Podcasts about Fleet Foxes

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.

Madison Cunningham's third full-length release, Ace, came out in October 2025 and she performed at Nashville's The Blue Room on two consecutive nights this March. On the second show day, the Grammy-winning artist stopped by WNXP to discuss the intention and execution of Ace, which was recorded in Upstate New York in one of the "best times of [her] life." In addition to the album's duet "Wake" with Fleet Foxes' Robin Pecknold, Cunningham has recently collaborated on records with WNXP favorites Whitney, Lucius, Deep Sea Diver and Andrew Bird.

Artist Bootsy Holler joined Seattle's punk and grunge scene while it was taking off. Then, she documented the genesis of the “post-grunge” independent music boom of the early 2000s. She photographed many of the bands that would go on to define the “indie” scene: like Death Cab for Cutie, Fleet Foxes, Gossip, Modest Mouse, Interpol and more. Whether the bands are onstage or in a portrait, her photos are full of movement, life and quirk. When you see them, you feel like you can almost hear the microphone feedback and smell the sweaty crowd at the Crocodile or El Corazon. Her new book is "Making It: An Intimate Documentary of the Seattle Indie, Rock & Punk Scene, 1992–2008". Guest Bootsy Holler Related links Bootsy Holler’s photobook is a tribute to the golden era of indie rock (flying bassists and attitude included) - It's Nice That Thank you to the supporters of KUOW, you help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes Soundside is a production of KUOW in Seattle, a proud member of the NPR Network.See omnystudio.com/listener for privacy information.

Today, we're putting The Tonearm's needle on Julianna Barwick and Mary Lattimore.Julianna is a composer, vocalist, and producer whose music is built almost entirely from layered, looped human voices. Mary is a harpist who has spent years pushing that instrument into a vast, exploratory realm.In January 2025, the two flew to Paris just days after the LA wildfires tore through their community. There, they spent nine days recording with instruments pulled from a museum, including harps dating back to 1728 and vintage analog synthesizers. The result is Tragic Magic, out on InFiné, and it's one of the most talked-about records of the year so far.Julianna and Mary just returned from Big Ears Festival and, in a few days, are heading back to Paris to perform these songs live with those same instruments. We caught them as they were preparing for the trip.(The musical excerpts heard in the interview are from Julianna Barwick & Mary Lattimore's Tragic Magic)—Dig Deeper• Artist and Album:Visit Julianna Barwick at juliannabarwick.com and follow her on Instagram and FacebookVisit Mary Lattimore at marylattimore.net and follow her on Instagram and FacebookPurchase Tragic Magic from InFiné, Bandcamp, or Qobuz and listen on your streaming platform of choice• Recording Location:Philharmonie de Paris — Musée de la Musique — the museum whose instrument collection made the album possibleMusée de la Musique collections database — searchable archive of the museum's historic instruments• Collaborators:Roger Eno — composer of "Temple of the Winds," written for voice and harp after a shared lunch with Barwick and Lattimore in MelbourneTrevor Spencer — engineer, additional producer, and mixer on Tragic Magic; known for his work with Fleet Foxes and Beach House• Instruments:Jacob Hochbrücker — maker of the 1728 harp used for "Temple of the Winds"; one of the oldest instruments on the albumÉrard harps — the French instrument maker whose 1799 and 1873 harps Mary Lattimore used throughout the sessionsSequential Circuits Prophet-5 — the synthesizer Julianna Barwick chose; introduced in 1978 as the first fully programmable polyphonic synthesizerRoland Jupiter-8 — the second synthesizer Barwick used; the "Jupiter" referenced throughout the episodeKorg VC-10 Vocoder — used by Barwick on "Stardust" and elsewhere on the album• Visual Art — James Turrell:James Turrell — the light artist whose work both Barwick and Lattimore cite as a significant influenceJames Turrell: Into the Light at MASS MoCA — where Barwick and Lattimore opened Turrell's newest Skyspace, C.A.V.U.Chichu Art Museum, Naoshima — permanent Turrell installations on the Japanese island Mary mentions visitingJames Turrell retrospective at the Guggenheim — the 2013 exhibition (Aten Reign) that first brought Mary to Turrell's work after reading a New Yorker review• Previous InFiné / Musée de la Musique Collaborations:InBach by Arandel (2020) — the first album in InFiné's Musée de la Musique series, featuring Baroque instrumentsSaturn 63 by Seb Martel (2022) — the second album in the series; Tragic Magic is the third—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on Julianna Barwick and Mary Lattimore.Julianna is a composer, vocalist, and producer whose music is built almost entirely from layered, looped human voices. Mary is a harpist who has spent years pushing that instrument into a vast, exploratory realm.In January 2025, the two flew to Paris just days after the LA wildfires tore through their community. There, they spent nine days recording with instruments pulled from a museum, including harps dating back to 1728 and vintage analog synthesizers. The result is Tragic Magic, out on InFiné, and it's one of the most talked-about records of the year so far.Julianna and Mary just returned from Big Ears Festival and, in a few days, are heading back to Paris to perform these songs live with those same instruments. We caught them as they were preparing for the trip.(The musical excerpts heard in the interview are from Julianna Barwick & Mary Lattimore's Tragic Magic)—Dig Deeper• Artist and Album:Visit Julianna Barwick at juliannabarwick.com and follow her on Instagram and FacebookVisit Mary Lattimore at marylattimore.net and follow her on Instagram and FacebookPurchase Tragic Magic from InFiné, Bandcamp, or Qobuz and listen on your streaming platform of choice• Recording Location:Philharmonie de Paris — Musée de la Musique — the museum whose instrument collection made the album possibleMusée de la Musique collections database — searchable archive of the museum's historic instruments• Collaborators:Roger Eno — composer of "Temple of the Winds," written for voice and harp after a shared lunch with Barwick and Lattimore in MelbourneTrevor Spencer — engineer, additional producer, and mixer on Tragic Magic; known for his work with Fleet Foxes and Beach House• Instruments:Jacob Hochbrücker — maker of the 1728 harp used for "Temple of the Winds"; one of the oldest instruments on the albumÉrard harps — the French instrument maker whose 1799 and 1873 harps Mary Lattimore used throughout the sessionsSequential Circuits Prophet-5 — the synthesizer Julianna Barwick chose; introduced in 1978 as the first fully programmable polyphonic synthesizerRoland Jupiter-8 — the second synthesizer Barwick used; the "Jupiter" referenced throughout the episodeKorg VC-10 Vocoder — used by Barwick on "Stardust" and elsewhere on the album• Visual Art — James Turrell:James Turrell — the light artist whose work both Barwick and Lattimore cite as a significant influenceJames Turrell: Into the Light at MASS MoCA — where Barwick and Lattimore opened Turrell's newest Skyspace, C.A.V.U.Chichu Art Museum, Naoshima — permanent Turrell installations on the Japanese island Mary mentions visitingJames Turrell retrospective at the Guggenheim — the 2013 exhibition (Aten Reign) that first brought Mary to Turrell's work after reading a New Yorker review• Previous InFiné / Musée de la Musique Collaborations:InBach by Arandel (2020) — the first album in InFiné's Musée de la Musique series, featuring Baroque instrumentsSaturn 63 by Seb Martel (2022) — the second album in the series; Tragic Magic is the third—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts. • Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice. • Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn. • Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

The storytelling season is here, this winter we combine The Manitous by Basil Johnston, Cat's Cradle by Kurt Vonnegut, and Helplessness Blues by Fleet Foxes, as we measure snow and appreciate the quiet darkness.  Playlist  Subscribe: Patreon Spotify iTunes YouTube Stitcher Google Play Soundcloud  

In this week's episode, we're proud to host the Maladaptive band, a rock duo based out of western Massachusetts featuring two long time friends, John Griffin and Aaron Noble. Inspired by bands such as Fleet Foxes, Radiohead, Father John Misty and Nirvana, The Maladaptive excels in writing angsty and sarcastic rock music, incorporating elements of grunge, folk, and indie-pop. You can follow them here: https://www.facebook.com/themaladaptive And also check out their music on Spotify here: https://open.spotify.com/artist/0Aovuv0dDnsKtSknZliDl1?si=787UdJarSceFBEHZhDLOYA And as always, make sure that you are following us on all of our platforms by going here: https://linktr.ee/musicalchairsmass We hope you enjoy this episode as much as we did! #mcm #makingmondaysmusicalagain #musicpodcast #charingiscaring

durée : 00:56:50 - Very Good Trip - par : Michka Assayas - Ce soir, Michka Assayas nous propose un programme spécial pour fêter l'hiver qui vient. Fêter, oui, parce que ça peut être merveilleux, la saison du froid. Quand on est bien au chaud. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

We're rounding out the month of November with a brand new episode digging into Fleet Foxes' self-titled breakout full-length record. We discuss their musical DNA rooted in older folk traditions, hymnals, and lush harmonies, unlike the emerging corporate-hipster, crowd-coded "stomp clap hey" movement the band was often grouped with, which was budding up in the folk pop genre around that same time. Tracklist: Sun It Rises Drops In The River White Winter Hymnal / Ragged Wood Quiet Houses Blue Ridge Mountains This show is part of the Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

We're rounding out the month of November with a brand new episode digging into Fleet Foxes' self-titled breakout full-length record. We discuss their musical DNA rooted in older folk traditions, hymnals, and lush harmonies, unlike the emerging corporate-hipster, crowd-coded "stomp clap hey" movement the band was often grouped with, which was budding up in the folk pop genre around that same time. Tracklist: Sun It Rises Drops In The River White Winter Hymnal / Ragged Wood Quiet Houses Blue Ridge Mountains This show is part of the Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices

[REBROADCAST FROM April 24, 2025] Uwade became known to the All Of It team and many other listeners when Fleet Foxes featured her on their 2020 album Shore. Her debut album is called Florilegium. The singer-songwriter, who is also currently pursuing a PhD at Stanford, performed live in studio five.

As we round out our stint of Autumn-forward Rewinds, we're revisiting an episode from 2018 in the early days of the podcast to once again gush and fawn over Robin Pecknold's lyrics and song composition on Fleet Foxes' second album Helplessness Blues​. We also take a look at what makes Fleet Foxes stand out in the landscape of indie-folk from that era. This show is part of the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

As we round out our stint of Autumn-forward Rewinds, we're revisiting an episode from 2018 in the early days of the podcast to once again gush and fawn over Robin Pecknold's lyrics and song composition on Fleet Foxes' second album Helplessness Blues​. We also take a look at what makes Fleet Foxes stand out in the landscape of indie-folk from that era. This show is part of the Pantheon Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 056: "What in the Wide World of Sports is Americana?" Join Geoff, Russ, and Dave for a special episode of the Six Picks Music Club as they welcome a guest Jeff to the conversation about the most deliciously undefinable of genres. Americana is like that perfect roadside diner: you know the vibe when you walk in, even if you can't quite articulate the decor. It has the twang of classic country, the soul of folk music, and a lyrical sincerity that just feels like home, even if "home" means a broken-down Ford pickup on a backroad somewhere. The guys attempt to pin down this elusive sound by spinning a killer playlist that jumps from the legendary Texas troubadour Willis Alan Ramsey to the raw, hard-edged storytelling of Tyler Childers. They also dive into the powerhouse harmonies of The Highwomen, look at a possible evolution of the genre from Halsey, and explore the enduring grit of Steve Earle and the lush, layered folk of Fleet Foxes. But be warned: the conversation takes a hard left turn, veering off the musical highway to tackle the pressing matter of escaped cats and, well, prolapsed anuses. It's a true Americana experience—unpredictable, a little messy, and entirely heartfelt. Tune in for the music, stay for the feline emergency room stories!   Apple Podcasts Instagram Spotify Playlist Official Site Listener Listens - Teethe - Instagram

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Blinding Lights by The Weeknd (2019)Song 1: The Way We Used to Be by Journey (2022)Song 2: Amnesia by Chumbawamba (1997)Song 3: Oliver James by Fleet Foxes (2008)Song 4: Blue Monday by New Order (1983)Song 5: Tanz Auf Dem Vulkan by Nena (1983)Song 6: Oliver's Army by Elvis Costello & the Attractions (1979)Song 7: Smooth Criminal by Alien Ant Farm (2001)Song 8: Sugar and Spice by The Archies (1969)Song 9: Light and Sweet by Oliver Wood (2024)Song 10: Bizarre Love Triangle by New Order (1986)

As the big hand slips past ten it's approaching the hour for the chimes of The Harbour Bazaar with Steven Hastings & Davey Hal joined by a returning guest...the marvellous Julian Ball who will be playing live in the studio! Theme is Time of Day so synchronise watches for tracks from Fleet Foxes, Bill Callahan, I Am Kloot, Dukes Of Stratosphere, Alvvays et al plus toga chat, yer actual Latin, a glorious 60s pop moment and more! PLAYLIST Go! Go! Go! - The Del-Tino's 25 O'Clock - The Dukes Of Stratosphear Breakfast - Bill Callahan Morning Rain  - I Am Kloot Sun It Rises - Fleet Foxes Monday Morning - Pulp Pure Morning - Placebo All I Really Want - Julian Ball (Live) Out At Night - Julian Ball (Live) The Night Before - Julian Ball (Live) Five O'clock World - The Vogues Breakfast In Bed - Dusty Springfield Midnight  - Yazoo Sister Midnight - Iggy Pop The Morning Fog - Kate Bush Goo Goo Muck - The Cramps Time - David Bowie The Walk - Acoustic Version - The Cure Dreams Tonite - Alvvays After Midnight - J.J. Cale Comes a Time - Neil Young A Rainy Night in Soho - The Pogues SHIP FULL OF BOMBS THAMES DELTA INDEPENDENT RADIO If you would like to support the station and are able to do so then please pledge only what you can genuinely afford at www.patreon.com/sfob Please like and subscribe from wherever you stream your music and podcasts.

The photographer Bootsy Holler is releasing a book next month called “Making It: an intimate documentary on the Seattle indie rock and punk scene, 1992 to 2008.” Those were the years when Bootsy was living in the city. She captures behind-the-scenes moments with artists who have defined Seattle’s reputation, from Nirvana to Fleet Foxes. In addition to revealing moments with lesser-known artists, Bootsy also shares pieces of own life as a photographer trying to “make it” in this creative business. “Part of what I love about Seattle is that everyone is making their own art,” Bootsy says in the interview. “There’s nobody telling you what to do. Once I realized that, I started to look at myself even differently — like, ‘yeah, you have lived on your own terms.’” Support the show: kexp.org/deeperSupport the show: https://www.kexp.org/sound/See omnystudio.com/listener for privacy information.

Robin Pecknold's vision of indie folk perfection came to life in 2008 when Fleet Foxes released their self-titled debut album. What started as a basement recording project between high school friends evolved into a critically-acclaimed masterpiece that perfectly blends Beach Boys-inspired harmonies with pastoral themes and Renaissance aesthetics.Sitting down to explore this influential album track by track reveals the genius behind what many critics consider one of the greatest debut albums ever recorded. The band's Norwegian-inspired folk creates an immersive experience through Pecknold's evocative lyrics about nature, mortality, and family connections. We're struck by how the production, despite being created on a shoestring budget with band members recording parts between regular jobs, achieves such a rich, atmospheric quality.Beyond the recognized hits "White Winter Hymnal" and "Blue Ridge Mountains," the album offers numerous standout tracks that showcase the band's range. "Ragged Wood" captivates with its compelling bridge and perfect coda, while "Tiger Mountain Peasant Song" demonstrates their ability to create tension through minimal arrangements. Throughout the album, Casey Westcott's subtle keyboard work and Nicholas Peterson's drumming provide the perfect foundation for the intricate vocal arrangements that define the Fleet Foxes sound.What makes this album special is its authenticity and restraint—songs deliver emotional impact through simplicity rather than complexity, avoiding unnecessary solos or filler. The band creates complete musical statements that transport listeners to wooded landscapes and natural settings. Whether you're new to Fleet Foxes or revisiting this classic, join us as we rank our favorite non-hits and celebrate a timeless record that continues to reveal new layers with each listen.Send us a textSupport the show

Hello everybody! Today, it's time to make the filled donuts! We are diving into Phish's Baker's Dozen run. Listen in as we dig into the powder-covered fun that was night five, 7/26/2017. With originals and covers by Fleet Foxes, Clifton Chenier, Ween, Prince, Led Zeppelin, and Neil Young buckle up or go ahead and surrender to the flow. Also this podcast is on Youtube, go check it out!Enjoy!Thanks to ⁠⁠⁠⁠phish.net⁠⁠⁠⁠ for notes on these tracks.The music used in this episode is from ⁠⁠⁠⁠phish.in⁠⁠⁠⁠.-----Intro Music is from Sigma Oasis, 07/12/23.Outro Music is from Cities, 10/07/23.Follow us on our listening journey. Rate, review, subscribe, and share! Find out more details on our new members-only perks here - ⁠⁠⁠⁠https://www.patreon.com/PhishPhryPod⁠⁠⁠⁠.----------- Be our friends on social! We are @phishphrypod everywhere.

[REBROADCAST FROM April 24, 2025] Uwade became known to the All Of It team and many other listeners when Fleet Foxes featured her on their 2020 album Shore. Her debut album is called Florilegium. The singer-songwriter, who is also currently pursuing a PhD at Stanford, performed live in studio five.

Sean O'Hagan of The High Llamas joins us to celebrate the life and work of Brian Wilson. Plus we spin tracks from Yo La Tengo, Fleet Foxes and a bundle of other bands influenced by the man himself.

For episode 122 of the LSQ podcast, I had the pleasure of connecting with the up-and-coming singer-songwriter Uwade, whose beautiful debut studio album, Florilegium, arrived this spring following, truly, YEARS of anticipation from those of us who were first captivated by her voice when we heard her sing on Fleet Foxes' 2020 album Shore. As you'll hear, Uwade's musical influences since childhood span an array of genres including R&B, gospel, choir music, pop, hip-hop, indie rock and more, so it's no wonder that her own songs are so refreshingly genre agnostic. Uwade is also currently studying for her PhD in Classics, and I was fascinated to hear her talk about how her academic and musical pursuits feed each other. 

This week The Lonely Island and (sort of) Seth Meyers talk about the digital short, A Couple of Homies! The guys also talk about the video of Jorm dancing to Fleet Foxes, a scene from NYPD Blue, and they get a voice note from a double Quaid! A Couple Of Homies - not on YouTube sorry! Maybe Google it?Andy on Everybody's Live with John Mulaney - https://youtu.be/Il9v4x37ux4?si=i5VJDnZ-hZc9dcyMJorm Dances To Fleet Foxes - https://youtu.be/F7rXo1nLgp4?si=claNP2HpE7lVdBtmNYPD Blue - Franz Butt - https://www.youtube.com/watch?v=PM29Pxwakws Support our sponsors: Vuori Get 20% off your FIRST purchase. Get yourself some of the most comfortable and versatile clothing on the planet at vuori.com/ISLAND Cremo Head to Target or Target.com to find Cremo's new line of antiperspirants and deodorants in the Italian Bergamont and Palo Santo scents Betterment Make your money hustle with Betterment Get started at Betterment.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we get to meet Uwade. Uwade a Cailfornia-by-way-of-North Carolina singer-songwriter, who has just released her new debut album, Florilegium. You may have - like I did - first encountered her, though, as the first voice on the opening track of the last Fleet Foxes record Shore, called "Wading in the Waist-High Water". In this chat, she and I discuss the writing and process of creating this first solo LP, what it means for her to be going out on her own, the musical touchstones of her childhood that found their ways into these songs, and more. We do also touch on her work with Robin Pecknold & co. and the subsequent tours she shared with Fleet Foxes, and what she learned from that. Finally, we touch on her academic life, as she is currently working toward a PhD. Thank you for listening.

It's not easy being a songwriter. It's also not easy being a PhD student. I don't know how Uwade is able to do both simultaneously. Uwade is in the first year of her PhD program in Classics at Stanford University, and in this episode we explore how these two lives intersect. We also go deep into her songwriting process, which must involve a .38mm Muji black ink pen. It has to be black ink because "blue is too whimsical. Black ink is me telling myself, You have get real. No more fun and games. Black ink is a declaration, whereas blue ink is for play," Uwade told me.If you're a Fleet Foxes fan, you've heard Uwade's voice on their album Shore and may have seen her open for the band. Her new and insanely good album Florilegium is out now on Thirty Tigers. 

Uwade gained a widespread notoriety when Fleet Foxes featured her on their 2020 album Shore. Now she's set to release her debut album Florilegium. The singer-songwriter, who is also currently pursuing a PhD at Stanford, joins us to perform live in studio five.

On Tuesday August 21, 2012, at 3:30 pm ET, I spoke with Josh Tillman, who'd left a popular band called Fleet Foxes to venture out on his own. He called himself Father John Misty and earlier that spring, Sub Pop had released his acclaimed debut album, Fear Fun. Josh and I had a talk about its meta- and philosophical themes, why he name dropped people like Neil Young and Jean-Paul Sartre, the novel he'd written, why he left Fleet Foxes, his interest in comedy, what his favourite Bob Dylan song was and under appreciated and over discussed aspects of Dylan's work, future plans, and more. To hear this entire conversation, subscribe to Kreative Kontrol on Patreon at the $6 tier or higher (a reminder that an annual subscription includes a discount compared to a monthly one).Related episodes/links:Ep. #937: Mouth CongressEp. #898: Jon Benjamin – Jazz DaredevilEp. #828: ‘Bob Dylan: Mixing Up the Medicine' with Mark Davidson & Parker FishelEp. #744: Don PyleEp. #691: The Kids in the HallEp. #512: Kevin McDonaldEp. #439: Bruce McCulloch and Paul MyersPatti Smith (2007) – TeaserSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Singles?! What podcast is this? Don't be fooled – it's still your favorite album nerds, but this week we're taking a break from albums to talk about influential singles. Join us as we dive deep into some of our favorite singles. The Penguins – Hey Senorita / Earth Angel (1954) The Beatles – Strawberry Fields Forever / Penny Lane (1967) Pearl Jam – Jeremy (1992)Other Diggins Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Glib Tongued (2025) Deerhoof – Immigrant Songs (2025) Marianne Faithful – Burning Moonlight (2025) Noah Cyrus – Don't Put It All On Me (feat. Fleet Foxes) (2025) Mac Leaphart – Ode to the Thirsty Beaver (2025) The Jins – You're Going Far (2025)What do you think of these records? What's your favorite single? Let us know on our website, albumnerds.com or email us, podcast@albumnerds.com.Listen to more episodes and suggest topics for upcoming episodes on albumnerds.com. Follow us on Instagram, Facebook and Bluesky.Thanks for listening!!!

Red Hot

Der Titel seines Debütalbums ist Programm: «Can't Rush Greatness» kommt nach bereits mehreren Jahren an der Spitze der UK-Grime-Szene. Central Cee gilt als der erste, der es auch in den USA «so richtig» geschafft hat. Sounds! Hip Hop-Redaktor Pablo Vögtli sagt, warum dies keine Überraschung ist. +++ PLAYLIST+++ · 22:56 - FAINT OUTLINES von HOLM · 22:53 - AL SUR von THE NOTWIST FEAT. JUANA MOLINA · 22:49 - WATERTREES von SUPERNOVA EASY · 22:44 - AGITA2 von DNGDNGDNG/DENGUE DENGUE DENGUE · 22:38 - DTMF von BAD BUNNY · 22:35 - 2BLAUI von STEREO LUCHS · 22:31 - HEADBANGING PLANTS von ALMOND BUTYL · 22:28 - CRISIS von CISTERN · 22:20 - WONDER von EN ATTENDANT ANA · 22:17 - COLLECT von TORRES · 22:14 - SYLIVA von JULIEN BAKER/TORRES · 22:10 - LATELY I'VE BEEN THINKING OF YOUR MOTHER von KING HÜSKY · 21:56 - WANT YOU (FEVER) von MOMMA · 21:52 - PAPER TIGERS von L.S. DUNES · 21:47 - UNDERSTANDING IN A CAR CRASH von THURSDAY · 21:44 - I'M NOT OKAY (I PROMISE) von MY CHEMICAL ROMANCE · 21:40 - I'M IN THE BAND von THE HELLACOPTERS · 21:36 - TURNED TO DUST von BONNIE PRINCE BILLY · 21:32 - THE BALLAD OF LUCY JORDAN von MARIANNE FAITHFULL · 21:28 - ALIEN COWBOY von GORDI · 21:25 - IT'S A MIRROR von PERFUME GENIUS · 21:20 - FIST von MIYA FOLICK · 21:16 - GET OUT OF MY HOUSE von MIYA FOLICK · 21:12 - IN LOVE WITH A MEMORY von SASAMI FEAT. CLAIRO · 21:08 - BESTIES von BLACK COUNTRY, NEW ROAD · 21:03 - CHAOS SPACE MARINE von BLACK COUNTRY, NEW ROAD · 20:56 - RODEO von SOPHIA KENNEDY · 20:52 - PERFECT STRANGER von FKA TWIGS · 20:48 - STICKY von FKA TWIGS · 20:44 - STONED von MAC MILLER · 20:42 - YOU'RE THE ONLY ONE WATCHING von MIKE · 20:36 - NOW WE'RE STRANGERS von CENTRAL CEE · 20:31 - NO INTRODUCTION von CENTRAL CEE · 20:29 - TEN von CENTRAL CEE/SKEPTA · 20:22 - SPRINTER von DAVE/CENTRAL CEE · 20:20 - BAND4BAND von CENTRAL CEE/LIL BABY · 20:15 - DENIAL IS A RIVER von DOECHII · 20:12 - LET IT HURT von SIRENS OF LESBOS · 20:08 - CALL IT A DRAW von UWADE · 20:06 - WADING IN WAIST-HIGH WATER von FLEET FOXES

El projecte liderat per Conor Oberst publica el disc n

Heyeth, best friends in Christ! The Lord hath sent us His Most Fabulous Messenger—Catherine Cohen of the village of Houston—to discuss His “Second Testament,” aka The New Testament, aka Season 2 of the Holy Bible. From weeping for thine Jewish friends who will burn in the fires of Hell to why Jesus resembleth a member of Fleet Foxes, the divine sex workers of Nazareth, Jesus having only child syndrome, TEDxBethlehem, and addressing if the Virgin Mary was a liar (yes). This is the Book of All Books, The Lastest of all Suppers. Come break unleavened bread and Slay In The Name of All That Is Holy. Amen.Support the show: https://www.patreon.com/cbcthepodSee omnystudio.com/listener for privacy information.

Happy holidays from The Night Club! Join us, and Bostuna, for a Midnight Ritual of A Serbian Film(2010). Merry Christmas, ya filthy animals. Joe Blow Horror Show: https://joeblowhorrorshow.podbean.com/ The Night Club: https://linktr.ee/thenightclub RIPPIN RIFFS Travis - Helplessness Blues by Fleet Foxes - https://www.youtube.com/watch?v=NwfQDYKd4gE Trevor - Bruno Mars - https://www.youtube.com/@brunomars Bostuna - Load by Metallica - https://www.youtube.com/watch?v=WE0ReQJ-Kfk&list=PLQ9VwE1T4Ufubbb2gqdZV8j8Jm8YkS6 Cody - Undeniable by HellYeah - https://www.youtube.com/watch?v=tcTTdVPO-KI&list=OLAK5uyl6UsPIxdde7vCn9zG1O3Y2r830WnHMD8 Ricky - None So Vile - https://www.youtube.com/watch?v=QBhLTYNKUbo Meat Spin - Warning: NSFW - https://www.meatspin.com/ I'm The Shadow Man - https://www.youtube.com/watch?v=TCdOuSGplkU Special Guest: Bostuna.

durée : 00:54:53 - Very Good Trip - par : Michka Assayas - Ce soir, dernière émission inédite de l'année avant les fêtes, l'occasion d'écouter quelques ultimes nouveautés, des chansons pour rendre supportables, et apporter un peu de lumière à des journées qui en manquent cruellement. - réalisé par : Stéphane Ronxin

We hear from L’Rain, Hand Habits, Perfume Genius and Ahya Simone on their contributions to the compilation album called TRANSA that celebrates trans and LGBTQ lives. The compilation also features songs from Sade, Sam Smith, Adrianne Lenker, Jeff Tweedy, Julien Baker, Sharon Van Etten, Fleet Foxes and more.Support the show: https://www.kexp.org/sound/See omnystudio.com/listener for privacy information.

When Facebook suggested Lisa Alpert as a person I might know, I peeped her profile, and thought, this lady seems pretty cool. And oftentimes, that hunch is accurate. Not always, but often. This one was no exception.Lisa Alpert is cool, rad, awesome, and good vibes, and that's precisely the sort of thing I'm seeking when looking for guests. Lisa's a daughter, a sister, a wife, a mom, a business owner, and a muthaf***in' hustle. Ya' betta' ax somebody. For those reasons and more, she's my guests for Episode #147, and I couldn't be happier that we made this conversation happen.Please check out Lisa's business, Manifest Collaborative. It's a non-profit that specializes in marketing, fundraising, brand development, public relations, and a bunch more. Learning about some of Lisa's professional endeavors and personal experiences was so much fun. We talked about family, pursuing dreams, and -- of course -- a couple of her favorite albums. Those were these:self-titled, Tracy Chapman (1988)Give Up (2003), Postal ServiceSufjan Stevens' Come On, Feel the Illinoise (2005)Plans (2005), Death Cab for CutieJustin Timberlake's 20/20 Experience (2013)Sound & Color (2015), Alabama ShakesChance the Rapper's Coloring Book (2016)Harmony of Difference (2017), Kamasi WashingtonFuture Islands' People Who Aren't There Anymore (2024)And we gave a tiny bit of honorable-mention action to Taylor Swift, Saves the Day, The Quintet, Beyonce, Qveen Herby, Fleet Foxes, TLC, and Lil' Wayne.A thousand thanks to Lisa for both the time and the awesomeness. I can't wait to book her again for the Becoming a Swifty series.Cheers, y'all.copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are clips from a Heiko Voss tune called, "I Think About You," off of the 2003 EP of the same name (c/o Kompact Pop).

In this episode of The Truth in This Art, I sit down with Jenna Balderson, better known as Eyas, a Filipina musician and producer based in Baltimore, MD. Known for her genre-blending sound that merges indie-pop, jazz, RnB, and folk, Jenna discusses the journey behind her debut EP, Quiet Loud, set for release on November 22nd.We explore how her music transforms personal emotions into art, creating what she describes as the "sonic equivalent of a collage." Jenna also shares stories about her inspirations—from Fleet Foxes and Björk to recent influences like Saya Gray—and opens up about collaborating with fellow Baltimore artists like JPEGMAFIA and Micah E. Wood. Plus, she gives us a behind-the-scenes look at Quiet Loud, a deeply personal EP featuring introspective lyrics, dynamic soundscapes, and a mix of high energy and reflective moments.Join us as we unpack the emotions, influences, and community connections that shape Jenna's music.

In our second installment of blood-slowing songs we take a deep breath and let it out with the music of Max Richter, Hania Rani, Fleet Foxes, Yasmin Williams and more.Featured artists and songs:1. Joan Shelley: "Easy Now," from Over and Even2. Fleet Foxes: "Helplessness Blues," from Helplessness Blues3. Theo Alexander: "re; Waiting," from Animadversions4. Hania Rani & Dobrawa Czocher: "There Will Be Hope," from Inner Symphonies5. Nicholas Britell: "Eden (Harlem)," from If Beale Street Could Talk6. Max Richter: "Dream 3 (in the midst of my life)," from From Sleep7. Stars of the Lid: "Even If You're Never Awake," from And Their Refinement of the Decline8. Iron & Wine: "Passing Afternoon," from Our Endless Numbered Days9. Yasmin Williams: "Juvenescence," from Urban Driftwood10. Gidon Kremer & Keith Jarrett: "Fratres (for violin and piano)," from Arvo Párt: Tabula Rasa Enjoy the show? Tell a friend and leave us a review wherever you listen to podcasts. Question, comments, suggestions and feedback of any kind always welcome: allsongs@npr.org.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

 Interview with Eric Earley of Blitzen Trapper 2024   Launched roughly two decades ago in Portland, OR, Blitzen Trapper garnered early attention with a series of self-released albums before breaking out internationally with a pair of critically acclaimed LPs (2007's Wild Mountain Nation and 2008's Furr) that would cement their status at the forefront of the modern indie folk revival. Rolling Stone hailed the band's “hazy, psychedelic Americana,” while NPR praised their “explosive live performances and infectious roots-rock swagger,” and The New York Times compared their songs to Tom Petty, Bruce Springsteen, and Neil Young. Dates with Fleet Foxes, Wilco, and Dawes followed, as did festival appearances at Bonnaroo, Lollapalooza, Newport Folk, and Coachella, among others. In the years to come, the band would go on to release six more similarly lauded studio albums, culminating with 2020's Holy Smokes Future Jokes, which Mojo proclaimed “sound[s] like the Beatles at Big Pink.” There are numbers so vast they exceed the scope of human reckoning, concepts so immeasurable they surpass our capacity to understand. On their radiant new album, 100's of 1000's, Millions of Billions, Blitzen Trapper make peace with the unknowable, surrendering themselves to forces beyond their control as they explore the infinite with a broad mind and an open heart. Inspired by singer/songwriter Eric Earley's fascination with Buddhist texts and meditation (the title comes from a phrase that appears over and over in the Mahayana sutras), the album offers a captivating take on rebirth and transcendence, and the circularity of existence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and unfolding like a riddle-filled journey that asks many questions and offers no answers. The production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and the result is a gorgeous, sprawling collection wrapped in lush layers of synthesizers and washed out electric guitars–a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once. Grog Shop Show Info  NOV-4-24 https://grogshop.gs/tm-event/blitzen-trapper/ Blitzen Trapper Info  https://www.blitzentrapper.net/

Devotchka was created in an indie filmmaker's  lab for movies like this.SUPPORT THE SHOW: PATREONFOLLOW THE SHOW: INSTAGRAM // TWITTER // TIKTOK // YOUTUBEEMAIL THE SHOW: abreathoffreshmovie@gmail.com  SHOP THE SHOW: TEE PUBLIC 

Musician Simon Raymonde is perhaps best known as part of the Scottish band the Cocteau Twins, but he has found further success as the co-founder of Bella Union Records. Bella Union produce music by Father John Misty, the Fleet Foxes, and Beach House, amongst others. His memoir In One Ear: Cocteau Twins, Ivor Raymonde and Me is released on the 12 September 2024. On this episode of Table Talk, Simon tells Olivia Potts and Lara Prendergast about the influence of Jewish food as he was growing up, life on tour, how he spends his time in his new home of Brighton, and his love of the restaurant chain Dishoom.  Produced by Patrick Gibbons.

Musician Simon Raymonde is perhaps best known as part of the Scottish band the Cocteau Twins, but he has found further success as the co-founder of Bella Union Records. Bella Union produce music by Father John Misty, the Fleet Foxes, and Beach House, amongst others. His memoir In One Ear: Cocteau Twins, Ivor Raymonde and Me is released on the 12 September 2024. On the podcast, Simon tells Liv and Lara about the influence of Jewish food as he was growing up, life on tour, how he spends his time in his new home of Brighton, and his love of the restaurant chain Dishoom.  Produced by Patrick Gibbons.

TV and Radio presenter, and former record company executive, Nicki Chapman goes head to head in a war of the words with producer, musician and label owner, Simon Raymonde.On this episode of Book Off we delve into two music memoirs, covering two very sides of the music industry and history, but that both have a lot in common. Simon was one third of the band Cocteau Twins between 1983 and 1997, and owns and runs the Bella Union label. As well as having his own successful music career as a musician and a producer, he has signed and worked with artists such as Fleet Foxes, Dirty Three, Midlake, Mercury Rev, John Grant, BC Camplight, Laura Viers and Flaming Lips. In this very honest and open conversation, he talks about the tumour on his brain which has effected his hearing, the influence of his father (Ivor Raymonde) on his career without knowing it, the break up of Cocteau Twins and how his label is still going strong more than 25 years later. Nicki worked at MCA and RCA records in the 90s in the promotions department, before going out on her own. Over her career, she has worked with many artists including Phil Collins, David Bowie, Kylie, M People, Annie Lennonx, Prince, Take That, Amy Winehouse, Billie Piper, Spice Girls and Liza Minelli. Nicki's book is swimming in 90s nostalgia (music, fashion, tabloids). She too shares her own personal account of having a brain tumour, which inspired her to want to write the book, as well as lots of stories from her time in the music industry. They also give us some brilliant book recommendations! The Book Off 'Sculpting In Time' by Andrei Tarkovsky VS 'Shardlake' by C.J. SamsonWe hope you enjoy this episode - and the latest series! Hosted on Acast. See acast.com/privacy for more information.

Jana Mila pulls from a lot of different sources to write her songs, a poised and nuanced songwriter; it's the sound of Laurel Canyon folk or Nashville twang. A cross between Fleet Foxes and Kurt Vile, the Amsterdam-based singer steps into her own on her debut album Chameleon. 

Bryan shares and discusses some of his favorite songs. This episode includes music from Wyatt Flores, Charley Crockett, Adeem the Artist, Fleet Foxes, Sleater-Kinney, Pavement, The Red Clay Strays, Brittany Howard, Lucius, and Bob Dylan.

This episode covers100,000 Voices by Jacob CollierDrops in the River (Live on Boston Harbor) by Fleet FoxesWebsite: https://redcircle.com/shows/two-tunes-podcastInstagram: https://instagram.com/twotunespodcast?igshid=13gpurxc3bf2qDiscord: https://discord.gg/eYMwBuJ6GeRSS Feed: https://feeds.redcircle.com/baeeceec-9527-475d-85b5-d9da2eea19d3E-mail: twotunespodcast@gmail.comSupport this podcast at — https://redcircle.com/two-tunes-podcast/exclusive-content

...You have nothing to lose but the pockets that bind you.In an IWOL exclusive we are joined by drummers and all around beautiful people, Noah Bond (Cut Worms) and Christopher Icasiano (Fleet Foxes), representing and defending all drummers worldwide for their crimes against soundchecks. 

On this week's Talkhouse Podcast we've got a favorite repeat guest alongside a newer name you perhaps haven't heard yet: Amelia Meath and Fabi Reyna. Meath is half of the duo Sylvan Esso, which has been crafting gorgeous electro-pop for the past decade. It's been amazing to watch Meath and her partner Nick Sanborn grow over the years, building a catalog and fanbase with songs that are equally enjoyable on headphones and in front of massive crowds. Speaking of massive crowds, Sylvan Esso has been trying to figure out for years how to play to all the people that want to see them in their adopted hometown of Durham, North Carolina, and this weekend marks their inaugural Good Moon Festival at a minor-league stadium. They'll be joined by other great bands including co-headliner Fleet Foxes, plus a lineup of hand-picked bands including today's other guest, Fabi Reyna. Reyna is the driving force behind Reyna Tropical, whose debut album Malegria was recently released on the Psychic Hotline label, which is run by none other than… Sylvan Esso. Reyna has long been an advocate for women in music; she's not only a musician herself but also founder and editor of She Shreds Media. It's a fantastic, bouncing album that plucks influences from all over the world: Reyna is Mexican-American, and she pulls sounds from all over the Southern Hemisphere as well as West Africa and sultry pop. Check out “Cartagena” from Malegria right here. In this great chat, Meath and Reyna talk about the upcoming Good Moon festival, about how playing in front of unfriendly audiences can sometimes be helpful, about the loss of Reyna's musical partner Nectali Diaz, aka Sumohair, the just-released tenth anniversary reissue of Sylvan Esso's great debut album and much more. Enjoy. 0:00 - Intro 2:14 - Start of the chat 3:42 - Anxiety, a constant companion. 5:58 - What to do when the audience isn't there for you. 12:26 - On naming the Good Moon festival. 15:20 - On Amelia's favorite part of a festival. 25:48 - On overcoming imposter syndrome. Thanks for listening to the Talkhouse Podcast, and thanks to Amelia Meath and Fabi Reyna for chatting. 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!

Tyler Ramsey sat down with me for this week's episode of Roadcase, and I couldn't be more stoked to chat with the former Band of Horses guitarist. Tyler is a kind and gentle soul, who truly values the power of music as a means of connection with his audience. His latest album, New Lost Ages, sees him team up with producer Phil Ek (Band of Horses, Fleet Foxes), and takes us on a deep ride, both musically and emotionally.I talked to Tyler about the power of music to connect, and how he relishes the possibility that his deeply personal songs might have a positive impact on his audience and fans. We also delve into the challenge of being more vulnerable as a means to becoming a better person and much to my delight, touch upon some fun Lord of the Rings talk too!!  For more information on Roadcase: https://linktr.ee/roadcasepod and https://www.roadcasepod.comOr contact Roadcase by email:  info@roadcasepod.comRoadcase theme music:  "Eugene (Instrumental)" by Waltzer

On this week's Talkhouse Podcast we've got a whopping four guys representing three bands, more or less: Ryan Hahn and Nik Ewing from Local Natives and Sean Cimino and Isom Innis from Foster the People but, perhaps more importantly for purposes of this chat, their side project Peel. Local Natives have been around since around 2005, but it wasn't until their debut album Gorilla Manor hit shelves in 2009 that the California band had its first real moment. They rode a similar wave to bands like Fleet Foxes and Grizzly Bear, with bits of folk and punk and psychedelia all wrapped up in songs that are frequently undeniable earworms. They've built a really impressive catalog since, and the sessions for 2023's Time Will Wait For No One were so fruitful that they actually yielded a companion record that's just coming out now, called But I'll Wait For You. It's another gorgeously layered set of songs that feels even a little weirder than what came right before it. Check out the song “April” right here. The other half of this conversation is Sean Cimino and Isom Innis, who are best known as part of Foster the People, which had a huge hit straight out of the gate in 2010 with “Pumped Up Kicks,” and which has been chipping away at incredible pop-inflected songs since. But Cimino and Innis recently released their debut album under the name Peel, which takes a much more psychedelic approach to songs, creating dancey dream-pop that sometimes looks back at the ‘90s through some gauzy glasses. Check out one of the dancier tracks from Peel's album Acid Star right here. This is called “Y2J.” In this chat, these old friends immediately head into a conversation about the relative merits of U2 and other bands that you should or should not be ashamed to love. They also chat about their history together, which goes way back, and of course about their latest records. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Sean Cimino, Isom Innis, Nik Ewing and Ryan Hahn for chatting. 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!