Podcasts about Megafaun

Secretly Society presents a four-episode mini-series about friendship, music, and a story that is both heartbreaking and heartwarming alike - DeYarmond Edison. This series is narrated by author, a friend of the band, and executive producer of the DeYarmond Edison official boxset 'Epoch', Grayson Haver Currin. This episode starts us off with DeYarmond Edison fresh off the heels of their Bickett Residency, and going back to Wisconsin for the first time since their move for a hometown show at the historic Mabel Tainter theater. In the undercurrents of the excitement, those close to the band could feel an underlying shift with the members, feeling like there were four guys, coming up with four different sounds. Stay tuned to hear about the beginning of DeYarmond's eventual downfall, and a peek at Justin Vernon's work on his fifth solo album at the time - hazeltons. The previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 3 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society presents a four-episode mini-series about friendship, music, and a story that is both heartbreaking and heartwarming alike - DeYarmond Edison. This series is narrated by the author, a friend of the band, and executive producer of the DeYarmond Edison official boxset 'Epoch', Grayson Haver Currin. This episode starts us off in the heat of the North Carolina summer, where many changes are coming to a head between Justin falling ill with mono, and the members leaving their previous home and dispersing across different areas of the town. Stay tuned to hear the fight that broke up the band, Justin's move back home to his infamous cabin and the "phoenix" of bands/ other musical projects that rose from the ashes. The final episode in the previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 4 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society presents a four-episode mini-series about friendship, music, and what happens when a band comes apart. This is a story that is both heartbreaking and heartwarming alike - this is the lore of DeYarmond Edison. This series is narrated by the author, a friend of the band, and executive producer of the DeYarmond Edison official boxset Epoch, Grayson Haver Currin. This episode starts us off with four high schoolers: Justin Vernon, Joe Westerlund, Phil Cook, and Brad Cook, on the precipice of their musical careers as members of the groups Mount Vernon and, ultimately, the formation of DeYarmond Edison. Hear the stories of the possibly unsightly recording of the self-titled album in the First Presbyterian Church, band rivalries, and the loyalty that set them on the path to leaving their homes in Eau Claire to push the limits of their collective capabilities. The previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 1 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society presents a four-episode mini-series about friendship, music, and a story that is both heartbreaking and heartwarming alike - DeYarmond Edison. This series is narrated by the author, a friend of the band, and executive producer of the DeYarmond Edison official boxset 'Epoch', Grayson Haver Currin. This episode starts us off with DeYarmond Edison's move to Raleigh, North Carolina, a town with a buzzing music scene including the likes of The Rosebuds, Bowerbirds, and Ticonderoga. Hear the stories of the beginning of The Bickett Gallery Residency that at points was described as a "spiraling through concentric circles of disorder pushing the standard until it indeed almost broke". Joe brought in themes of improvisation learned at Bennington College, Phil taught the band Delta Blues and strings, Brad played with the idea of 20th-century ambient sounds in the style of Steve Reich's composition, and Justin challenged everyone's vocal capacity - including his own. The previously undisclosed story of the band that branched off into indie music legends, Megafaun and Bon Iver! Links:  Secretly Society Podcast Link DeYarmond Edison Pt. 2 Episode Link to Playlist  Secretly Society Podcast Store Link Secretly Society General Information Link   DeYarmond Edison Links: DeYarmond Edison EPOCH Link DeYarmond Edison Boxset on Secretly Store DeYarmond Edison Essentials Playlist Link 

Secretly Society welcomes you back for an exhilarating second season. Stay with us over the next few months to follow the abundant tales we've built up including those with the label founders of both Dead Oceans and Numero Group. We present the full and unabridged re-telling and first-person interviews from the band whose ultimate break up led to the birth of two bands that changed the music landscape thereafter: Bon Iver, and Megafaun, as narrated by the executive producer and author of 'Epoch', Grayson Haver Currin. Explore even deeper into our bountiful discography, with the debut of artist interviews including this season's features: Kevin Morby, Cherry Glazerr, Oneida, and Jamila Woods. Let's dig in! Link: https://secretlysociety.lnk.to/podcast

Todo un lujo la entrevista con g.a.t.o. para la posteridad para rematar la temporada y despedirnos hasta el primer martes (es el día que tenéis disponible nuestro podcast cada semana) del mes de septiembre). Nuestros invitados, ese dúo de ocasión (que, a lo mejor, tiene más recorrido y vida artística y pasa de ser una cosa puntual) que forman Yani Martinelli y Marcus Holdaway. Ella, venezolana, aparte de sus discos en solitario, como "Astral" o "Sweet silence" (por referirnos a obras recientes) ha sido habitual en los créditos de trabajos de Seasongs o Wild Honey o con Pepe Bermejo (Mamá y Happy Losers). Ël es componente de los High Llamas junto a Sean O ´Hagan. De la unión de dos multi-instrumentistas (Yani se trajo guitarra y Marcus, teclados, para la actuación en nuestro estudio) nace Colourway y este disco que nos presentan que se publicó a mediados de junio. Antes, en charla telefónica, nuestro interlocutor, fue Manuel Pnazo, director de Muzikalia, para comentar detalles de esa ramificación de la web musical que incluye edición de libros. Por eso, en el curso de la charla sonaron Lagartija Nick, Sr. Chinarro y Fernando Alfaro. Abrimos con música de Liz Phair ahora que sale la edición corregida y aumentada de "Exile in Guyville" para celebrar un aniversario redondo. Luego, el antecedente cercano del todo del que se desgajaron los proyectos Bon Iver, por un lado, y Megafaun, por otro. Entre entrevista y entrevista, más adelantos del retorno de El Faro, con Carlos Díaz al frente y el mundo spoken word cercano a Kate Tempest que construyen Laura Sam y Juan Escribano que cuentan con Abraham Boba de invitado. En la recta final el vigésimo disco de quien empezó siendo John Cougar y se trabsformò en John Mellencamp y el sexto álbum de la canadiense Shania Twin, tras cambiar de sello y superar problemas con su voz.

For this week's Talkhouse Podcast we've got a special two-part episode featuring both members of one of my favorite bands, Wye Oak, in conversation with some other fantastic musicians, so be sure to stick around for both halves! First up it's Wye Oak's Jenn Wasner and singer-songwriter Johanna Samuels, both of whom have new music coming out, coincidentally, on June 23. Samuels has been making beautiful, deeply personal music for the last decade or so, and her new one is a doozy. The album is called Bystander, and it was recorded with Josh Kaufman of Bonny Light Horseman—he's the Josh you'll hear referenced in this chat. Check out “Ugly on the Inside” from Bystander right here. Samuels is joined here by Talkhouse pal Jenn Wasner, who's probably best known as half of Wye Oak, but has also recorded music recently under the name Flock of Dimes. It's no wonder that Wasner and Samuels get along, as both are incredibly thoughtful and sincere in their musical pursuits: They're looking for something much bigger than a hooky song to sing, they're out to connect on a deeper level. Wye Oak has sort of morphed into a different kind of band in recent years, choosing to stay away from the make-an-album-then-tour-forever cycle and instead release singles and one-off songs as Wasner and Andy Stack are able. A bunch of those songs have just been compiled on an album called Every Day Like the Last. They sound as good as anything the duo has done, which is to say they sound great. Check out “I Learned it From You” right here. In this conversation, Wasner and Samuels talk about the magic of the Newport Folk Festival, how great it is to work with Josh Kaufman, and how to express heavy thoughts within joyful music. You'll find out whether these are women of mystery, and you'll hear Wasner refer to herself as “a big golden retriever of a person.” Enjoy. In the second half of this epic Talkhouse two-parter, we've actually got three speakers: Andy Stack, who's best known as half of Wye Oak, but who's also made some solo records under the name Joyero. Along with him is Jay Hammond, with whom Stack recently made a great instrumental record, and Joe Westerlund. I'll start with Westerlund, and I'll try to do his bio justice: He started out in the Wisconsin band Deyarmond Edison, which has a massive retrospective box set coming out this year, and which is best known as the band that started Justin Vernon of Bon Iver down his musical path. Westerlund has also contributed to lots of other song-based music over the years, drumming for the likes of Califone and his project Megafaun. But it definitely feels like Westerlund has found his true calling in his solo instrumental work, including the recent Elegies for the Drift, whose compositions were largely inspired by important people in his life who'd passed away recently. It's a gorgeous, emotional ride. Check out “The Circle,” which is dedicated to Akron/Family's Miles Cooper Seaton, a friend of Westerlund's who tragically died in a car crash in 2021. It makes sense that Westerlund got together for a chat with Andy Stack and Jay Hammond, because they all have North Carolina in common: It's become something of a refuge for a bunch of bands over the past few years, with their friends in Sylvan Esso building a studio there, and lots of folks—including both members of Wye Oak—taking up residence there. Stack and Hammond got together recently and struck gold with a series of electro-acoustic improvisations that they winnowed down to album length and titled Inter Personal—a nod to the connection that they deepened by making this music together. Check out “Life on a Ship” right here.  Thanks for listening to the Talkhouse Podcast, and thanks to Johanna Samuels, Jenn Wasner, Andy Stack, Jay Hammond, and Joe Westerlund for chatting. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Sintonía: "Elíades Tumbao 27" - Afro Cubism "Djelimady Rumba" y "Guantanamera" - Afro Cubism; "Alabama Jubilee", "Johnny The Walker Of The White Mountains" y "Waltzing On The Saturday Night Astralplane" - Andy Dale Petty; "One Rainy Wish", "All Things You Are" y "The World Is Waiting For The Sunrise" - Eric Johnson; "Impressions Of The Past" - Megafaun; "Wes Coast Raga" - The Donkeys; "Cowboy Bossa" - Julian Kanevsky; "Song of Happiness" - Cochemea Escuchar audio

After being affiliated with Bon Iver, Hiss Golden Messenger, and Megafaun – and releasing a series of his own acclaimed solo projects, multi-instrumentalist, songwriter, and producer Phil Cook surprised many with the launch of his new roots gospel label, Spiritual Helpline, and producing a rousing new live roots Gospel album by North Carolina local legends, The Branchettes. Though the group was formed over a half-century ago, they never recorded a live album until now. The soul-stirring experience was captured in the documentary film, Stay Prayed Up, which is currently available on demand and is screening at film festivals around the country. Cook – who is forty years younger than the last surviving original member of the group – now says the only records he will buy are Gospel records. He has found his purpose. We'll hear all about Phil Cook's amazing musical journey – from his youth in northern Wisconsin to his migration to North Carolina with his creative community – to pursuing his love of Gospel up close and personal. What started with a keyboard session for The Blind Boys of Alabama has commandeered his whole creative path and he could not be more thrilled. When we crank up the Jukebox, we will dive deeper into Mother Perry's story from the film and will listen more closely to the live album she made with Cook and his insanely good band. Full Show Notes, Music List, and a special Phil Cook and Friends Playlist are available HERE or at TrueTunes.com/StayPrayedUp. If you would like to support the show, please consider joining our Patreon community or dropping us a one-time tip and check out our NEW MERCH! (And if you liked this episode, don't miss our previous Gospel explorations. Myron Butler discussed the legacy of Andrae Crouch with us (and we featured Aretha's "Amazing Grace" on the Jukebox) and DOE Jones joined us to talk about her long-anticipating contemporary Gospel debut - plus Aaron "A-Train" Smith join us to talk about Stevie Wonder in the 70s.)

Invasive species tend to be small, cryptic, and difficult to locate... right? Come with us to the heart of the Colombian Rain Forest to talk about one of the weirdest invasive species out there, with a intriguing past and a complicated story to tell.  The Anthropo Scene is an independent project by young ecologists who are passionate about sharing interesting information surrounding the complicated story of introduced and invasive species around the world. If you would like to sponsor an episode, suggest a future topic and/or collaboration, find us on Instagram at @Anthropo_scene_podcast, facebook, or send us an email at anthroposcenepodcast@gmail.com.Resources: https://docs.google.com/document/d/1xTFF4wXPrl2PSkwlNXMRW62r3BCQ_1VW1Iyy90hd9Mg/edit?usp=sharingSupport us via Buy Me a Coffee: https://www.buymeacoffee.com/Anthropo_SceneFollow us on Instagram and FacebookMusic credits from Adobe Stock: Transition by Anthony Earls Particle Emission by Silver MapleInterested in starting a podcast? Buzzsprout is a great hosting site with easy tools to help you succeed in your podcast journey. Help support us by using our affiliate link to start your own buzzsprout account - https://www.buzzsprout.com/?referrer_id=1688260Support the show (https://www.buymeacoffee.com/Anthropo_Scene)

Steve and Ian would be remiss if they didn’t kick off this week’s episode of Indiecast with a discussion of the Morrissey/Simpsons controversy, wherein The Smiths’ singer called the show’s depiction of him “hurtful” and “racist.”The main crux of this episode, however, returns to the Indiecast Hall Of Fame, which was designed to honor albums in the indie rock and alternative rock realm that were influential and beloved at the time of their release, but have since been lost to the test of time and sadly — some might say shamefully — left out of the widely accepted canon of the genre. After an episode paying tribute to albums by Counting Crows, The Promise Ring, and more, Steve and Ian are now turning their attention to efforts from Saves The Day, Megafaun, Secret Machines, and Unkle.In this week’s recommendation corner, Steve is boosting the forthcoming new EP from DIY power-pop icon Pronoun, entitled OMG I Made It. Ian is shouting out Snow Ellet, whose latest effort Suburban Indie Rock Star is out now.

Steve and Ian would be remiss if they didn’t kick off this week’s episode of Indiecast with a discussion of the Morrissey/Simpsons controversy, wherein The Smiths’ singer called the show’s depiction of him “hurtful” and “racist.”The main crux of this episode, however, returns to the Indiecast Hall Of Fame, which was designed to honor albums in the indie rock and alternative rock realm that were influential and beloved at the time of their release, but have since been lost to the test of time and sadly — some might say shamefully — left out of the widely accepted canon of the genre. After an episode paying tribute to albums by Counting Crows, The Promise Ring, and more, Steve and Ian are now turning their attention to efforts from Saves The Day, Megafaun, Secret Machines, and Unkle.In this week’s recommendation corner, Steve is boosting the forthcoming new EP from DIY power-pop icon Pronoun, entitled OMG I Made It. Ian is shouting out Snow Ellet, whose latest effort Suburban Indie Rock Star is out now.

Hope everyone has a great weekend. A few new episodes to share, plus a snippet of one of them. Chris Shiflett on Politics of Truth. This week Bob talks to the Foo Fighters' Chris Shiflett. Chris is also a podcaster and solo artist. Bob talks to Chris about how music created his social consciousness as a young kid and how playing music around the world exposed him to new perspectives that shaped his own political identity, and they talk about the 2020 election. Subscribe to Politics of Truth. Phil Cook on JamBase Podcast. Andy Kahn talked with Phil about his solo work, his work with Hiss Golden Messenger and Megafaun, his work with Oliver Wood, and more. Phil also talks about meeting Col. Bruce Hampton at a H.O.R.D.E. Tour show in 1997. And another reminder about the JamBase Video Archive. Subscribe to the JamBase Podcast.Reed Mathis on Groove Therapy. In a two-part episode, Taraleigh and Leah talk to Reed Mathis. Both episodes are live now. Reed, as you probably know, is a bass player and the genius behind Electric Beethoven. He's also played with Paul Simon, the Dead and others. They talk with Reed about a lot, including how the nervous system reacts to music, psychedelics, live music as a potential for trauma and grief resolution and insecure attachment, including a story from Reed about his own healing through live music and how he uses Electric Beethoven as a means of healing for others. Subscribe to Groove Therapy. See acast.com/privacy for privacy and opt-out information.

Hey there, Dead Freaks! We've got an epic episode coming at you to help pass a bit of these weird wild times. Drummers, Ryan Jewell and Joe Westerlund join the show in separate chats to discuss their new albums, music that inspires them, and The Grateful Dead!Ryan Jewell is returning (see ep. 49) to discuss his previously delayed but now available Mosses album, T.V. Sun (digital, direct via Ryan's instagram). We also get into some of the shows I've seen him play since he was on and several new other records he's been on, too!Joe Westerlund is a player that I've know since he was in the terrific group, Megafaun. These days, in between working with Sylvan Esso on a recent tour and backing Mandolin Orange, Joe has made a beautiful record called, Reveries In The Rift (digital, physical).Allow me to remind you that the Brokedown Podcast is part of the Osiris Media. Osiris is creating a community that connects people like you with podcasts and live experiences about artists and topics you love. Sign up for the newsletter at OsirisPod.com to stay in the loop. Also,  Osiris Media works in partnership with JamBase, which connects music fans with the music they love and empowers them to go see live music. Check them out at JamBase.com.Don't forget to follow the @BrokedownPod twitter account for regular news, live tweetstorms of shows as I listen, and other minutiae. We also have an Instagram account with the same handle. If you like pictures of things, you can find that here: BrokedownPod Instagram. Also, if you use iTunes, please consider posting a review as it really help get the word out.Also, please keep sending your metaphorical cards and letters. Leave a comment on the blog or hit me up on any of the above social media. Let me know what I'm doing right, wrong, or horribly wrong.

Since releasing their self-titled debut in 2014, Grammy-nominated electro-pop duo Sylvan Esso has hopscotched around the world, gracing countless festivals as well as late-night TV, fueled by vocalist Amelia Meath's enigmatic energy and Nick Sanborn's deliriously inventive production. Previous to his partnership with Meath, Sanborn was a mainstay of the Wisconsin music scene as a member of Decibully, Megafaun and Headlights. Over the last few years, he's also engineered or produced projects for Daughter of Swords, Why? and Meath's trio Mountain Man. Recorded backstage at Nashville's iconic Ryman Auditorium, Nick discusses his anticipation as a then-record store employee for the original release of Radiohead's Kid A, how the lyrics of Gillian Welch's "Everything Is Free" stay consistently relevant with every new update to how we get music, and the new LP Bluebird, his latest instrumental collaboration with Chris Rosenau of Volcano Choir, Pele and Collections of Colonies of Bees. Follow Nick on Twitter and Instagram @madeofoak, and for Sylvan Esso tour dates, music and more visit sylvanesso.com. You can purchase Bluebird on vinyl from www.rosenausanborn.com.

This week, we talk with musician Nick Sanborn. You may know Nick from his band Sylvan Esso, or as the bassist for Megafaun, Nick has been a Phish fan since 1998 and tells us all about his current musical projects as well as his experience in the Phish world. Matt & Jonathan also recap the Vida Blue show that they saw last week at the 9:30 Club in Washington, DC. You can find the terrific Rosenau & Sanborn album, "Bluebird" at http://www.rosenausanborn.com/.Thanks for listening, and please give us a review on Apple Podcasts if you haven't yet! See you next time. See acast.com/privacy for privacy and opt-out information.

You might know Nick Sanborn as one half of Sylvan Esso, from his time in Milwaukee's own Decibully or from his work in side projects like Made of Oak and Rosenau & Sanborn. Long before any of that, however, Sanborn was a kid in Madison, Wisconsin, who was involved in his school's orchestra before picking up a bass guitar and deciding to start a band of his own. Since that start in a high school group called Point B, he made his way to Milwaukee and quickly became a fixture in the city's music scene before branching out to be part of touring acts and developing his solo efforts. While he was in Milwaukee to rehearse for the Rosenau & Sanborn show at The Back Room @ Colectivo, Sanborn met My First Band host Tyler Maas at Milwaukee Record headquarters to talk about his musical outset, early tours with Decibully, landing in Headlights and Megafaun, the random set of circumstances that allowed him to meet (and subsequently collaborate with) Amelia Meath, and what it's like to have his band's music play notable parts in films and television shows. My First Band is sponsored by Boulevard Brewing and Rushmor Records. The show is edited by Jared Blohm. You can listen to My First Band on iTunes, Stitcher, Spotify and wherever else you get podcasts. Music used in this show comes courtesy of Devils Teeth ("The Junction Street Eight Tigers"), Decibully ("My Lighter And Strings"), and Sylvan Esso ("Die Young").

M.C. Taylor and Phil Cook are two anchors of Durham's indie music community. Phil is known for making music with his band Megafaun and The Guitarheels and for playing in M.C.'s American folk band Hiss Golden Messenger, an outfit widely praised for its genre-blending soul-searching music. In this episode, they reflect on how collaboration, community, and a deep appreciation for North Carolina's music history define their artistry. This episode featured original music created by Phil Cook for the 50 for 50 project, and excerpts from two Hiss Golden Messenger songs: Caledonia and Heart Like a Levee. Learn more at www.ncarts50.org. Facebook: @ncarts Twitter: @ncartscouncil Instagram: @ncartscouncil

Host Lisa Kiefer interviews Oakland based filmmaker Alix Blair about the challenges of making her first feature documentary FARMER VETERAN premiering on local PBS station KQED May 29 through Independent Lens. The film focuses on veteran Alex Sutton, home from three combat tours in Iraq, suffering from PTSD, and forging a new identity as a farmer.TRANSCRIPTSpeaker 1:Method to the madness is next. You're listening to method to the madness, a weekly public affairs show on k a l x Berkeley Celebrating Bay area innovators. I'm your host, Lisa Kiefer, and today I'm speaking with Oakland based documentary filmmaker Alex Blair Speaker 2:[inaudible]. Speaker 1:[00:00:30] Welcome to the program Alex, and actually this film Speaker 3:armor veteran. Can you just give us a brief synopsis of what's this about? Yes, so it is about a one man who comes back from three tours in Iraq and starts a farm in rural North Carolina with his girlfriend Jessica. And then things are not what they seem to be as the film goes on. What drew you to examining a veteran? Let's talk about your [00:01:00] subject. Yes, Alex. Yes. I actually did a farm program at UC Santa Cruz and I met a veteran who had fought in Iraq down there and he had some amazing things to say about the connection between being a soldier and being a farmer. And so when I was in North Carolina and I met this man, that becomes the main character of our film. My mind was primed to be curious about how can your experience in war translate once you become a civilian again and what are, what are ways we can support [00:01:30] our veterans as they transition back into civilian life and my dad went to Vietnam and never, never, never talked about his experience and I think there was a seed in me that was curious. Speaker 3:Did you grow up in North Carolina? No, I grew up in Chicago. Okay. I grew up in Chicago but I moved to North Carolina for a job in documentary work and then being part of the farm community and I worked for a farming nonprofit and that's how I met our main character was through that work and I thought this is so interesting why he's so perfect. Three tours, three tours in Iraq, [00:02:00] Afghanistan is less clear. That is part of the story that kind of unravels in this film is as we are trying to understand his PTSD and what happened to him in Iraq and what it is to come back from combat, we start learning a lot about how the stories we tell ourselves is a part of coping with trauma. It sounds like it's mostly about the mental health issues. Yes. That this 1.2 million veterans in the United States come home and suffer from. Speaker 3:Right? Absolutely. [00:02:30] And that wasn't our intention. We thought we were making a short film about how great farming is for veterans and the more we gain trust and build relationship with the veteran and his wife, the more we kind of dove deep into the worlds of mental health, especially of these most recent wars. Half of all farmers will retire in the next decade and the biggest number of returning veterans are from agricultural areas where most people are unemployed. So it's this perfect juxtaposition of solving [00:03:00] two of our greatest challenges in the United States. And I still believe in that greatly. What I learned is that you cannot take someone who has no background in farming, give them some land, give them some money and expect that they're going to be okay. Like we have to have community support not only for our veterans but for our farmers. I mean farming is one of the hardest jobs that exist. Speaker 3:That's why the USDA, its beginning farmer qualification is 10 years or less. Like you work 10 years at any other job, [00:03:30] you are going to be an expert but you're still a beginner and farming and like all the things you can't control whether you know the seeds, the insects, the, especially if you're doing it organically, like there's so much that you are up against and if you are not being supported either with mentorship or with community support or with classes, it's another kind of battle. I wanted you to talk about Alex A. Little bit. He got injured and what was the outcome of that? He did get injured, um, in [00:04:00] his first tour in Iraq. And I think it's important to say he was diagnosed with PTSD after his first tour and sent back two more times after being diagnosed as [inaudible] we've learned from making the film. Speaker 3:It is really common and I think it's part of having a volunteer military is that if you are short on people you send people back, that may be shouldn't be going back if they have very severe trauma experience. So I mean we dove into that world with Alex of understanding more deeply [00:04:30] like what is the toll our modern experience with war takes on these young men and women and mostly coming from rural areas mostly, you know, enticed to be able to go to college or serve their country or getting out of the women or have employment. Like if we could support our farmers so that it was like they were level of Rockstar, you know, that's what I always say like we exist because they're growing food. Like nothing is more direct connection than that. And yet the stakes are stacked against farmers in so many ways. Speaker 3:Yes. [00:05:00] This guy that you interviewed, this veteran, he had both of his legs blown off and he has titanium legs. Is that correct? You will need to see the movie to find out if that is true or not. Okay. The reason I'm being cagey is I think the film explores a lot of in experience of trauma and especially in experience of PTSD. The stories that we tell ourselves about what happened to us, whether we're a soldier or a rape victim or someone else in some kind of trauma stories are how we [00:05:30] survive and get through. But then there's a certain point where stories we tell ourselves may be causing harm. Also, if you think of a man like our main character who his whole life has wanted to go to serve and being a soldier is the ultimate thing you can be. And being the perfect soldier, like just think of our mainstream media, like we glorify war and snipers and everything from you know, World War II movies to now. Speaker 3:And so if you are removed from that world, you need to understand [00:06:00] like you need a new story of your self identity. And so stories of like the ultimate strangeness or Massive Event I think are ways that you cope. You did a Kickstarter campaign and get this going. Yup. And you had this intention to tell this story. And so midway through you uncovered a completely different story about this man. And I think this is very true of documentary film. You know, of course the difference from fiction film fiction film, you get to control the entire story, start to finish [00:06:30] and documentary. You're dealing with real human lives over a very long time. Like this is the sixth year since this started. We were filming for about two years. Very, very consistently. Humans have messy, complicated, strange lives. And I think any documentary, you never know when you start what it will be at the end. Speaker 3:But in this one specifically, that was startling. And my team, the team I work with is amazing. They started as dear friends, the other director with me as Jeremy Lang, DL Anderson as the producer, Michael Barton, [00:07:00] associate producer and this amazing editor Nina of Manir. We just held a really safe, terrifying, vulnerable space to think about, oh my God, what, what has just happened? This is totally different than we thought we were going to make. How do we go forward honoring that change and also, which I think is so important, communicating it to the people you're making a film about. Speaker 1:If you're just tuning in, you're listening to method to the madness, a weekly public affairs show on k a l x Berkeley Celebrating Bay [00:07:30] area innovators. Today I'm speaking with Alex flair. She's the director of a documentary film called farmer veteran Erin next week on PBS. It examines the challenges veterans face when they returned to civilian life after Iraq and Afghanistan. I mean it is an enormous privilege and burden to be responsible for someone else's story. So how did you, it must have added time and money on, Speaker 3:yes, yes. Documentary filmmaking is not a glamorous high paying. So [00:08:00] did you have to do, we had the amazing privilege and opportunity to be part of Itvs, which is independent television service, which you applied to them through a grant process and they're a branch of PBS. And then they come on as your co-producer if you get it. So did they come on with your previous story? No, they came on after mom learned the surprises. I mean, and we were all Jeremy and DLR dads. I was in Grad school. We were all working other jobs like this. This was in the most purest [00:08:30] form of labor of love. Like we went out in our free time when we could, we borrowed gear, you know, we use very old technology compared to, you know, what is available nowadays. So it was absolutely a shoe string doing it out of the love of it. Speaker 3:And then once we got itvs, which would be the path to getting on independent lens next week on PBS, they, they gave us the money for all our postproduction. Did you start a production company? Actually it's part of the origin story is I had met Alex Sutton, our [00:09:00] main character through my job outreaching to farms around the same time DL was starting a skill share collective because in that part of North Carolina, like Durham Chapel Hill, there are a lot of documentary makers. So DL DL had the idea to basically trade skills and support each other. I showed up with this idea to make a film about a farmer veteran. Jeremy, the other director with me was working in a, a beautiful photography project about veterans soldiers coming home. [00:09:30] So the three of us hooked up and then to make this story and then out of that DL with Michael founded, um, vittles as a production company. Speaker 3:So you don't have to go to school to make a film. It might make some things easier, but you can definitely learn, learn along the way. But it was a challenge and a challenge. They are dear friends and people I care about deeply. But you have multiple creative ideas. I would say at times that was a challenge of, and that comes with great trust and I think patient [00:10:00] work over time that we could make space that we could hear each other's thoughts challenged when we wanted to challenge or suggest other ideas, especially when the huge twist came in the story that was a deeply emotional and vulnerable place to have invested so much time, so much personal money, deep sacrifice of, you know, social connections and friendships to make this film out of nothing. So there were some very, very hard times of really believing [00:10:30] that we were making something that was worth it because it's easy to be discouraged. Speaker 3:You were also on a bunch of festivals and you got a lot of great accolades and awards. I think one of the lessons learned is it's worth your money to get a publicist because we were pretty much, you know, nobody's, none of us had ever worked on feature films before ever. And we were all coming from backgrounds different than filmmaking and only our producer had taken any classes in film making. So this was kind of diving [00:11:00] off the deep end, not knowing what we were getting into, but we had lots of success, especially in the southeast being a film out of the south, out of North Carolina. And I think that might be part of it is, is having that connection to place and issues of veterans and rural areas is, I mean is across our entire country. But in the southeast is definitely, um, it is a very real issue that I think people face and, and lot of lots of military families, again everywhere, but lots of them in the southeast. Speaker 3:What are some [00:11:30] of those groups or people that you met and what are they saying we need to do? We're um, informally partnering with a lot of groups that look at the trauma side of it and also the side of the burden that comes onto caregivers. Like the people that love the veteran that is suffering from trauma and talking about what it is to live with someone with that kind of trauma. So we had recently an Oakland did a screening and we had um, Dr Broder who works with a group called horse sensing in the bay area that [00:12:00] does Aquinas horse therapy with veterans. There's a lot of groups that do animal therapy, fishing therapy, wilderness therapy. There's a group called vet scape that is started by a veteran that is almost like outdoor adventure for veterans and the VA, the few VA's that we've connected with, there's an amazing man named Dr. Cooper at the Arkansas VA in their mental health department who said that this film is like the film for Understanding PTSD and how it affects the [00:12:30] veterans that are trying to integrate back into society. Speaker 3:There's also the farmer veteran coalition and they do everything from having local chapters in, I don't know if it's every state, but also they do a lot of policy work to try to help veterans. Our biggest hope for this film is to ignite a new conversation the same that there's an urban rural divide and we saw that play out in our election. I think there's also a veterans' civilian divide and I mean I think of my [00:13:00] community and I only know one veteran as a friend. I think there's this massive disconnection between who serves in our wars and who doesn't and then what is the responsibility for those of us that don't serve to understand the experience of those coming back and that it's a very nuanced, complicated, messy experience. I think one thing I learned about PTSD and trauma healing is it's not linear like you don't, there is no pill that you can take that it, things might make you feel a little [00:13:30] better, but it's therapy work. Speaker 3:It's group work. It's agriculture work. Like because trauma is so subjective, you have to find the thing that works for that person. And also like our main character's wife, Jessica in the film, she says it might get better. It might not. If it doesn't, you still have to live with that person and, and love them and support them and understand them. It bothers me that so many people with these issues also have access to a lot of guns. Absolutely. That's, that's in the [00:14:00] film. And I think that's another kind of human messy area is that his guns in Iraq was the single thing that kept him safe in many ways. So we shouldn't blame them for then as they need to seek safety, having a relationship with their guns. But again, it's that line of like is it to their benefit to keep having a relationship with the guns. Speaker 3:And that's one reason why I think agriculture life can be of benefit to veterans. What were some of the challenges you encountered besides the fact [00:14:30] that the plot basically changed in making your first film? I mean, I think you touched on it before Lisa, but I think money is a huge, huge challenge. Being newcomers who you know, makes a big difference. So if you don't know people, it can be, it can be tricky to find, you know, find your way into festivals or things like that. Challenges with them. I mean they, they were so open and so brave. I think it's so brave to let someone make a film about you. [00:15:00] I see it as a courageous, deeply compassionate act to, to have your story, hopefully make other lives better. And, and in our conversations with them, that is what they hoped for by laying themselves bare, including their darkness than their hardness is that their story might make it better for other people. Speaker 3:And though a challenge was continuing to communicate along the way, they got sick of us. Of course. I mean you can't, you're basically living with these basically. Yeah, having a camera in their [00:15:30] face. I mean it would be Jeremy and I out there with, you know, saying ignore us and, but like you can't ignore someone that's right there. I think one thing that frustrates me is when filmmakers say they're a fly on the wall, like you're never ever a fly on the wall. You can do things to become more invisible to your, your people in your story. But you're always changing it because you're there with a camera filming. What's happening? Does he come out to your screenings? He is not come out. He has seen the film. So a lot of people asked that like, have they seen the film? What [00:16:00] do they think? Speaker 3:What do they think? I mean they feel exposed. They feels like very personal things that are revealed to audiences but they maintain them and I still talk to them all the time. I talked to his wife very frequently and I don't know if it made things better or worse. And I think that's again like a cross that the filmmaker has to bear in many cases as not really knowing like was it better that we asked them all these very difficult questions that a therapist might ask when we started, we thought it was going to be a very quick short film. So [00:16:30] negotiating like, okay, a year has passed, we still want to be here, we still want to talk. We think the story's changing. We think it's going to be more about you know, your trauma and, and how it affects you. I mean we did our best to be as transparent and communicative all the way as possible, but you know, and also like I see photographs, I hate what I look like. Speaker 3:Like I think that's a very human experience to like think you look one way. And then see a film and you don't look the way, you know you're not Rambo on film and like, cause that came up [00:17:00] a little bit of like discouragement of even just like the physical, like I don't look like a movie star. And we're like well it's not. This is a Hollywood movie. You talk about the cocktail of drugs that he saw and I have read a lot about veterans, who they're given drugs when they're in service and then when they come back that continued to do drugs. And how does your character, Alex feel about having to be on so many drugs? When men and women are in service, they're under the Department of Defense, [00:17:30] the dod. And when they come back they're under the veterans affairs, the VA and the dod and the VA. Speaker 3:What I've read is that they don't always talk to each other. So the treatment that the men and women are getting under the dod while they're in combat, they are with extremely well intentioned doctors doing the best they can to handle the situation at the time. So you say you can't sleep, you're given sleep meds, you're saying you have anxiety, which who wouldn't in combat, you're given anti-anxiety man, you need to stay [00:18:00] awake and you need to stay awake or you need, I mean whatever's going on, they're doing the best they can to treat them and then they come back. And when you take things to just cope with really stressful circumstances, those aren't necessarily the same things you should be taking when you come back. But, and then you don't really have the departments talking to each other that well and again at the VA for as much press as they've gotten, they are extremely dedicated people working at the VA to try to do their best to take care of veterans on not enough resources. Speaker 3:[00:18:30] And the other thing is most medicine that we have as civilians is tested in like data trials and controlled trials. Veterans as a, as a group don't really want to wait around maybe having a placebo. I know a trial they're doing, they're using psychedelics. Yes. And MTMA for veterans to see if it can reduce and it's been really successful. The other thing too, if you think about so much of the brain when it has to do with like depression or not sleeping or anxiety, it's very subjective. So the [00:19:00] pill that might work for Bob does not necessarily cure PTSD in John, you know, for example. So I think that's one of the battles that we have to treat trauma and PTSD is fine. There's no one size fits all. And that's one thing I learned a lot in making this lesson. It's very expensive to have that kind of individual attention. Speaker 3:Absolutely. And individual therapy and diagnosis. Exactly. And I think for myself, like I use the Benadryl example, but [00:19:30] when I take a Benadryl, I don't feel like myself, you know, it alters the way I feel in my body. In our main character here is a man who for years and years has been on a mix of up to 15 different medications. He doesn't know who he is, like who he is without those drugs. He has not met that person in years. And I think what is common in many veterans that are dependent on medication to wake up, to go to sleep, to not freak out to [00:20:00] whatever is the fear of unknowing what would happen if they stopped or were able to wean off. There's such a dependency. You make a good point there about years of this cause you give the example that he joined up at the age of 17 and how old is he now? Speaker 3:I am making the film. We met him at 33 so lots of years to lie on drugs and Afghanistan and Iraq are the longest wars we've ever had in the United States history [00:20:30] with the least serving with the least serving that. Thus the repeated tours. You said you came out of radio and so my background is in college. I got involved in the student radio station and fell in love with it. And where was this? And this was at Brown University and back in the early two thousands late nineties early two thousands and I had a a teacher I loved that suggested I try my hand at radio and I had listened to it like this. American life was early days and I loved that but I [00:21:00] never thought it was something accessible to me. And then once I got the mic in my hands like this world opened up to access people's stories and I love, I love when you are limited to sound only and how you craft a story when all you have is sound. Speaker 3:I love that and I went on to work as a freelancer making radio stories for different shows. I worked for several years at the Center for Documentary Studies in North Carolina at Duke. It's part of Duke University, so I was a student of theirs for [00:21:30] a couple of years and then I worked for them for a couple of years. There was so much like short film starting online and this is about like 2011 2012 I started really getting curious of pairing images with sound. The nonprofit I was working for, I was making some multimedia stories for them. And I think radio directly set me up to do film. Well, I mean you have to learn new equipment of course, and how to use a camera and lighting and speed and all those technical details. But the act of being an empathetic listener, [00:22:00] learning how to ask good interview questions, learning how to be comfortable in silence, like being able to anticipate your story, all those skills that you learn in audio production that translated pretty easily into film. Speaker 3:And if you mess up your sound, your films ruined. Like you have to have good sound in film also. So I think the radio background helped prepare me. You have a great soundtrack on this film. Can you talk about how you went about getting the music and some of the original pieces? [00:22:30] Yes. Um, so for people that don't make documentary films, uh, getting the licensing rights to music that is owned by other people can be extremely, extremely expensive and prohibitive in the film. When you see or hear that music, it actually falls under what is called fair use law. And so because we did not choose that music, it was music that was happening in the scene. Like Flo rider's Lo is a song that the veteran chose to have at his wedding. So we as filmmakers, [00:23:00] we're not making any aesthetic decisions about it. Speaker 3:It just happens in the life of these people and that falls under fair use ruling. Now, if we had taken that song and we had chosen it and kind of played it over a scene, then we would have to pay for it. The song that is basically the theme song of our film Jubilee, this beautiful, beautiful ballad and sung by three incredible singer, Amelia May 8th who is still Vanessa and Vanessa and you use another [00:23:30] woman who they were both in mountain man. Yes. They were both Alexandria, not man. When I saw, how did you get Alice Gerard to get involved in this? Oh man, this is an incredible, incredible singer. I wish I had something to do with it. I didn't. It was our producer. DL Anderson. Yeah. Speaker 4:[inaudible] Speaker 5:so [inaudible], [inaudible] Speaker 4:[00:24:00] [inaudible] swing again to really to really say, hey, [inaudible], Speaker 3:one of his dear friends is this incredible man, Phil Cook, who is an incredible, incredible, [00:24:30] like a, can't say that word enough musician and composer. He composed all the music in our film. Phil is like this sunshine that is connected to all these amazing musicians. He was an a, still is an abandoned Megafaun. Yeah, Speaker 6:which is incredible man. He also has his own group called Phil Cook, Speaker 7:[inaudible], [inaudible], [00:25:00] [inaudible], [inaudible] [inaudible], Speaker 6:[00:25:30] and he's just the kind of person that brings people in RPD, CTL DL, who is raising his head Speaker 3:with Phil Cook's son like they're best friends, and through that connection, Phil I think had the ideas of who would be the good singers for this. An Amelia of Sylvan is Durham based. When she's not touring her amazing music [00:26:00] and jubilee, the rights. It's so, it's such an old song, this Appalachian valid that it had no copyright on it or we were able to have them sing it. What's coming up for you next? I am working on a new documentary feature film that I began a little while ago. I am very, very privileged to have gotten a California humanities grant for it. So big props to the Neh, want to support them to help it stay exist forever. And I'm a a film House resident through the Program SF [00:26:30] film that supports local filmmakers, both documentary and fiction. So I'm working on a story about 89 year old ex republican congressman Pete mccloskey who was a Republican, um, under Nixon's administration and even ran against Nixon for presidency on an anti war ticket. Speaker 3:And he with his wife who is 30 years younger than him, they live on a farm outside of Davis and they are mounting this very don Quixote in quest to find people to run in [00:27:00] 2018 to challenge politicians that are not being supportive of everything. Pete and Helen belief in Pete was a part of all our modern environmental policy. So he was part of the clean air act, the endangered species act. He Co founded Earth Day like that was his baby. Who would think today. I mean, especially like my generation and younger that it was under Republicans during Nixon that so much of our modern environmental policy and civil rights policy happens. So I'm, I'm using this film to explore [00:27:30] like what it is to be getting older and relevance and, and to watch this thing that you built be taken apart and also the power of love. Speaker 3:Like they've been together almost 40 years. Like how the people we love, who love US influence our identity and our passion, our fights. So I ran pretty early production. I'm right now trying to fundraise. So I am doing it through grants right now. I think one challenge and lesson learned with farmer veteran is that we in hindsight did our Kickstarter way too [00:28:00] early, way too early. We should have waited. We should have waited until we had grown a bigger awareness. We had amazing support and we met our goal. I think we even went beyond our goal, but it was mostly like family and friends that loved us. And I think, which of course is amazing, but I think if we had waited we could have maybe had a bigger splash. And so that's one thing I'm taking with this new film is to maybe hold off a little while there aren't incredible films out there that deserve love and money and attention and it's a huge playing [00:28:30] field and the, the pool of funding is so, so tiny. Speaker 3:So it's, it's um, I mean it's such a privilege to tell other people's stories, but to make a living at it is, is, is pretty tricky. When can local people see this film on PBS? So we are so honored to have this film beyond the show independent Lens, which is an Emmy award winning show on PBS Independent Lens. You should double check your local listings, but I believe it's 7:00 PM on Monday. [00:29:00] Memorial Day KQD. Yes. So kqbd Memorial Day, May 29th, pretty sure it's 7:00 PM Pacific Standard Time. And you will also be able to watch it online on KQ eds channel online for, I believe it's two weeks. It'll be streaming there. If anyone has a question they want to ask, please, please. We have a website. Um, it's the title of the film farmer veteran one word farmer, veteran.com. And if you, you can find out all the information there, but if you click on this screening [00:29:30] button, we actually have set it up so that you can bring, you can host your own screening of farmer veteran in your own community. So we have everything set up and laid out to allow you to do that. So if you want have a party in your backyard Speaker 1:or you are a nonprofit and you want to host it for the veterans in your community, you can do that. Farmer veteran.com. Thank you so much. Thank you so much. You've been listening to method to the madness, to a weekly public affairs show on k a l x burglary celebrating bay area innovators. [00:30:00] You can find all of our podcasts on iTunes university. We'll be back next Friday at noon. Speaker 2:[inaudible] Speaker 7:okay. See acast.com/privacy for privacy and opt-out information.

A look at the acts that have graced Raleigh Memorial Auditorium during Hopscotch Music Festival, and an appreciation for Greg Lowenhagen for his vision and work. Music "Younger Days" by Mount Moriah "1922" by Phil Cook "Mr. Met" by Lambchop "The Longest Day" by Megafaun "Got to Go" by Boulevards "Carolina" by Eric Bachmann, performed at The Pinhook, Durham, NC "Existential Mothersnakes" by Grandma Sparrow "My Baby Don't Understand Me" by Natalie Prass "Roller" By Quiet

This week on the podcast: How easy is it to trick a music blogger? Apparently hilariously so if you’re using Wayne Coyne as bait! The gang discusses a hilarious prank that was recently pulled on the blogosphere, and its implication for the sad state of modern music journalism as a whole.Then we’re heading over to the jammy side of town, as we dig deep into two of this year’s best releases. First up, Athens, GA’s Futurebirds are back with their unique brand of cosmic twang on their new album Hotel Parties (22 min mark). Then, Megafaun’s Phil Cook has made a career out of playing with some of the biggest names in indie rock, but with the hugely soulful Southland Mission, he may have crafted the album he’s waited his whole life to make (51 min mark).Last but not least, Meow The Jewels is here and it’s exactly what we expected and more. So that happened.Get comfortable and hide the cats, because here comes a super-sized shot of the “23rd most influential” podcast in the land, it’s Episode 135 of ChunkyGlasses: The Podcast! See acast.com/privacy for privacy and opt-out information.

This week we call an audible and call em like we see em. First up more TIDAL talk as we figure how to save the music industry for the 178th time. Then it’s the triumphant return of the Dave Rawlings Machine and an obvious deep dive into a lake of feels as we take on Ryan Adams take on Taylor Swift’s 1989. PLUS! Megafaun-er Phil Cook’s latest Southland Missions is a joyful explosion of soul and we’ve got a track for you to hear that proves it.Tight deadlines. Shifting tastes. These things matter not to podcast jedi. Strap in. Turn it up. Here comes Episode 133 of ChunkyGlasses: The Podcast. See acast.com/privacy for privacy and opt-out information.

From FUV's Alisa Ali, 2012: 'The 'story' behind Field Report is that Chris Porterfield used to be in a band called DeYarmond Edison with Justin Vernon (a.k.a. Bon Iver) along with brothers Brad and Phil Cook, and Joe Westerlund, who are currently in the band Megafaun. The guys are all still good friends, and there is no bad blood at all. In fact quite the opposite: Vernon actually invited Porterfield and Field Report to his studio to record their debut album, which for the record (pun intended) is gorgeous. The album is very lyrically driven, which is interesting because Chris didn't start writing lyrics until much later in his music career. He used to consider himself just a 'background player' in DeYarmond Edison. Normally it really is a tragedy when a great band breaks up, but in this case DeYarmond Edison gave rise to three fantastic bands, with Field Report being the last one to form. Hard to say which is best of the three, but easy to see that they are all very talented.'

Mitchell Silver, parks commissioner for New York City, returns to Raleigh to present at Hopscotch Design Festival. He was planning director and chief planning officer for 9 years. He talks about how Raleigh is growing in a smart way, and about his new role in the Big Apple. Music - "Esse Quam Videri" by The Rosebuds - "Calm Down" by The Love Language - "eee!" by T0W3RS - "Japanese Vacation" by Spider Bags - "Real Slow" by Megafaun

We talk with Raleigh attorney Kim Church, whose debut novel Byrd, explores the choice of a young woman who gave her child up for adoption after a love affair with an old flame. We talk about how Church began fiction writing later in her career. Read more of Kim's work at her website: http://kimchurch.com Music by Megafaun

Ep. 96 - Amelia Meath (Mountain Man) and Nick Sanborn (Megafaun) are the duo that make up the band Sylvan Esso, who released their first album a few weeks ago.  The band stopped by our Bronson Island studio to talk food, sandwiches, and coffee (their awesome new song, and the beverage.) Plus Zach made Amelia cry with potato chips.  

Taylor and Hirsch have released 4 albums as Hiss Golden Messenger including last year's Haw.  Named for the river that strikes right through the heart of North Carolina, the album is their most adventurous to date as the duo expanded and enlisted the help of some old friends.  The band consisted of Megafaun's Phil Cook, The Black Twig Picker's Nathan Bowles, and William Tyler.  Each of these men is a great musician in their own right and came together to round out Taylor's incredible vision perfectly.  Like their previous albums, Haw brought together wide array of different genres including folk, blues, country, and soul.  While Hiss Golden Messenger is a champion of an older country era, the music is universal and draws people that have never before been a fan of these genres.  As such, Haw was incredibly well received by people of all genres as it made the rounds on both local and national end of year lists.On January 14th, their second album Bad Debt is being reissued after coming to an untimely end.  All copies of the original CD edition were destroyed in a warehouse fire during the London riots in 2011.  Bad Debt was written during the time of the collapse of the global economy.  Now after its symbolic demise, these songs will see the light of day 5 years later.  While we may not know what the future of the global economy may hold, these songs still hold weight as we look towards the not entirely cheery future.  But the future may be a bit brighter with Hiss Golden Messenger reminding us we aren't alone in our struggles.Tune in to hear our interview with Hiss Golden Messenger during Carolina Grown on January 17th as we discuss what lies ahead for them.Check out a review and listen to a track off of Bad Debt on Pitchfork.

The new duo immediately set to work constructing their debut EP Some Kind of Light due out September 24th on Trekky Records. In July, the duo set to work to record the EP with Brad Cook from Megafaun on the bass and Kyle Keegan from Lost in the Trees behind the drums. These five songs pull from a lot of the great talent surrounding them in this musical hotspot, but when put together create something entirely new. This EP is a promising glimpse at what is in store for this experienced duo. Be sure to tune into The Local Beat on September 20th for our exclusive Local Artist of the Month interview and live performance from Loamlands.

#LondonGP with @radio_matthew - Autosport International 2012 -- @z1radio @Autosport_Show Matthew presents #LondonGP - your weekly motor sport and music extravaganza on ZoneOneRadio the community radio station for Central London. On this show from January 2012 a long, in-depth interview with BBC Radio 5 Live new boy James Allen and Autosport editor-in-chief Andy van de Burgt lying in a field staring at the stars Not much music for you this week. But what we lack in quantity we make up for in quality. Brace yourselves for a heady mix of Zero 7, Bruno Mars, Tinie Tempah and Megafaun. The first three as chosen by James Allen, the last chosen by Andy. -- www.twitter.com/radio_matthew and www.twitter.com/z1radio www.ZoneOneRadio.com www.facebook.com/ZoneOneRadio

The North Carolina band has a knack for blending classic-rock traditionalism with a real ear for experimentation. The songs on last year's self-titled album can whisper or rage, meander or kick. Megafaun performs here as part of the 2012 Newport Folk Festival, recorded live on Friday, July 27 in Newport, R.I. For more of NPR's coverage of the Newport Folk Festival visit www.npr.org/newportfolk.

This week -- new music by Megafaun, Wavves, and Yuck.

Music news about Radiohead, Interscope records, Snoop Dogg and Megafaun. Laura Marling is this week's next big thing, and we feature an essential album from Willie Nelson. Plus a sneak peek at a new track from Kasabian.

Join us for a conversation with musicians Brad Cook and Joe Westerlund of the band Megafaun, moderated by Duke faculty Laurent Dubois. Presented by Duke Performances and the Franklin Humanities Institute. On September 17, 18, and 19, Megafaun & Fight the Big Bull will perform in a series of three live-recorded concerts at the Hayti Heritage Center. The two groups will team up for the three nights of concerts with Justin Vernon of Bon Iver and Sharon Van Etten to perform tunes from Alan Lomax's seminal collection of folk songs, Sounds of the South. John Hope Franklin Center

Phil Cook and Catherine Edgerton with illegal drinks in the WKNC studioPhil Cook of Megafaun and Catherine Edgerton of Midtown Dickens were two major proponents in starting the inaugural event. We asked them various questions, such as the types of instruments they planned to use as well as the ideas that jump-started Do Itcha Damn Self.

Megafaun on IndieFeed Indie Pop