - Gastr del Sol; Queasy Stream - Pengo; Sun God - Squirrel Bait; Breadcrumb Trail - Slint; Shoot Me A Deer - Bastro; A Watery Kentucky - Gastr del Sol; Rain On Tin - Sonic Youth; History and Repetition - Bill Orcutt; Four Violins (excerpt) - Tony Conrad; Sunflower River Blues - John Fahey; Wedding in the Park, Work From Smoke - Gastr del Sol; Glass Museum - Tortoise; Parenthetically - Gastr del Sol; Wird - Codeine; Every Five Miles - Gastr del Sol; Boilermaker - The Jesus Lizard; Thos. Dudley Ah! Old Must Dye, Is That A Rifle When It Rains? - Gastr del Sol; Horizontal Hold - This Heat; Jacking The Ball - The Sea and Cake; The C in Cake, The Wrong Soundings - Gastr del Sol; What's He Building? - Tom Waits; The Wrong Soundings, Dry Bones in the Valley (I Saw The Light Come Shining 'Round and 'Round) - Gastr del Sol

Randy Randall is the guitarist, co-producer and founding member of No Age. Their 3rd record on Drag City,  People Helping People,  will be released September 16th  with a full North American tour to follow.   In this episode, Randy shares the head space he and Dean were in at the beginning of the recording and why they were itching to get weird. We hear why they feel they are in a perfect position to do whatever they want and how operating  on the notion that "everything is valid" contributed to the sonic architecture of the record.  Randy also tells us why he felt like Scotty Pippen playing with Bob Mould and he hips us to meaning behind Snares Like A Haircut , We hear a couple tunes and Randy offers up the stems from People Helping People.https://www.dragcity.com/products/people-helping-peoplehttps://noage.bandcamp.com/Tour Stories is sponsored by Izotope. Tour Story listeners get one month free of Music Production Suite Pro or 10% of all software by using code FRET10 at https://www.izotope.com/Tour Stories is sponsored by Self Care Non-Alcoholic Beer by Three Magnets. Go to https://drinkselfcare.com/ to get 15% off your first order using code TOURSTORIES

Geopolitical conflict doesn't stop great music from being made- often it influences it. Hosts Jim DeRogatis and Greg Kot talk with Poland's Trupa Trupa, a band that has always been haunted by the tragic history of its homeland. They also revisit an interview with Israeli musician Tamar Aphek from last year. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Trupa Trupa, "Twitch," B FLAT A, Lovitt, 2022Trupa Trupa, "Snow," Headache, Ici, d'ailleurs..., 2015 Krzysztof Penderecki, "Polymorphia," Dies Irae (Auschwitz Oratorium) / Polymorphia / De Natura Sonoris, Polskie Nagrania Muza, 1968Trupa Trupa, "Uniforms," B FLAT A, Lovitt, 2022Trupa Trupa, "Moving," B FLAT A, Lovitt, 2022Tamar Aphek, "Show Me Your Pretty Side," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Drive," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Russian Winter," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Nothing Can Surprise Me," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Crossbow," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Beautiful Confusion," All Bets Are Off, Kill Rock Stars, 2021Monotonix, "Body Language," Body Language, Drag City, 2008Tamar Aphek, "All I Know," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "As Time Goes By," All Bets Are Off, Kill Rock Stars, 2021Neutral Milk Hotel, "The King of Carrot Flowers," In The Aeroplane Over the Sea, Merge, 1998

With the volume of music released each week, some is bound to not get the attention it deserves. This week hosts Jim DeRogatis and Greg Kot share some of their recent finds and shine a light on them. They also talk with Israeli musician Tamar Aphek about her album "All Bets Are Off." Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Tamar Aphek, "Crossbow," All Bets Are Off, Kill Rock Stars, 2021Mushroom, "Two Men Say They're Jesus, One of Them Must Be Wrong," Songs of Dissent: Live at the Make Out Room 8/9/19, Alchemikal Artz, 2021U.V.T.V., "Back To Nowhere," Always Something, Papercup Music, 2021Shower Curtain, "You Make Me Feel," You Make Me Feel (Single), Balaclava , 2021Ka, "PWH," A Martyr's Reward, Iron Works, 2021Pist Idiots, "Juliette," Idiocracy, PIST IDIOTS, 2021HotKid, "Letter," Letter (Single), Fortune Stellar, 2021The Armed, "Ultrapop," Ultrapop, Kill Rock Stars, 2021Tamar Aphek, "Show Me Your Pretty Side," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Drive," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Russian Winter," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Nothing Can Surprise Me," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "Beautiful Confusion," All Bets Are Off, Kill Rock Stars, 2021Monotonix, "Body Language," Body Language, Drag City, 2008Tamar Aphek, "All I Know," All Bets Are Off, Kill Rock Stars, 2021Tamar Aphek, "As Time Goes By," All Bets Are Off, Kill Rock Stars, 2021Kacey Musgraves, "justified," star-crossed, Interscope/UMG Nashville, 2021