Podcasts about Elliott Smith

On this week's Talkhouse Podcast, we've got a pair of fantastic music makers who also happen to be… women in music. That's their joke, not mine—you'll hear. It's Johanna Samuels and Madison Cunningham. Though she's from New York, Johanna Samuels' music has always had West Coast vibes—it makes perfect sense that she now calls Los Angeles home. Her latest album, Sorry, Kid, just came out, and it's got an interesting backstory: The songs were written years ago but never finished, and there were false starts making them work this time around. But she found a great collaborator in Jonathan Rado—you'll hear her refer to “Rado” a bunch in this chat—and finally broke through to a stunning set of mellow, downcast songs. You'll hear the influence of Aimee Mann, Tom Petty, Elliott Smith—if those are your thing, give it a close listen.  The other half of today's conversation, Madison Cunningham, plays a little bit on Samuels' record. The two are old friends, and you may have heard Cunningham in a variety of disparate places over the years: She played with Andrew Bird, and the two covered the lone Buckingham-Nicks album together. She's toured with big names, including Harry Styles. Her 2022 album, Revealer, won the Grammy for Best Folk Album. Cunningham's third album, Ace, was released late last year, and it's a winning left turn—less guitar, more piano, a little weirder than ever before. Check out the Samuels' track “Rare,” which features some playing and singing from Cunningham. This episode was recorded with our guests in the same room, and you can hear the friendly energy these two have. They joke around about being “women in music” as well as the long road to Samuels' album, Fiona Apple, Tom Petty, and much, much more. I hope you enjoy listening as much as they did recording. Thanks for listening to the Talkhouse Podcast, and thanks to Johanna Samuels and Madison Cunningham for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the other great shows in our network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! 0:00 Intro 2:18 Start of convo 2:20 On “women having a moment” in music, and Pitchfork's mean reviews 3:51 On their newest albums, seeing how art comes out of each others' lives, and artistic phases 7:01 On releasing songs after the inspiring emotion has passed, mental health, and using songs to process emotions 09:22 On the joy of creation, tarot cards, and the addictive qualities of the creative process 12:17 On the recording process, and finding the sound and lyrics 13:46 On Tom Petty, finding inspiration from great songs, simple lyrics, and cover songs 17:05 On learning to write songs by dissecting other songs, inspiring each other, and deceptively simple pop songs 20:45 On the timeline of making an album, the “Sha Sha Redemption,” and the importance of fun 25:06 On humor and self-awareness in sad songs 28:09 On their “women are having a moment” joke, dealing with anger, and not wanting to be known for one emotion 29:43 On how male songwriters approach expressing emotions differently, and if being hot makes for shallower art 33:58 On being grounded, loving life, discomfort, and feeling free to make new art 37:24 On other artists' paths and growth, and being willing to try new things Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠, and visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Don't miss the latest from your favorite artists: subscribe to the Talkhouse newsletter to receive weekly highlights in your inbox. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

The All Blacks pulled off the near-impossible at Ellis Park, beating the Springboks 33-16. They next face the Springboks on Sunday, but have to clear the Lions before they head to Cape Town. Newstalk ZB's Rugby Editor Elliott Smith says it'll be a tricky match, but the All Blacks can't be breezy about the game, if they want a second victory over the Springboks this weekend. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Brennan Wedl is a musician living in Nashville. Her new self-titled record is out today on ANTI-. We chat about Purely Elizabeth granola selling for $850 million, the New York Times matchmaking article, her astrology practice, Amy Grant, a recent footwear brand deal, eating dinner at a bowling alley, burrito rolling, Nashville's transience, “writers' rounds,” staff meal, chicken roasting, and Elliott Smith's “Between the Bars.” instagram.com/brennanwedl twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

A sense of melancholy hangs over the music of songwriters whose lives were tragically short – Nick Drake, Jeff Buckley, Eva Cassidy, Judee Sill - and we're left knowing very little about them. Jamie Fisher, writer and New York Times researcher, discovered Elliott Smith 12 years after he'd died and contacted 40 of his friends and fellow musicians to build a picture of him for her memoir Nobody Broke Your Heart. She looks back here at his background and ascent from the Portland club circuit to the Oscars, and touches on … … the emotional impact of first hearing his music walking round Central Park in Lockdown … “goofy, stubborn, wildly smart, addictively listenable” … early life in Omaha and Texas (and the telling tattoo on his arm) … the shy collegiate kid reading Dostoevsky who thought promotion was “distasteful” … how a singer-writer broke through in Portland during the Grunge boom … rejected stage-names - Johnny Panic, Elliott Stillwater-Rotter - and the pivotal moment when Steven became ‘Elliott' .. his sense of humour – “a garbage truck passed him and he said, ‘there's my ride!'” … the archive of unreleased recordings she'd heard … the Oscars appearance and signing to DreamWorks and Nirvana's PR … the root of his eventual unhappiness … “he would have been more shielded if he'd been in a band” … and his expanding legacy and adoption by Gen-Z. Order ‘Nobody Broke Your Heart' here: https://www.roughtrade.com/product/jamie-fisher/nobody-broke-your-heart-an-intimate-biography-of-elliott-smithHelp us to keep The Longest Continuous Conversation In Rock'n'Roll going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Keith Slettedahl is an American songwriter/musician and lead singer of the pop rock band The 88 who perform the opening theme to the Emmy Award winning sitcom Community. He's  played with legendary artists like Ray Davies, Elliott Smith, Elvis Costello, The Zombies and The Flaming Lips, but what most people don't know about the charismatic frontman is that he's a spiritual giant posing as a householder, who's lived the past 24 years sober on a steady diet of "not knowing". Keith is mentor of Jaymee's, a close friend and music collaborator. The two gentlemen discuss the creative power of humility, the mechanism of mentorship, the miracle of 12 Step Recovery, playing Kinks songs with Ray Davies, and the unlikely book that not only cured his debilitating back pain, but ushered in a revolution of the mind.  Interested in Spiritual Mentorship with Jaymee?email: lacee@loveistheauthor.com to set up a free consultation, or visit: www.loveistheauthor.com/mentorship LITA PODCAST: hosted, produced, and recorded by Jaymee Carpenter. SOUND MIX: Chris FallerOPENING SONG: Gangstalean by JJ RAM (Jaymee Carpenter).CLOSING SONG: Ocean Of Beauty by Earthtones Music & Sheela BringiSPONSORED BY YERBA MADRE: ⁠⁠⁠⁠⁠⁠www.yerbamadre.com⁠THiS SHOW is a LABOR of LOVE. PLEASE SUPPORT IT: ⁠⁠⁠⁠www.patreon.com/loveistheauthorpodcast⁠⁠⁠⁠FAN CONTACT: lacee@loveistheauthor.comON INSTAGRAM:  @loveistheauthor  / @unconventionalgardener

The All Blacks are up and running in South Africa, but was their win over the Stormers convincing enough? On the latest episode of Rugby Direct, Elliott Smith and Liam Napier join us from Durban to break down the tour opener, unpack the sweeping changes for the Sharks match, and discuss the growing injury toll after Billy Proctor became the second All Black to head home. Plus, is it finally time to pick up the phone and call Richie Mo'unga? The boys tackle all the big talking points. LISTEN ABOVESee omnystudio.com/listener for privacy information.

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.

On today's Agenda podcast, ACC Head G Lane and Tony Lyall kick things off with a brand new movie review segment... so is 'Greenland 2' any good (00.00)? Next, the fellas are joined by Newstalk ZB's Elliott Smith from South Africa to find out what is making the players sick (07:30), then there's the Mandatory NPC Update (18:10)... PLUS we announce who is coming with us on the Export Ultra Grand Final Beer Garden Tour (32:50), and the latest on Joseph Parker's cocaine ban (37:00)... Finally, it's 'Yours Please' where we find out what actually is in a "Southland Lunch Box" (43.05)... Did you know that we've launched a new Facebook Group called 'The Caravan' JOIN HERE! Brought to you by Export Ultra! Follow The ACC on Instagram or Facebook or TikTok Subscribe to The Agenda Podcast now on iHeartRadio, YouTube, or wherever you get your podcasts! iHeartRadio Apple Spotify YouTube THANKS MATE! See omnystudio.com/listener for privacy information.

En CD har sat sig fast i afspilleren i Klaus Lynggaards bil og det har skabt en genopdaget fascination af sangeren og sangskriveren Elliott Smith. De to værter gennemgår den amerikanske musikers karriere frem til hans mystiske død, kun 34 år gammel.Værter: Henrik Quietsch og Klaus Lynggaard Klip: Emma Engdal

The All Blacks begin their first tour of South Africa for 30 years in Cape Town against the Stormers, a team they have never played in their modern form. Dave Rennie named an experimental side for the test, with Patrick Tuipulotu as the captain and Siale Lauaki and Josh Jacomb scheduled to debut off the bench. And an illness has forced a late change to the team, Anton Segner replacing Wallace Sititi as openside flanker while Peter Lakai moves to number eight. Newstalk ZB's Voice of Rugby Elliott Smith told Mike Hosking that Rennie has pretty much locked in his team for the first clash against the Springboks, but has been open that there's room to move. He says a handful of players such as Tuipulotu, Fabian Holland, and potentially Peter Lakai and Anton Segner could be in conversation for that team. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Artspeak Radio, Wednesday, August 5, 2026, 9am -10am CST, 90.1fm KKFI Kansas City Community Radio, streaming live audio www.kkfi.org Producer/host Maria Vasquez Boyd talks with educator Whitney Boyd and Luna, singer/songwriter Heath Church. Fact: Missouri ranks near the bottom nationwide for teacher pay, consistently appearing in the 49th or 50th position. American teachers are increasingly stepping away from their jobs because of the educational systems and structures that prevent them from engaging in good teaching, which involves professional judgment, attunement to students' multidimensional needs, and a connection to one's purpose and values. The barriers to good teaching include overwork and underpay, in a profession that is increasingly undervalued—but that is not the whole story. The results of a massive survey, America's Teachers on Teaching in an Era of Change, indicate a strong correlation between teachers' job satisfaction and feeling that their voices are heard. Ninety-eight percent of the 20,000 respondents believe that teaching is more than a profession; it is how they make a difference in the world. The survey also suggested that new teachers, in particular, have comparatively higher needs for both content and social support. A frequently cited challenge for teachers was finding time to collaborate with colleagues, and rural and small-town teachers feel significantly more isolated and in need of support, connection, and collaboration. While self-care strategies such as mindfulness, gratitude, and self-compassion have been shown to support individual well-being, they are insufficient to support teachers who believe that their institutions are not in alignment with their values. These educators need the support and connection of an authentic learning community to give meaning, purpose, and direction to their work. Such communities are of particular importance for reengaging those suffering from demoralization, helping them regain their self-efficacy, which can lead to increased job satisfaction and commitment to students and the profession. There is power and hope when we work together. (What Teachers Really Need to Thrive, Greater Good Magazine, July 15, 2024, Margaret Golden, Ed.D, www.greatergood.berkeley.edu) Margaret Golden, Ed.D., is the director of learning communities at the Greater Good Science Center. She is the coauthor of Teach Our Children Well: Essential Strategies for the Urban Classroom and editor of Teaching and Learning from the Inside Out: Revitalizing Ourselves and Our Institutions. Teacher funding comes from crowdfunding platforms, non-profit organizations, and state or federal grants. On average, U.S. educators spend roughly $895 annually out of pocket for classroom supplies, making external grants and community donation programs vital resources to offset these costs. Crowdfunding and Donation Platforms • DonorsChoose: Use the DonorsChoose platform to post specific project requests and connect with individual donors. • AdoptAClassroom.org: Register on AdoptAClassroom to secure flexible funds, corporate sponsorships, and supply packages for your room. • Community options: Most users on Reddit agree that sharing Amazon wishlists on social media, checking local Buy Nothing groups, and utilizing PTA resources are effective supplementary tactics. Local and Regional Grants • State catalogs: Search localized opportunities like The Grant Portal to find active funding listings specific to Missouri educators. • Union support: Check the Missouri NEA for regional tuition assistance, humanitarian aid, and small project grants. Professional and Federal Programs • Fellowships: Apply for self-designed professional development funding through Fund for Teachers when applications open. • Government grants: Look into federal opportunities such as the Teacher and School Leader Incentive Program via the U.S. Department of Education. HEATH CHURCH is a singer-songwriter from the Midwest whose music is best described as dreamy indie-folk. His inspirations range from folk music legends including Johnny Cash, Blaze Foley, and John Prine to more recent indie artists such as Elliott Smith, Odie Leigh, Eels, and The Japanese House. Warm acoustic guitar tracks with layered vocals and undeniably catchy lyrics are all part of Heath Church's signature sound which has been described as “Midwestern Heartbreak”. Since he first began his journey with songwriting over a decade ago, he has released multiple EPs & singles and has played over a hundred shows. Heath Church now shares his life experiences on stages across the country. When I play a song for you, I want to create an experience that sticks with you. I want to take you to a place in your mind where you feel accepted and understood in a unique way that you haven't before. That's what music does. It understands us. I think everyone needs a chance to feel understood. -Heath Church https://www.facebook.com/share/1BYd2k8NmE/ https://open.spotify.com/artist/5THqQuSbp7IuOk5zQbnDeW...

On the latest episode of Rugby Direct, Elliott Smith and Liam Napier touch down in Cape Town and waste no time diving into the first team naming of the All Blacks' South African tour. What can we read into Dave Rennie's selections to face the Stormers on Saturday morning? The boys break down the key talking points, potential selection clues, and what this side could tell us about the weeks ahead as the All Blacks face their latest challenge in one of rugby's toughest environments. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Beth Torrance writes thoughtful, disarming songs about connection to people and place, pairing sharp lyricism with melodic indie songwriting. Her music has drawn comparisons to artists like The Smiths, Elliott Smith and Adrianne Lenker, while her latest work pushes further into guitar-driven indie rock.Beth's new single, Suzy May (released on June 5 through Particle Recordings), is the first taste of her forthcoming EP, Your Favourite, due for release in late July 2026. A four-song collection shaped by the energy of a full band, Your Favourite draws on artists like PJ Harvey, Joy Division, Hole, Pixies, Patti Smith and The Pretenders, alongside contemporary indie acts such as Girl in Red and Le Tigre.

Today's guest is a songwriter four albums deep, with a song that's been picking up new listeners for nine years and Mick Fleetwood playing on her latest record. But her real story isn't any of that.From weekend stage camps in West London to opening Wembley for Taylor Swift five months after giving birth, she spent a decade releasing roughly one song a year into near silence. What kept her going wasn't a plan — it was a pair of collaborators who got nothing back for years and got up and made something every day anyway.This is an honest conversation about what a long stretch of nobody listening actually feels like, and what happens when the proof finally shows up on a timeline you didn't choose.And The Writer Is... Suki Waterhouse!Hit subscribe and turn on notifications. Every week, we go deep with the most interesting creatives in music.Follow us on socials: @andthewriterisA special thank you to our sponsors for making these conversations possible.Our lead sponsor, NMPA — the National Music Publishers' Association. Your support means the world to us.And @splice — the best sample library on the market. Period.They've developed a Sounds plugin that allows creators to actually get paid for derivatively generated work from their art, and they have paid out $100M+ to artists already since inception. Chapters:0:00 Intro0:46 How's being a parent and doing music?1:18 "Being a parent is only hard for good parents"2:49 "The girl with the guitar" — how her daughter describes her job4:30 Test-driving album demos on a toddler in her "no" phase12:44 Somewhere Over the Rainbow — and losing to the girl who sang All Saints14:38 The voice teacher who told her she was too skinny to sing15:58 "I was angry. I had this huge fire in me."16:42 The friend group that turned on her: "fuck this school, fuck these people"26:45 "You walk through open doors" — model, actor, musician28:56 "Brutally," 2016, and ten years of making things nobody heard31:01 Advice to a young female artist: learn to produce, even basically32:56 "I went hunting for my fucking tribe. And I found them."35:54 Amy Winehouse at the pub, The Libertines, and a London scene that's gone38:12 Backstage at a Jake Bugg show — meeting Natalie and Jules at eighteen39:23 "They got zero back for years and years and years"42:45 Extreme ADHD, a giant sitar, and a fight over a song46:26 December 7th: flying to London for a song that didn't exist yet47:16 The pact: "if we're not writing something brilliant, we're not carrying it on"47:28 The worst audition of her life, in the dark48:09 A Wurlitzer, a Mellotron, and the song that opens the album1:01:39 "Good Looking" — top ten on TikTok, written nine years ago1:05:53 Covid, Daisy Jones, and deciding to just make the record1:06:32 Every label said no except Sub Pop1:08:40 "It's nothing about what happens in the first week"1:10:16 "Dangerous Woman" and a song that gains meaning over time1:11:38 Daisy Jones: "my name wasn't on the list and I was fucking pissed"1:16:24 "You're more envious of the check than the song"1:26:14 What makes a good song — Beck, Elliott Smith, and roughness1:29:26 Red Rocks with no ear monitors: "I was in insane debt"1:32:04 Opening for Taylor Swift at Wembley1:34:17 Hayley Williams: "this one's for Mr. Waterhouse"1:37:02 A baby in March, a record in September1:39:44 "When everyone goes a bit red — that's when you keep it in the song"1:40:35 What to play driving at night, heartbroken, walking through LondonCredits:Hosted by Ross GolanProduced by Joe London & Jad Saad Hosted on Acast. See acast.com/privacy for more information.

Rugby Direct is back as Elliott Smith and Liam Napier break down the All Blacks' 44-man squad named for South Africa and the United States on the inaugural Rugby's Greatest Rivalry Tour. All Blacks coach Dave Rennie and selectors Sir Graham Henry and Neil Barnes have retained all 34 players from the Nations Championship Southern Series squad, while adding a further 10 players for the demanding seven-week campaign. With opportunities rewarded and tough calls made, who are the unlucky names to miss out? The boys dissect the selections, debate the biggest talking points, and look at what the expanded squad means for the All Blacks' ambitions abroad. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Rugby Direct is back with Elliott Smith and Liam Napier, joined in studio by Blues loose forward Cameron Suafoa for an inspiring and candid conversation. Suafoa opens up on one of the toughest periods of his life and career after being diagnosed with a rare sarcoma, detailing the battle that followed, the support that helped him through, and the perspective he has gained from the experience. He also reflects on his return to professional rugby, his journey back to the Blues, and living with a terminal cancer diagnosis. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Rugby Direct is back as Elliott Smith and Liam Napier break down the All Blacks' emphatic 40-21 win over Ireland, extending their remarkable unbeaten streak at Eden Park. The boys review a perfect opening block of the Nations Championship, with the All Blacks going three from three, and assess the key performances, talking points, and big takeaways from the series. They also look ahead to the next major milestone on the road to South Africa, analysing what changes Dave Rennie could make when he names his 44-man squad on Monday. Who's played their way in, who's under pressure, and what does the next chapter of the All Blacks' campaign look like? It's all covered on the latest episode of Rugby Direct. LISTEN ABOVESee omnystudio.com/listener for privacy information.

The All Blacks are facing a tough challenge this weekend. They're facing Ireland at Eden Park, aiming to continue their 52 match strong unbeaten record at the stadium. Dave Rennie has made a few changes to the squad ahead of the match – adding more bulk to the backline with Tupou Vaa'i shifted to blindside. Newstalk ZB's Voice of Rugby, Elliott Smith told Ryan Bridge that by and large, the All Blacks have picked a pretty strong side for this test. LISTEN ABOVE See omnystudio.com/listener for privacy information.

We all carry around an idea of success—the job promotion we crave, the car that'll make strangers on the street crane their necks in jealousy, the beautiful house that turns visitors quiet as they walk through the front door. Fewer ask where these ideas come from. Mostly, they're absorbed from our parents, from culture, and from the other dads we compare ourselves to without meaning to.We spend our lives chasing these ghosts. But nobody warns you what's on the other side—what might happen if you get everything you wanted and end up feeling hollow. For this month's podcast, I sat down with my good friend Toph—known to the rest of the world as SOHN, the British artist and producer behind the albums Tremors and Trust. SOHN signed a record deal with 4AD, played Coachella and the late-night US TV circuit, and has spent well over a decade living the “artist dream” while raising three boys. Six years ago, we met in the lift of a Barcelona hotel, and eventually bonded over something neither of us saw coming: an episode of depression after the birth of our second child.We pulled each other through that dark time, with long walks and honest conversations. Just before the launch of his fourth album Albadas (Dawn Songs), we sat down in his studio to talk about all of it. This is the most honest conversation about success, money and creative identity I've ever heard from a dad in the public eye. We talk about his five-year creative block, the album that only arrived when he stopped writing as SOHN and started writing as a dad, what it does to your head when your creative output is tied to the food you put on your kids' plates—and why, when what he was chasing turned out to be a trap, he sold the dream house, killed the ego he'd spent so long protecting, and started again.Listen and Subscribe On …SpotifyApple PodcastsYouTubePocket CastsWhere to Find SOHN* SOHN's website* His new ambient album Albadas (Dawn Songs)—stream it everywhere or grab the limited vinyl/CD on Bandcamp* Trust—the album we discuss throughout, drenched in themes of fatherhood* Follow him on InstagramEpisode References* Trust (2022)—SOHN's third album, written after a five-year block* Tremors (2014) and “The Wheel”—where the world first heard SOHN* The Streets—the Mike Skinner problem: what do you write about when the drama's gone?* Oasis, Be Here Now—the Rolls-Royce in the swimming pool* Elliott Smith and Nick Drake—and the myth of great art made in depression* Kevin's essay: “How to Raise Tiny Humans Without Losing Your Mind”—The Tunnel, and coming out of it at five yearsTimestamps0:00 — a new definition of success0:46 — a conversation between good friends2:01 — the fantasy of the artistic dream4:14 — neck pain and stress7:09 — what shocked SOHN about fatherhood: patience, autonomy, silence8:50 — from one kid to two kids12:58 — paternal postnatal depression14:51 — great artist vs. stable force: the identity collision18:44 — the five-year creative block20:42 — having nothing to say22:26 — Tundra, the record nobody heard24:20 — early struggling musician days25:06 — the buffet of success27:57 — signing with the guy whose music he hated31:52 — losing the compass33:42 — depression as a weather system35:13 — the myth of making great art while depressed36:51 — at peace with the kids, at war with yourself39:28 — the head f**k of creative money: “we're screwed” to “we're rich” overnight44:04 — selling the dream house47:27 — imposter syndrome49:25 — Trust: giving up as a creative strategy53:39 — when the fears came true55:39 — the ego death journey58:33 — listen up, parents: it gets easier1:00:34 — where are all my friends?1:05:34 — alternative to climbing the social ladder1:07:03 — three boys watch their dad on stageCreditsHost: Kevin MaguireManaging Producer: Elizabeth Van BrocklinSound Editor: Sam WilliamsTheme Music: SOHN Get full access to The New Fatherhood at www.thenewfatherhood.org/subscribe

On the Early Edition with Ryan Bridge Full Show Podcast Friday the 17th of July 2026, Social Development Minister Louise Upston is celebrating 5,000 more people than last year off the benefit and into work, Labour Social Development and Employment Spokesperson Willow-Jean Prime shares her thoughts. The All Blacks face a mighty challenge to their unbeaten record at Eden Park against the Irish this weekend, Newstalk ZB Voice of Rugby, Elliott Smith shares his thoughts. Informetrics says New Zealand is on the cusp of an economic recovery if fuel prices stay down, ASB Chief Economist Nick Tuffley tells Ryan if we're on the right track. Plus, UK Correspondent Vincent McAviney has the latest on Sir Keir Starmer awarded Ukrainian honour the Order of Freedom during his final visit to Ukraine and the UK government has said "the World Cup might not be ours, but the Falkland Islands definitely are," after Argentina players celebrated their victory over England by waving a banner in support of their country's territorial claim. Get the Early Edition Full Show Podcast every weekday on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Rugby Direct is back as Elliott Smith and Liam Napier discuss the upcoming clash between the All Blacks and Ireland. Dave Rennie has named his side for this weekend's highly anticipated test with a number of key reinforcements added to strengthen the All Blacks' front line. Have the right calls been made? Who are the big winners and losers from selection? LISTEN ABOVESee omnystudio.com/listener for privacy information.

Rugby Direct is back as Elliott Smith and Liam Napier dissect the All Blacks' far-from-convincing 47-17 victory over Italy in Wellington. Despite the comfortable scoreline, questions remain about the performance, selections, and overall direction of the side after two tests under Dave Rennie. The boys also debate one of the biggest talking points heading into this weekend: can the All Blacks extend their remarkable unbeaten run at Eden Park when they face Ireland, or are the visitors primed to snap one of rugby's most iconic streaks? LISTEN ABOVESee omnystudio.com/listener for privacy information.

The All Blacks have overpowered Italy with a dominant second half to claim a 47-17 Nations Championship win in Wellington. The hosts' 14-10 lead at the break blew out with 5 second half tries, including a hat-trick to Will Jordan as he became the All Blacks leading test try-scorer. Wing Josh Moorby and loose forward Anton Segner debuted off the bench. Newstalk ZB rugby commentator Elliott Smith recapped the 'incredible' action in Wellington. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Hi Guys! Please List your top 5 songs in the comments !! join us today at Jeff and present our Top 5 songs to one another and argue about the ones we hate and the ones that just have to be there. Plus, we take a look at some honorable mentions, why Billy Joel rocks Jason's world and a funny story about how Jeff gets a free phone from work. Jeff's List includes: Kendrick Llamar, Elliott Smith, Sam Cooke, Alabama Shakes, Joni Mitchell Jason's List includes: The Libertines, AC/DC, The Strokes, Pavement and Kayye Top 5 Spotify Playlist here: https://open.spotify.com/playlist/0RqY0BFx3oeUX5SlsPUCxa?si=xnzvhH98QYOGskPyvgqnhg Learn more about your ad choices. Visit megaphone.fm/adchoices

  ---- 1 - The Durutti Column - Renascent - Scammer 2 - The Flaming Lips, Sparrow Sleeps - Yoshimi Battles the Sleep Robots - Lullaby renditions of The Flaming Lips songs - Do You Realize? 3 - Grouper - Paradise Valley - I'm Clean Now 4 - Mogwai - Come on Die Young (Deluxe Edition) - Cody (Cava Sessions)  5 - Mogwai - Come on Die Young (Deluxe Edition) - Nick Drake 6 - Low - Hey What - The Price You Pay (It Must Be Wearing Off) 7 - Boards of Canada - Inferno - The Process 8 - Tujiko Noriko - Pon - Kikoeru Pon 9 - Laura Misch - Lithic - Mythic 10 - Laura Misch - Lithic - Jealousea (ft Alfa Mist) 11 - Masahiro Takahashi - In Another - I'm Your Mirror (feat. Joseph Shabason) 12 - Shannon Lay - Past The Veil - Past The Veil  13 - Picture Frames - ... - 7:31pm 14 - Jessica Pratt - Here in the Pitch - World on a String 15 - Richard Skelton - For Piano - Tyrolite 16 - Ana Roxanne - Poem I - Cover Me 17 - Julia Holter - Loud City Song - Hello Stranger 18 -  Abul Mogard & Rafael Anton Irisarri - Where Light Pauses in the Silence of the Sun - Among Shadows 19 - Tujiko Noriko - Pon - Wakaru Pon  20 - Emily A. Sprague - Cyano - Sing To 21 - Dirk Maassen - EP Eden (IV) - Lueur 22 - Julia Holter - Loud City Song - He's Running Through My Eyes  23 - Orchid Mantis - I Don't Think I'm Ever Going to Figure it Out - First Snow 24 - Destroyer - Dan's Boogie - Travel Light ---- 25 - Tomo Katsurada and Jonny Nash - At The Emerald Pool - The Emerald Pool 26 - Tomo Katsurada and Jonny Nash - At The Emerald Pool - Dwelling In A Cave 27- Greg Mendez - Beauty Land - So Mean 28 - Elliott Smith - ... - Trouble 29 - SOAK - ... - Death Valley Fridge Magnet 30 - Midori Hirano -Take Me With You & Spell On You - Spell On You 31 - Tenniscoats - Papa's Ear - Hikoki 32 - Ida Urd - ... - Lately 33 - Fennesz, Bajune Tobeta - Anechoic - After the Silence 34 - Penelope Trappes - OPVS NOVUM: A Requiem Reworked - Thou Art Mortal (Julia Holter Rework) 35 - Anenon - Dream Temperature - Piano Haze Bass Melt Wind Cry Piano 36 - PJ Harvey - ... - Voyager 37 - Siouxsie And The Banshees - The Rapture - Forever 38 - The Cure - Disintegration - Plainsong 39 - Roger Eno - Without Wind, Without Air – Rarities - Getting The Picture 40 - Eliana Glass - E - Solid Stone 41 - Catarina Branco - Acordava Cansada - A Lista 42 - Orchid Mantis - I Don't Think I'm Ever Going to Figure it Out - Blank Slate 43 - Roy Montgomery & Martha Skye Murphy - Nebular - Cloudburst 44 - Andrew Wasylyk - Irreparable Parables - Spectators In The Absence Of God (feat. Kathryn Joseph) 45 - Natalie Jane Hill - Hopeful Woman - Blue is the Color of My Sun 46 - Damien Jurado - Did Something in Me Break - Leaving My Keys in Kennewick 47 - My New Band Believe - My New Band Believe - One Night

All Blacks coach Dave Rennie has sprung a couple of surprises in his first matchday 23. Ruben Love - the bookies' favourite to steer the side after a red-hot Super Rugby season with the Hurricanes - has been duly named to start at 10 in Saturday's test against France in Christchurch. But the intrigue comes arguably elsewhere - with Damian McKenzie to play at fullback with Will Jordan pushed to the right wing. Luke Jacobson has also won the nod to start at openside flanker, meaning captain Ardie Savea starts at number eight. Sportstalk host Elliott Smith recapped the action further. LISTEN ABOVESee omnystudio.com/listener for privacy information.

The Black Caps camaraderie has overcome the Ben Stokes retirement circus, to seal a 2-1 cricket series win over England. New Zealand has won the third test decider by 160 runs at Trent Bridge. Sportstalk host Elliott Smith recapped the action. LISTEN ABOVESee omnystudio.com/listener for privacy information.

England captain Ben Stokes has announced his retirement from international cricket, stepping down after the current test against New Zealand. On the field, England have struggled to 103 for four at stumps on day four, in pursuit of 373 for victory. Sportstalk host Elliott Smith explained further. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Christchurch City Council is in talks with the NRL over a second New Zealand-based club as part of the competition's planned expansion. Australian rugby league officials want to expand the competition to 20 teams by 2030 and Sport Nation has reported the council wants to front-foot a bid by merging two competing consortiums into one. Sportstalk host Elliott Smith explained what we know so far - and whether or not there's demand for a second, Christchurch-based team. LISTEN ABOVE See omnystudio.com/listener for privacy information.

Ce 24 juin, Marjorie Hache met à l'honneur Garbage, Black Sabbath, Aerosmith, Highly Suspect, Extreme, Nine Inch Nails, The Beatles, Guns N' Roses, The Rolling Stones, The Talking Heads, Elliott Smith, The Postal Service, Nirvana et Dream Theater. L'animatrice célèbre par ailleurs le 88e anniversaire de Colin Blunstone, la mythique voix de The Zombies, en diffusant le titre "Just Out Of Reach". Les Français de Howlin' Jaws donnent le ton des nouveautés avec "Living The Dream", suivis par les métalleux de Saint Agnes et la surprenante collaboration entre Massive Attack et Tom Waits. Mike D, St. Paul and The Broken Bones et Starcrawler répondent également présents. L'événement de la soirée reste le grand retour de PJ Harvey avec "Challenger", un titre inédit enregistré en Provence. La primeur du jour met en lumière le groupe parisien Chest, qui offre le percutant morceau post-punk "Lotus Eater". L'album de la semaine est sur "Castle Park", le nouveau disque de Graham Coxon, le guitariste de Blur, dont on découvre la pépite pop "Drippin Soul". Enfin, pour la reprise du jour, la "Queen of Soul" Aretha Franklin s'approprie l'iconique "Eleanor Rigby" des Beatles. Garbage - Stupid Girl Howlin' Jaws - Living The Dream The Zombies - Just Out Of Reach The Smashing Pumpkins - Cherub Rock Black Sabbath - Iron Man Aerosmith - Dude (Looks Like A Lady) Highly Suspect - Lydia Graham Coxon - Dripping Soul Extreme - More Than Words Nine Inch Nails - As Alive As You Need Me To Be Saint Agnes - The Ghost Aretha Franklin - Eleanor Rigby Massive Attack & Tom Waits - Boots On The Ground Guns N' Roses - Yesterdays St Paul & The Broken Bones - Alien Coast The Rolling Stones - Ruby Tuesday Starcrawler - She Said Mike D - What We Got Talking Heads - Psycho Killer Elliott Smith - Son Of Sam Chest - Lotus Eater The Chemical Brothers - Block Rockin' Beats (Studio) The Postal Service - Such Great Heights Nirvana - Polly PJ Harvey - Voyager Dream Theater - A Broken Man Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

New Zealand Rugby's adamant there was no choice but to reject rescue plans for the financially-strapped Moana Pasifika. Moana is officially out of the 2027 Super Rugby season, although there is hope they will be back in the future. Sportstalk host Elliott Smith explained the situation further - as well as whether or not the team could return. LISTEN ABOVESee omnystudio.com/listener for privacy information.

New All Blacks captain Ardie Savea denies he's worse off from having skipped Super Rugby to play a season in Japan. Savea returns to lead the national side for the upcoming Nations Championship tests after returning from Kobe in Japan. Sportstalk host Elliott Smith explained further. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Merriam-Webster's Word of the Day for June 22, 2026 is: cavalcade • kav-ul-KAYD • noun Cavalcade most often refers to a series of related things. An older meaning, still in use, is “a procession of riders or carriages”; vehicles or ships in a procession can be referred to as a cavalcade too. // Since the high-powered console's debut late last year, video game companies have steadily unveiled a cavalcade of new games that showcase its groundbreaking graphics. See the entry > Examples: “The event opened with a cavalcade of musicians, dancers and local children, followed by a horse-drawn carriage carrying the Watercress King and Queen ... who threw bags of freshly harvested watercress into the crowd as they paraded up and down Broad Street.” — Paul Coates, The Haslemere (England) Herald, 18 May 2026 Did you know? Cavalcade is a word with deep equestrian roots: it comes (via French and probably Italian) ultimately from the Latin word caballus, meaning “work horse” or “gelding.” (Spanish speakers may recognize the influence of caballus in the word caballo, meaning “horse.”) In the 17th century, cavalcade was used specifically to refer to a procession of horseback riders or carriages, especially as part of a special occasion, whether joyous or funereal. Over time, that meaning was extended to processions of other modes of travel, including ships, vehicles, or even paraders on foot or float (as invoked by the late singer-songwriter Elliott Smith in his song “Rose Parade” with the lyric “a wink and a wave from the cavalcade”). As a cavalcade of words before and since have done, cavalcade also took on a figurative sense to refer to a series of related things, whether or not they happen to be marching (or trotting) down the road.

Black Caps batter Daryl Mitchell believes the second test against England at the Oval is delicately poised after Day One. New Zealand's 291 for seven after being asked to bat. Sportstalk host Elliott Smith explained further. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Nick has some new music to share in a Three For Thursday. There's the new London based art-pop band, 1000 Rabbits, Yoni Mayraz has a phenomenal Portuguese drummer named Zoe Pascal, and Baltimore's experimental rock band, Horse Lords, is out with a new album.Songs: 1000 Rabbits - "Rubik's Cube"Yoni Mayraz - "Rooftops"Horse Lords - "Brain of the Firm (feat. Nina Guo, Evelyn Saylor, Madison Greenstone & Weston Olencki)"Then, for the first time ever, Jay's SOUND MACHINE CRASHED!!! (Don't forget to update the software, Jay!)Next up, Greg noticed that one artist in particular appeared numerous times on Pitchfork's Perfect 10 Album list, and he whole heartedly agrees. We're taking a deep dive into the music and career of Elliott Smith. Early in the discussion, Greg proclaimed, “he's one of those people that makes me love words.”Songs:Elliott Smith - “Pretty Mary K”Elliott Smith - “Everything Means Nothing to Me”Heatmiser - “blackout”Elliott Smith - “Coast to Coast”Finally, we're a week late but this segment is for you, Dirk Mauer! Joe Negri, or “Handyman Negri” for anyone that grew up watching Mr. Rogers, died last week at the age of 99. It turns out the guy that taught little kids about musical instruments and fixed stuff for Mr Rogers was also an incredible guitar player. There's been an outpouring of love for him online and some incredible performances have been unearthed in the process. We listen to a few.Songs:Joe Negri & Johnny Costa - “Little Brown Jug”Joe Negri with the Pittsburg Pops Orchestra - “Bumble Boogie”Fred Rogers, Joe Negri & Yoyo Ma - “Tree Tree Tree”

In this episode, Patrick Teahan, MSW, is joined by personality psychologist William Todd Schultz to explore the complicated emotional landscape of family estrangement and how early childhood loss intersects with creative expression.Todd specializes in profiles of artists and has published books such as Tiny Terror on Truman Capote, An Emergency in Slow Motion on Diane Arbus, Torment Saint on Elliott Smith, and The Mind of the Artist. Together, they detail how childhood trauma and the death of an estranged toxic family member elicit complex forms of grief. They introduce the concept of ambiguous loss and how individuals use creative mediums to process unresolved family systems issues.The episode begins by unpacking a complex dynamic: the dual reality of an abusive sibling being both a perpetrator and a victim within a dysfunctional family hierarchy. Patrick and Todd use this concept to illustrate why survivors often experience a muted emotional response when an estranged family member physically passes, as the psychological passing of the relationship occurred long ago.Listeners will learn:Ambiguous Loss and Estrangement: What it truly means to experience the death of a toxic sibling and why a blank emotional response is a valid reaction to long-standing estrangement.The Dysfunctional Hierarchy: A look at multigenerational trauma and how abusive family members are often both perpetrators and victims.Creative Adaptation: How individuals with artistic inclinations use creative mediums to mentally conjure and process a lost relationship.Resurrecting in Fantasy: The psychological process of resurrecting the deceased through art to form a new and manageable dynamic that buffers the trauma of the loss.Historical Perspectives on Creativity: An exploration of the mid-century Berkeley psychological assessments on creative writers and how the field quantifies creative and psychological traits.Patrick and Todd also provide insights into meaning-making and grief-related growth, encouraging listeners to understand how modern psychological frameworks apply to these complex forms of grief. By understanding how trauma shapes personality, survivors can begin to safely set boundaries and use creative outlets for self-preservation and healing.Keywords: childhood trauma, family estrangement, ambiguous loss, creative expression, meaning-making, multigenerational trauma, grief-related growth, personality psychology, toxic family systems, boundary setting. Join the Healing Community!Join the Monthly Healing Community Membership

This week, we celebrate the life and music of Elliott Smith, tracing his journey from noisy indie rocker to lo-fi DIY troubadour to the reluctant voice of a generation. Elliott released three records with his band Heatmiser and five solo classics before his untimely passing at the age of 34 in 2003 (with two posthumous collections that followed), leaving a rich, beautiful, emotionally wrought catalogue of music that continues to influence artists today. We explore the complex, brilliant, funny, but ultimately tragic figure that was Elliott Smith, and we are fortunate to have a Third Lad who had a front row seat to his musical development - Lucas Ward from The Silver Snails. Lucas was a close friend of Elliott's (née Steven) in high school and college and shares an intimate portrait of the artist as a young man. But this episode has a dual purpose, as we also celebrate the release of the second Silver Snails album, Speed of Light. The Silver Snails are a glam rock space pop family band based in the wine country of Italy, consisting of Lucas, his wife Elisa Fantini, and aided and abetted by their three children. It's a cosmic delight of an album - a string of ten pearls lovingly crafted to uplift, inspire, and open the hearts of listeners. It draws from a stylistically diverse, spiritually enriched, globally connected palette. Oh, it also rocks and is a lot of fun! And if their cover and video of "Video Killed The Radio Star" doesn't have you smiling from ear to ear, consult a doctor immediately. Learn about Lucas's journey from Portland-raised Wall Street titan to Italian-dwelling psych-pop craftsman. Get a primer on Italian pop music. Laugh. Cry. Feel. Get reaffirmation that you are pretty. Be the faro d'amore. All this and more...only on O3L. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's Talkhouse Podcast, we've got a couple of friends who swim in the same punk-inspired scenes but whose musics are pretty different: Barry Johnson and Greg Mendez. Johnson is the singer and guitarist for Joyce Manor, the pop-punk/emo/indie-rock/something-something band that's been blasting out short, to-the-point songs for nearly two decades. There's something perfectly economical about everything the band does: Their records often clock in at under 20 minutes, so there's no fat or filler to be found. The latest is being hailed as their best, which is saying something for a band whose chosen genre rarely seems to age well—something Johnson laughs about in this chat. The album is called I Used to Go to This Bar, and it was produced by Bad Religion's Brett Gurewitz. Check out the song “I Know Where Mark Chen Lives” right here. The other half of today's conversation, Greg Mendez, takes a Spartan approach to songwriting as well, but his songs are much more quiet and reflective—you'll definitely hear Elliott Smith vibes on his new album, Beauty Land. Mendez has actually been making music nearly as long as Joyce Manor, but their shyness didn't really push through into wider view until a self-titled album in 2023. Now he's ready to take the next leap—this new record is on the Dead Oceans label, which has released records by like-minded souls Phoebe Bridgers, Japanese Breakfast, and Bright Eyes. Check out the song “Gentle Love” from Beauty Land right here. In this conversation, Mendez and Johnson talk about how they first met, about the ups and downs of sequencing an album, and about doing the stream-of-consciousness creative practice called “morning pages,” where you just write whatever pops into your head. Johnson doesn't want you to see his pages, and you'll find out why. Enjoy. 0:00 — Intro 2:47 — Start of Conversation 5:16 — On sequencing records 7:58 — On releasing new music and planning modern album rollouts 9:20 — On the benefits of slower rollouts and appreciating singles 10:58 — On how they became friends 13:52 — On living in New York, and midlife crises 15:42 — On surfing, skating, and Long Beach 19:50 — On discovering punk through skating culture 20:28 — On touring's impact on creativity, and finding inspiration from other musicians 23:08 — On overcoming writer's block, exercising your creativity with age, “morning pages,” and Kurt Cobain's diary 32:21 — On upcoming tour plans and keeping audiences' attention while playing solo 34:14 — On seeing musicians transfix an audience, getting emotional at concerts, and live versions of songs Thanks for listening to the Talkhouse Podcast, and thanks to Barry Johnson and Greg Mendez for a great chat. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Bomethius is the baroque pop project led by Jonathan Hodges, a multi-instrumentalist singer-songwriter based in Chicago. Hodges draws from decades of classical training to craft a mischievous brand of chamber rock that echoes the sounds of Andrew Bird, Low Roar, Paul Simon, Sufjan Stevens, Randy Newman, and Elliott Smith.   Tropopause, Bomethius' second release on Chicago-based indie label Oakley Avenue Records, arrives with the sort of effortlessness that can only be born from experience. Working with the same core of collaborators from his prior record, Borrowed Time, and following years of diligent live performances, singer-songwriter and multi-instrumentalist Jonathan Hodges has opened a new, louder, and more compact chapter of his nearly decade-long baroque pop project.    In a discography that maintains a clear continuity aesthetically and thematically—with each release in conversation with its predecessors—Tropopause serves as a welcoming entry point for new listeners. For one, it's Hodges' most concise statement. A trim-the-fat approach to composition for this album produced a 10-song tracklist and 26-minute runtime, and the lean result is both digestible and direct. There's also a greater clarity to the writing as Hodges covers similar lyrical territory to his most recent releases. “The cycle, against which most of my music is set, borbles on,” he says, but on Tropopause, he's been afforded time and distance from this cycle, which allows for a wider perspective unburdened by still-sharp pains. Like the meteorological term from which it draws its name, the record represents a threshold in one's life and the areas on either side of it—all of which can be best appreciated from a bird's-eye view.     Lastly, Tropopause carries Hodges' most refined and arresting pop earworms to date. Rhythms and guitar lines chug in lead single “Thunderbird.” An explosive Weezer-esque guitar solo closes “I'm Out.” The piano-led “The Clown” hearkens to the playful yet biting ballads of Randy Newman and Fiona Apple. Guest harmonies from Hodges' sister, Caroline, dance through some of the record's quieter moments (“Over,” “Almost,” “Scorched Earth”), and the album ends with what's sure to be one of the most memorable violin pieces in the Bomethius catalog. The closing moments wordlessly represent that barrier between the turmoil below and the lucidity above, as explored by the preceding songs. It's a memorial of divine goodness, a reminder that it doesn't have to be that serious, and a nudge to pet a dog, and go outside, and chase pigeons and squirrels. Sometimes, that's all you need to do.   Tropopause releases June 7th on Oakley Avenue Records.

On the Heather du Plessis-Allan Drive Full Show Podcast for Friday 15 May, 2026, we talk to a constitutional lawyer about the Waitangi Tribunal finding the Government breached treaty principles with education changes. B416 co-chair Cecilia Robinson tells us why she's still confident there'll be a social media ban on under-16s before the election. We hear from the controversial Dunedin City Councillor who's become known as "tapeface". And on the Sports Huddle, Lavina Good and Elliott Smith discuss whether Luke Metcalf's made a good move in going to the Dragons. Get the Heather du Plessis-Allan Drive Full Show Podcast every weekday evening on iHeartRadio, or wherever you get your podcasts. LISTEN ABOVE See omnystudio.com/listener for privacy information.

This week's show focuses on Unwound's final album Leaves Turn Inside You, celebrating its 25th anniversary this year. Features tracks from associated artists such as Elliott Smith, Modest Mouse and Quasi. Also includes songs from Nirvana and Radiohead through varying connections and influences!

857 Elliott Smith - Either/Or

In the early 1970s, legendary collaborator and self-proclaimed non-musician Brian Eno famously designed a deck of 115 cards containing elliptical imperatives to spark in the user creative connections unobtainable through regular modes of work. He called his creation "Oblique Strategies." For the past six decades, artists the world over in every artistic medium have used Eno's strategy while attempting to overcome a lull in creative output.In 2026, nihilistic, nerdy nimcompoops and self-proclaimed Lightnin' Lickers Jay and Deon found themselves uninspired when contemplating the potential theme of their upcoming forty-seventh episode. Together, they decided... to default back to the alphabet. Because they had a reasonably solid grasp of the alphabet and how it works. They had previously utilized the letters A thru M, so naturally, they went with N.Sonic contributors to the 47th episode of Lightnin' Licks Radio podcast include:NPR, Beaste Boys, Gravediggaz, Brothers Johnson, James Ussery, RZA, Prince Paul. James Todd Smith, Rashaad "Ringo" Smith, Cindy Lee, Pete Jolly Trio, Ace Frehley. Delroy Lindo, Greg Gutfeld, the N***. Nazz, Todd Rundgren, The Temptaitions, Cheap Trick. Aaron Neville. George Davis, Warren Barker, Linda Rondstadt, Cynthia Weil, Tom Snow, The Meters, The Neville Brothers, Arthur Hamilton, David Gates and Bread. Tricky, The Presidents of the United States. The Naked and Famous. Nada Surf, Weezer, America. The Natural Four, Leroy Houston. CNN, Drink Champs podcast, the Neptunes, N.O.R.E., Brittany Spears, N.E.R.D., Clipse. Nice Strong Arm, Dinasaur Jr., Swans. Heatmiser, Elliott Smith, No. 2. LCD Soundsystem, The Rapture, Robert Tepper, Benny Mardones, The Natural History, Gang of Four. The Nonce, Kwest Tha Madd Ladd, Freestyle Fellowship, Aceyalone. Okonski, The Clockers, POSPOTUS DJT, Jim Carey, Megan Kelly, Tim Robinson."YOU CAN'T DO THAT!"Copyright Police hammered us on 6/10 tracks, a new record! Fear not, Lickers -you can still hear the FULL MIXTAPE via Soundcloud or jam 90% of the tunes on thisNEARLY FULL Spotify PlaylistSupport these artists and your local music store.Happy Spring, C'mon, Stewk!

On October 21, 2003, Elliott Smith — the whisper-voiced songwriter whose fragile melodies and unflinching introspection reshaped indie music — died at the age of 34. A musician of rare emotional clarity and precision, Smith built a body of work defined not by spectacle but by intimacy, turning quiet confession into something expansive and universal. With layered vocals, intricate guitar work, and lyrics that confronted addiction, isolation, and longing without sentimentality, Smith created music that felt both deeply personal and eerily communal. Hosts: Jason Beckerman & Derek Kaufman Learn more about your ad choices. Visit podcastchoices.com/adchoices

“I just remember being fascinated by language, it felt like this treasure I was discovering,” says Arlo Parks, of her childhood affinity with words. “I remember being obsessed with the word ‘pebble,' and the sense of different shapes. Maybe it's because I learned French before English, so my approach to the English language was quite, like, seeking and grasping and understanding as I went along. But the dictionary, I remember being obsessed with it.” If you've been a fan of Arlo Parks' music over the course of her three beautiful albums, I'm sure it comes as no surprise to learn that the British singer-songwriter has been obsessed with words since childhood. In episode 137, she shares more about her early life explorations of poetry and song craft, memories of hearing Otis Redding from the backseat of her father's car, discovering Miles Davis and Prince in her uncle's vinyl collection, downloading Arctic Monkeys and Kaiser Chiefs onto her iPod, trying to play all of Elliott Smith's XO on guitar, and eventually beginning to make her own music near the end of high school. We also discuss her approach to her wonderful new album, Ambiguous Desire, and how going out to dance clubs and DJ nights brought new inspiration. And I especially loved that Arlo came over to my little LA bungalow to do this interview in person! Get tickets for her upcoming shows here. 

Max is rattling down streets in a Fender humming panic. His Princeton is on the outs, more whole lotta nothing than whole lotta love. We make a call, so he puts the car in idle to cough up half remembered dreams while New York leaks past the windshield in streaks.Cut Worms are gearing up for another North American odyssey in support of “Transmitter,” and he talks to us live from the driver's seat about the great American rock existentialists, Chilton, Westerberg, Elliott Smith, and beyond.So join us on the journey. It's Holden Caulfield drifting through a Peter Hujar afternoon, where everyone and everything looks beautiful and doomed at the same time.We love you, Max.Support us on Patreon for a bonus episode every week.@impossiblewayoflife is made by musicians, for musicians, pulling back the curtain on the grind, the glory, and the gloriously unhinged world of making music.

In this episode. Carter and Rivers are chillin' at Disgraceland Studios with filmmaker and comedian Seth Pomeroy! They kick things off by diving into some potential summer anthems, featuring tracks from Afroman and a rising artist from the Bay Area named LaRussell. Then, we chug an energy drink called "Bloom". Bloom is made by a couple of natural healing podcast weirdos and contains something called "Galactomannan." Rivers tells the boys about the weirdest event of 1940s Hollywood, "The Battle of Los Angeles." Robert Palmer's "Addicted to Love" is our JAM OF THE WEEK! Póg mo thóin, y'all. Give us a listen.  Follow Seth on everything @SethPomeroy  Watch Seth's video essay about Elliott Smith here:  https://youtu.be/sSvCGQyqsCQ?si=FKfMw2taUA618wU0 Follow the show on social media @TheGoodsPod  Rivers is @RiversLangley  Sam is @SlamHarter  Carter is @Carter_Glascock  Subscribe on Patreon for the UNCUT video version of this episode as well as TONS of bonus content!  http://patreon.com/TheGoodsPod   Pick up a Goods from the Woods t-shirt here:  http://prowrestlingtees.com/TheGoodsPod

Students of classical music know that Johann Sebastian Bach was one of the most important and influential composers of all time…his use of instruments, four-part harmonies, and use of innovative structures in his material were all brilliant… When he was alive, he commanded plenty of respect…but after he died in March 1685, he was almost forgotten…the only reason we talk about him today is that there was a Bach revival in the 19th century…he became a retro hero in the world of classical music… No one knew anything about Robert Johnson when he was alive other than some myths and legends among hardcore fans of Delta Blues…but when his records were reissued in 1961, 23 years after he died, did his reputation explode… Charles Mingus was revered by fellow jazz artists…it was only after he passed away in 1979 that his influence on jazz was celebrated… We can also talk about posthumous praise for Nick Drake, Jeff Buckley, and Elliott Smith…and although Tupac and Biggie were big stars when they were shot, they became even bigger stars in death… I'm going to add another name to this list: Ian Curtis and Joy Division…when Ian took his own life in May 1980, he and the band were so skint that he had to give his dog away because he and his wife couldn't afford to feed him… Today, though, Ian and Joy Division are acknowledged as one of the most important and most influential post-punk bands ever…why?...what was the big deal about Joy Division? And why do they continue to be a big deal?...let's examine this. Learn more about your ad choices. Visit megaphone.fm/adchoices