Podcasts about Helplessness Blues

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

The 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  

Aðgreindur hjóla- og göngustígur, Kársnesstígur, hefur verið tilefni umræðna meðal íbúa Kópavogs undanfarnar vikur. Stígurinn á að tengjast Fossvogsbrú, fyrstu stóru framkvæmdinni í fyrsta áfanga Borgarlínu, sem tengir vesturhluta Kópavogs og Reykjavíkur yfir Fossvog. Í nóvember samþykkti bæjarstjórn Kópavogs tillögu að nýju deiliskipulagi fyrir stíginn, Kársnesstíg, sem kynnt var fyrir íbúum í lok sama mánaðar. Finnur Pálmi Magnússon, hjólreiðamaður, Kópavogsbúi og stjórnarmaður í Útivistarsamtökum Kársness, fór yfir kosti og galla nýs Kársnesstígs með okkur. Jón Gunnar Þorsteinsson, ritstjóri Vísindavefsins kíkti við í síðari hluta þáttar og sagði okkur hvað vakti mesta athygli á Vísindavefnum árið 2025. Þar var ýmislegt sem tengist samfélagsumræðunni á árinu en annað sem kom skemmtilega á óvart. Umsjón: Ástrós Signýjardóttir og Pétur Magnússon. Tónlist þáttarins: BENNI HEMM HEMM feat. RETRO STEFSON - FF ekki CC. LOU REED - Caroline Says II. Fleet Foxes - Helplessness Blues (#6 plata vikunnar (Helplessness Blues) maí 2011).

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

There seems to be a sea of things that we can find overwhelming these days. How do we move through it all without becoming bogged down? In this episode, producer Sam talks to Phoebe Atkinson, Lissy Cole, and Rudi Robinson about the ways they see and approach overwhelming circumstances. Later on, Petra sits down with Rachel Kitchens, a spiritual director, to talk about her own experiences and a handful of practical tips. To be clear, this episode doesn't address the overwhelming nature of serious physical or mental health issues. The sense of overwhelm focussed on applies to otherwise healthy people who find either personal or global circumstances to be just too much at times. Wherever you're at, feel free to join us. Haere mai! Sacred Texts: Michael Leunig's poem Tuesdays with Morrie by Mitch Albom (pages 102 to 104) Music: Come and Play in the Milky Night - Demo by Stereolab (played to open Phoebe's interview) Huia by Aro (played to open Lissy and Rudi's interview) Cumbia Sobre el Mar y Quantic (played during Sam's bike ride) Those Days by Dal and Leah Yager (played during Michael Leunig's poem) You Got The Love by Candi Staton and The Source Space 1 by Nala Sinephro (played during Tuesdays with Morrie reading) Sun Rays Like Stilts by Tommy Geurero (played to end communion) Helplessness Blues by Fleet Foxes FTA by Whitney (played to end Rachel's interview) Space is the Place by Ezra Collective (played during the benediction)

Wir begleiten die Skeleton Crew wie sie in bester Goonies-Manier in eine Schatzhöhle hinabsteigt und wieder herausfindet. Zu Gast bei Tobi um den Lanupa-Handlungsbogen zu besprechen sind dieses Mal Patricia, die unter anderem als Übersetzerin für das Offizielle Star Wars Magazin arbeitet, und Tom vom Heir to the Empire-Podcast. Dabei geht es um Jedi-Philosophie, Coming […]

What is a society? What's more important: my individual rights or the common good? Do all societies need authority figures? In this episode, we begin our discussion of the social doctrine of the Catholic Church. This episode covers Part Three, Section One, Chapter Two, Articles 1 and 2 of the Catechism of the Catholic Church (pts 1877-1917).Contact the podcast: crashcoursecatholicism@gmail.com.Instagram: https://www.instagram.com/crashcoursecatholicism/.....References and further reading/listening/viewing:The Compendium of the Social Doctrine of the Catholic Church.Pope Leo XIII Rerum NovarumPope Pius XI, Quadragesimo AnnoSt John XXIII, Mater et Magistra and Pacem in Terris.Pope Paul VI, Populorum Progressio and Octogesima AdveniensJPII, Letter to Families; Laborem Exercens; and Sollicitudo Rei SocialisVatican II, Gaudium et SpesBishop Robert Barron "Pope Francis and Our Responsibility for the Common Good."  YouTube.Australian Catholic University. The Principles of Catholic Social Thought & The Common Good. Stanford Encyclopedia of Philosophy. "The Common Good" Charles De Koninck, On the Primacy of the Common Good. I Am SamWilliam Golding, The Lord of the FliesRazzle DazzleThe Catholic Encyclopedia, "Civil Authority" The Catholic Encyclopedia "Society"Catholic Relief Services, Catholic Social Teaching 101.Fleet Foxes, Helplessness Blues

Robbie Savage and Chris Sutton took your calls on Saturday's football action as Liverpool fans called in hopeful of their shot at the Quadruple after victory at Wembley against Manchester City in the FA Cup Semi Final. Arsenal fans bemoaned a run of bad form, and Burnley fans sounded bewildered after the sacking of Sean Dyche in the week. There was another edition of The Wanderer for Robbie to take on whilst Gone in 60 Suttons looked ahead to the small matter of Crystal Palace v Chelsea. This show originally aired on April 16th 2022 on BBC Radio 5 Live.

We discuss Fleet Foxes's Helplessness Blues and Aidan and Mark throw hands over the White Album redux that will occur next episode

If I know only one thing, it's that Shawnzo is back for his fifth appearance on the pod (and final episode of the second third!) to get into it with Ryan - "it," of course being Helplessness Blues by Fleet Foxes! Then the two of them make sure to give the listeners the murder hornet content they've been begging for, along with the return of Album Gripes. The game is a HUGE surprise and worth the wait. Recorded May 6, 2020.

Gorgeous harmonies, rich arrangements, sophisticated soul-searching lyrics. Where can you go wrong with 2011's "Helplessness Blues" by Fleet Foxes? Robin Pecknold, man... Sounds like Father John Misty gave him a hard time though. Not only am I joined by Dan Barracuda for this one, but also his musical partner Ian! We have a goofy good time. https://www.niagaramoonmusic.com/ https://www.iandanmusic.com/

Since forming in Seattle in 2006, Fleet Foxes have carved a singular path through the modern music scene, amassing a global following with their celestial harmonies and gorgeous, autumnal indie-folk. They broke out with their 2008 self-titled debut album, a runaway success that frontman Robin Pecknold says he found “hugely shocking”. After their follow-up record Helplessness Blues, he retreated from the spotlight for a number of years before the band returned with 2017’s Crack-Up and now their fourth record, 2020's Shore. We talk about all that in this interview, as well as Robin’s upbringing in Seattle and his path through the Seattle music scene, how he struggled to cope with the sudden success of Fleet Foxes’ debut, and why he can never, ever forgive Richard Gere’s character in An Officer and A Gentleman.

Welcome to season 4 episode 6 of the podcast. Today I go over five songs with a special guest, my friend from Guilford College now Tar Heel alum, Tate Godwin joins the show. Go check out Tate's music on Soundcloud: soundcloud.com/tate_sc Go check out his cartoons on Instagram and give him a follow: @tate_cartoons We go over three songs that Tate picked and two that I picked. I went for John Mayer while Tate introduces me to Lupe Fiasco with the song Kick, Push. Overall, a great one with fun questions at the end and an intriguing answer that brings a sixth song into the podcast. Reach out to me on Instagram jd4unc and tell me your favorite song of the episode. Thanks for listening, leave a like a review, and share with a friend. 53-56 minutes: Nick Kyrgios is the tennis player I was thinking of Special Shout out to Tate himself who helped me edit this together. Music Credits For This Episode: Intro The Alan Parsons Project Sirius, No Such Thing by John Mayer, Helplessness Blues by Fleet Foxes, Kick, Push by Lupe Fiasco, Never Lack by Carl Wheezer, and They Reminisce Over You by Pete Rock and CL Smooth. The outro Midsummer Madness Instrumental Prko. Sources: Lyricfind.com, Genius, AZlyrics.com, and YouTube.

Seattle-based Fleet Foxes’ second album “Helplessness Blues” released in 2011 to critical acclaim, with a nomination for Best Folk Album at the Grammys. It’s easy to see why it’s one of our favorite albums, and in this episode we’ll dive into the internal wrestlings present in the lyrics as well as the beautiful soundscapes that give life to each movement.PRO TIP: We encourage you to listen to the album in full, either before or after its related episode. (Or before AND after!)https://open.spotify.com/playlist/3g27sIJvXJPPTLokYLJfqD?si=wpUrJ6lHQKqocE0qlAQjwQJoin our Patreon for exclusive Bonus Content and to be a part of our private community! https://www.patreon.com/postampLeave us a comment below or visit the website to leave a message: https://www.chwstudios.com/post-amp-podcast

Dave Ferrier is the owner/proprietor and lead baker at Slow Rise Bakehouse in Forest Grove, Oregon. Dave and his wife Meredith have been a part of the community there for many years and are committed to diverse and resilient agriculture. Dave and I talk about music, farming, community, and living your dreams. Dave is a wise, good and old soul and I can't wait for you to meet him. Slow Rise BakehouseShow notes:Executive Producer: Matthew ChildersSound Editor: Brandon WestDesign: Michael OverbeckWendell Berry - Christianity and the Survival of CreationWendell Berry - The Peace of Wild ThingsMakito Fujimora - The Four Holy GospelsMakito Fujimora - Culture CareIntro music: "Balconies" by Paper RouteOutro music: "Helplessness Blues" by Fleet Foxes

Es ist heute einfach so aufgetaucht und der Sound ist gross und einladend - aber das 4. Album «Shore» von den Fleet Foxes war ein Krampf. Songwriter Robin Pecknold hatte sich mit einem Berg halbfertiger Ideen im Lockdown von New York City zu Hause verschanzt und verloren. Bis ihn ein Beinaheunfall beim Surfen und lange Road Trips auf den richtigen Weg brachten. «Shore» steht in vielerlei Hinsicht fürs Zurückfinden. Pecknold hatte zig Studios und Freunde besucht (Kevin Morby, Hamilton Leithauser, Aaron Dessner von The National, und viele mehr wirken auf dem Album mit), aber er schaffte es nicht, die Songskizzen zu vollenden. Er wurde beim Surfen abgetrieben und schaffte es erst mit letzter Kraft an Land. Er hat den Lockdown seiner Heimatstadt schlecht verkraftet und brauchte drei Monate, um wieder normal zu funktionieren. Schliesslich begann er, exzessiv mit seinem Auto aufs Land zu fahren, frass tausende Kilometer und fand Inspiration und Energie, um das Album fertig zu machen. Und «Shore» gross, positiv, und verspielt - fernab von der experimentellen Vielschichtigkeit der letzten Platte «Crack-Up». Das Album erinnert teilweise gar an die Anfänge und grossen Hits wie «White Winter Hymnal» oder «Helplessness Blues».

Es ist heute einfach so aufgetaucht und der Sound ist gross und einladend - aber das 4. Album «Shore» von den Fleet Foxes war ein Krampf. Songwriter Robin Pecknold hatte sich mit einem Berg halbfertiger Ideen im Lockdown von New York City zu Hause verschanzt und verloren. Bis ihn ein Beinaheunfall beim Surfen und lange Road Trips auf den richtigen Weg brachten. «Shore» steht in vielerlei Hinsicht fürs Zurückfinden. Pecknold hatte zig Studios und Freunde besucht (Kevin Morby, Hamilton Leithauser, Aaron Dessner von The National, und viele mehr wirken auf dem Album mit), aber er schaffte es nicht, die Songskizzen zu vollenden. Er wurde beim Surfen abgetrieben und schaffte es erst mit letzter Kraft an Land. Er hat den Lockdown seiner Heimatstadt schlecht verkraftet und brauchte drei Monate, um wieder normal zu funktionieren. Schliesslich begann er, exzessiv mit seinem Auto aufs Land zu fahren, frass tausende Kilometer und fand Inspiration und Energie, um das Album fertig zu machen. Und «Shore» gross, positiv, und verspielt - fernab von der experimentellen Vielschichtigkeit der letzten Platte «Crack-Up». Das Album erinnert teilweise gar an die Anfänge und grossen Hits wie «White Winter Hymnal» oder «Helplessness Blues».

In this episode of the Show Me Something Podcast, Will chooses the first non-movie pick to show the guys with the Helplessness Blues album by Fleet Foxes!

His number one goal? Don't be bored.Show Notes(10:35) James's First Watch Post(12:30) James's NUVO Articles(17:30) The Clipperton Expedition With Oris(18:00) ABTW Baselworld 2017 Vlog #1(20:30) A Week On The Wrist: The Tudor Black Bay GMT(22:30) A Week On The Wrist: The Rolex Explorer Reference 214270(35:30) James's Polar Dial Explorer II(38:30) James's DOXA SUB 300 Professional(46:30) The Grey NATO(54:33) My Leica: James Stacey(1:03:40) Helplessness Blues(1:05:30) Blue Meridian(1:05:45) Blue Water, White Death(1:06:30) North By Northwest(1:06:50) No Country For Old Men(1:08:10) Patek Philippe 5164A

All Songs Considered hosts Bob Boilen and Robin Hilton countdown NPR listeners' favorite songs of the 2010s.The Top 25 Listener Picks:1. Bon Iver: "Holocene" from Bon Iver2. Robyn: "Dancing On My Own" from Body Talk Pt. 13. Sufjan Stevens: "Fourth of July" from Carrie & Lowell4. Lorde: "Royals" from Pure Heroine5. Kanye West: "Runaway" from My Beautiful Dark Twisted Fantasy6. Beyoncé: "Formation" from Lemonade7. M83: "Midnight City" from Hurry Up, We're Dreaming8. LCD Soundsystem: "Dance Yrself Clean" from This is Happening9. Kendrick Lamar: "Alright" from To Pimp a Butterfly10. Mark Ronson and Bruno Mars: "Uptown Funk" from Uptown Special11. Childish Gambino: "This is America" (Single)12. Adele: "Rolling in the Deep" from 2113. Taylor Swift: "All Too Well" from Red14. Lucy Dacus: "Night Shift" from Historian15. Carly Rae Jepsen: "Run Away with Me" from E.MO.TION16. Mitski: "Your Best American Girl" from Puberty 217. Frank Ocean: "Self Control" from Blonde18. Hozier: "Take Me to Church" from Hozier19. Alabama Shakes: "Hold On" from Boys & Girls20. Janelle Monáe: "Make Me Feel" from Dirty Computer21. Lana Del Rey: "Video Games" from Born to Die22. Brandi Carlile: "The Joke" from By the Way, I Forgive You23. Radiohead: "Daydreaming" from A Moon Shaped Pool24. Courtney Barnett: "Depreston" from Sometimes I Sit and Think, and Sometimes I Just Sit25. Fleet Foxes: "Helplessness Blues" from Helplessness Blues

If you’ve been following along you know that Dan likes music with people quietly baring their souls with acoustic instruments. Here’s some more! In this episode he and Jimmy try talking Jeff into Fleet Foxes by listening to the albums Fleet Foxes, Helplessness Blues, and Crack-Up and watching this live concert: https://youtu.be/69ovBm7W6Z0   Next episode Jimmy is talking Jeff and Dan into the YouTube channel Red Letter Media. To follow along check out this playlist: https://www.youtube.com/playlist?list=PL1h9TfG0eZFUXirMmd83SmLerqkbdYOBU   Please remember to subscribe, rate and review or send us an email (talkmeinto@gmail.com) and we will read it on the next episode. For updates and generally joyful humor, follow the show (@talkmeinto) or the hosts (@sonnavafitch @danny_breakdown @JEFFFFF27) on Twitter. Artwork provided by Twitter user @wikirascals. Theme provided by Hostage Calm.   00:00 - Intro 05:10 - Talking Ourselves Into  16:05 - Fleet Foxes: Prelisten 27:55 - Jimmy’s Live Stream Promo 28:50 - Fleet Foxes: Postlisten 90:45 - Next Episode: Red Letter Media  92:35 - Outro

When you’re alone and life if making you lonely you can always go… Downton! This week we’re getting Post-Edwardian just in time for Downton Abbey The Movie! Listen in as Dan tries talking Jimmy and Jeff into season one (or series one for our listeners across the pond) of the popular tv show Downton Abbey which is available streaming on Amazon Prime.   On the next episode Jimmy and Dan will be trying to talk Jeff into the folk group Fleet Foxes. To listen along with us check out the albums Fleet Foxes, Helplessness Blues, and Crack-Up.   Please remember to subscribe, rate and review or send us an email (talkmeinto@gmail.com) and we will read it on the next episode. If you’re a fan of the show, consider supporting our Patreon at patreon.com/talkmeinto for exclusive content and many funnies. For updates and generally joyful humor, follow the show (@talkmeinto) or the hosts (@sonnavafitch @danny_breakdown @JEFFFFF27) on Twitter. Artwork provided by Twitter user @wikirascals. Theme provided by Hostage Calm.   00:00 - Intro 05:15 - Talking Ourselves Into 15:15 - Downton Abbey: Pre-Watch 24:43 - Downton Abbey: Post-Watch 88:54 - Next Time: Fleet Foxes 90:57 - Outro

Note: Some of the singles picked and sampled throughout the episode contain explicit lyrics and/or content. Marc’s first Bad Music Hertz article on Helplessness Blues containing his “Lovers In Japan” story. Tim Convy on “Trip To The Lou” Tommy & The High Pilots → Beta Play Announcement Chris Hadfield performing Space Oddity on the International Space Station Aimee’s Singles The mixtape Van Halen - “Right Now” The Goo Goo Dolls - “Iris” & accompanying music video The Wallflowers - “One Headlight” Looking Glass - “Brandy You’re a Fine Girl” Mistakes Destiny’s Child - “Survivor” Nelly & Tim McGraw - “Over and Over” and assorted pop country Marc’s Singles The road-pavers from the iTunes catacombs Coldplay - “Lovers in Japan” & accompanying music video Counting Crows - “Mrs. Potter’s Lullaby” P!nk - “God Is a DJ” & accompanying music video Spring Awakening - “The Bitch of Living” Mistakes Cascada - “Everytime We Touch” Trace Adkins - “Honky Tonk Badonkadonk” Michael W. Smith - “Secret Ambition” All American Rejects - “Move Along” Michael’s Singles Familiar, old favorites WALK THE MOON - “Quesadilla” LUDO - “Hum Along” Tommy & The High Pilots - “Where to Start” LUDO - “In Space” Mistakes Paula Abdul’s “Dance Like There’s No Tomorrow” & accompanying music video Referenced Songs, Albums, and Artists The J. Geils Band - “Centerfold” Coldplay Mylo Xyloto Every Teardrop Is a Waterfall EP Example electronic “stepping stone”, “Midnight” Example experimental “stepping stone”, “Easy To Please” Radiohead MisterWives LUDO “Ode to Kevin Arnold” “Lake Pontchartrain” Ninja Sex Party. They’re not good. Tommy & The High Pilots American Riviera Only Human ♫︎

​In this week's Sidetrack we take a look at an album that Fleet Foxes' Robin Pecknold drew inspiration from and had on heavy rotation while writing songs for ​"Helplessness Blues". Roy Harper's four song masterpiece, "Stormcock", is this short and sweet, intensely beautiful & clever album (to borrow sentiments from Johnny Marr), along with other works by Harper, had a major influence on many of rock's most legendary members, including Jimmy Page, Robert Plant, Pete Townshend, and Pink Floyd, among others. For more info, check out our show notes: https://www.nofillerpodcast.com/episode/ep-18-fleet-foxes#sidetrack

​We gush and fawn over Robin Pecknold's lyrics and song composition as we dive into 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. For more info, check out our show notes: https://www.nofillerpodcast.com/episode/ep-18-fleet-foxes

The Album Effect podcast episode 10 discusses Highway to Hell by AC/DC, Helplessness Blues by Fleet Foxes, Juggernaut: Alpha/Omega by Periphery, and Keep It Going by Mad Caddies, plus more conversation, including the free will debate. The post #10 – AC/DC, Fleet Foxes, Periphery, Mad Caddies appeared first on AudioGearz.

This week the guys start off with some discussions about Scientology, 80's movies, Samantha Mathis's boobs and much, much more. They also talked a little about why they do and don't like crowdfunding websites as Jacob begs people for money for his next short film project on IndieGoGo (If you'd like to donate you can do so here - http://igg.me/at/terrestrialshort/x/4198896). They also played some damn fine music if we do say so our damn selves. Here's your weekly playlist -The Chimpz - Walk The LineTonio K - Romeo & JaneSt. Madness - ArizonaRyan Adams - WonderwallTigerface - 588Fleet Foxes - Helplessness BluesSmog - Cold Blooded Old TimesThrob Zombie - First In LineChagall Guevara - Tale 'O The TwisterIf you would like to be featured on a future episode you can contact us a podcastunderground@gmail.com.Drop us a line if you have any suggestions, comments, criticisms or anything else. Make sure you "like" our Facebook page - http://facebook.com/UndergroundPodcast.Follow us on Twitter at www.twitter.com/PodFromUnder.Read Jacob's occasional ramblings on his blog - http://robotvampireproductions.wordpress.com.Need help booking a show? Contact Ryan - somethingwickedent@gmail.com.Click here to listen or right click and choose "Save As..." to download.Please support our show by clicking the links to our Sponsors.

Felipe y Diego hablan de Helplessness Blues de Fleet Foxes: uno de los mejores discos del pasado año que demuestra la progresión de una de las bandas más sólidas del panorama musical actual.

This time on Musicheads Bill is joined by The Current's “In The Studio” host Jade and by Radio Free Current and Local Show host, David Campbell. They'll discuss the highly anticipated new album from Seattle's Fleet Foxes, it's called Helplessness Blues. Also up for discussion is new one from Foo Fighters, which debuted at number 1 in several countries, and newcomers, The Weeknd round out the show. This weeks's question: “Who is your favorite singing drummer?”

Hice este mix de rock especial para este Verano 2011 seleccionando lo que a mi parecer han sido las mejores bandas en lo que va del año.   Playlist:   1. Walk by The Foo Fighters. 2. Cat's Eyes by Cat's Eyes. 3. Let England Shake by PJ Harvey. 4. Pumped Up Kicks by Foster The People. 5. Too Dramatic by Ra Ra Riot. 6. O' Sister by City And Colour. 7. Morning Mr. Magpie by Radiohead. 8. You're So Right by The Strokes. 9. Circulation by Thurston Moore. 10. Heart In Your Heartbreak by The Pains Of Being Pure At Heart. 11. Post Break Up Sex by The Vaccines. 12. Holing Out by Yuck. 13. Shell Games by Bright Eyes. 14. I Don't Want Love by The Antlers. 15. Helplessness Blues by The Fleet Foxes. 16. Most Wanted by Cults. 17. There Is A Light That Never Goes Out by Dum Dum Girls. 18. Library Pictures by The Arctic Monkeys.   Si lo quieres descargar, desde ésta dirección lo consigues: http://www.mediafire.com/?pvfeesroyc5f9xc   Finalmente, si lo quieres recibir por suscripción gratuita a iTunes, ésta es la dirección: http://itunes.apple.com/us/podcast/b-a-l-s-a-m-o/id334566372   Espero y les guste.

Helplessness Blues, the second full-length record from Fleet Foxes, is a smart and challenging blend of folk and pop, old and new. Whether you love it or not, you won't regret giving it a go.

"Helplessness Blues" is the sophmore album by a band with a compelling fusion of folk and progressive rock.

jj “Angels” Kanye West “Power” Gil Scott-Heron & Jamie xx – “My Cloud” Twin Shadow “Slow” Iron & Wine “Tree By The River” Destroyer “Blue Eyes” Yelle “Safari Disco Club” Holy Ghost! “Do It Again” Peter, Bjorn & John “Dig A Little Deeper” Smith Westerns “All Die Young” Fleet Foxes “Helplessness Blues” Lykke Li “I … Continue reading PMACAST No.033 | Run Deep, Run Wild

Para atenuar o contraste com a última emissão, o Fábio colmata a ausência do Diogo com um trio de convidados: regressa Rita Miranda, e estreiam-se João Carvalho e Pedro Jesus. 3 horas recheadas de muita música gostosa! Fleet Foxes — Helplessness Blues Iron & Wine — My Lady’s House Supertramp — Dreamer Gayngs — Faded […]