Podcast appearances and mentions of noah lennox

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.

Ian speaks with Noah Lennox and Pete Kember—aka Panda Bear and Sonic Boom—about the annoying Victor Wembanyama, ditching Spotify, the former glory of the charts, Lou Reed's Pickwick era, making music that makes them laugh, the evolution of their collaborative relationship, annoying-sounding keyboards, fostering a community that values art, and their sublime new record, A ? OF WHEN.  "A ? OF WHEN" AVAILABLE NOW (BUT NOT ON SPOTIFY)

Noah Lennox va fundar Panda Bear per poder fer les bestieses que no podia amb Animal Collective. Despr

As a solo artist and a founding member of Animal Collective, Noah Lennox has been making adventurous, generation-defining music for a quarter-century as Panda Bear. His newest album, “Sinister Grift” – his first solo record since 2019's “Buoys,” came out in February of this year on British indie label Domino.Panda Bear is playing Woodsist Festival at Arrowood Farms in Accord, New York and he spoke with Will Hermes for WAMC.

Noah Lennox is best known as Panda Bear from psychedelic shapeshifters, Animal Collective. He has a new solo album out, Sinister Grift. For more, visit pandabearofficial.com.

Noah Lennox, aka Panda Bear, is a musician from Baltimore currently living in Lisbon. He's known for his work with the band Animal Collective, as well as collaborations with artists such as Daft Punk. His newest record, the highly acclaimed Sinister Grift, is out now on Domino. We chat about what to eat and watch on TV when staying at a mid-level Hilton near a secondary market, Oreo dunking, legacy protein bars, SNL mocking one's tooth size, how his son watches TV, the Rolling Stone - Pitchfork - Needle Drop pipeline, what he misses about America, the "sleaze" part of Indie Sleaze, 50mg of Zoloft, how having children makes you think about drugs, the comfort of watching Sportscenter, his recent Tiny Desk Concert, his favorite records as a kid, what his parents did for a living when he was growing up, some fans feel like he doesn't want to be wherever he's at, if his new record is a divorce record, when he learned how to collaborate, he's a lousy DJ, and his favorite Portuguese foods. instagram.com/pandabearofficial twitter.com/donetodeath twitter.com/themjeans howlonggone.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

Esta semana, en una nueva edición de Rebelión Sónica, los invitamos a escuchar material del nuevo y octavo disco en solitario del músico estadounidense Noah Lennox, alias Panda Bear, “Sinister Gift”. Publicado el 28 de febrero por el sello Domino, se trata del retorno como solista del integrante de Animal Collective, pues es el sucesor de “Buoys” de 2019. Según el sello, el nuevo trabajo es “otra declaración que se siente igualmente acumulativa y sin precedentes en su catálogo. Si bien sus discos en solitario han variado desde expresiones de dolor marcadamente íntimas hasta obras coloridas y electrónicas, su música nunca antes había sonado tan cálida e inmediata”. Trabajando en el estudio de su casa en Lisboa, Portugal, con su compañero de Animal Collective, Josh “Deakin” Dibb, Lennox transforma a Panda Bear en algo parecido a un conjunto de rock de la vieja escuela, tocando él mismo casi todos los instrumentos e invitando a espíritus afines al proceso, como Cindy Lee, Rivka Ravede de Spirit of the Beehive y, por primera vez en un álbum en solitario, a cada uno de sus compañeros de banda de Animal Collective. Al final del programa, viajamos al pasado en la obra de Panda Bear, para escucharlo con material de su elogiado álbum de 2007, “Person Pitch”, el tercero de su catálogo, sin contar las numerosas ediciones de Animal Collective y variadas colaboraciones. Rebelión Sónica se puedes escuchar por radio Rockaxis cada jueves a las 10 y 22 horas, con la conducción de Héctor Aravena.

Joining me on the podcast today is American musician, singer-song-writer, Noah Lennox, who records and performs music under the name, Panda BearNoah, who is the co-founder of experimental pop band Animal Collective, talks to me about his excellent new solo record, ‘Sinister Grift', which is out now on Domino records.We also discuss creatively, his musical passions and influences, his move to New York in the early the noughties and the formation of Animal Collective, plus his collaborations  with Sonic Boom from Spaceman 3 and dance music icons, Daft Punk https://pandabearofficial.com/https://www.dominomusic.com/ukPanda Bear. - Defense (Official Video)Animal Collective - My Girls (Official Video)Daft Punk - Doing It Right ft Panda Bear

Hem comen

Noah Lennox - aka Panda Bear - has long established himself as the most prominent offshoot of the erstwhile Animal Collective band. I have found recently albums - even with the (godlike) Sonic Boom co-album Reset - to be too simplistic and over acclaimed. That's half true here, where songwriting, melody and sequencing get it over the line. I do miss the wild abandon and inspiration of Person Pitch though.

La voz aniñada de Noah Lennox y la luminosidad pop que imprime en sus composiciones, escoden muchas veces el sabor amargo y angustiado de sus letras. El paso del tiempo y su reflejo en nuestros cuerpos (crecer hasta que es envejecer) tiñen 'Sinister Grift', el primer disco en solitario para Panda Bear desde 2019. Y, sin embargo, es la reivención del proyecto hacia la comunidad de una banda en la que están involucrados todos los miembros de Animal Collective, su pareja Rivka Ravede (de Spirit of The Behive) y hasta su hija. Playlist:Panda Bear - PraiseBrian D'Addario - Till the MorningHorsegirl - Well I Know You're ShyGrimes - idgafpiri & tommy - fruit machineShygirl, Club Shy, Yseult - F*MeKaitlyn Aurelia Smith - What's Between UsTwo Shell - OopsParis Texas - Twin GeekerGhouljaboy - NocallLittle Simz, Obongjayar, Moonchild Sanelly - FloodEzra Collective, M.anifest, Moonchild Sanelly - Streets is CallingEverything is Recorded, Roses Gabor, Kamashi Washington, Rickey Washington - The MeadowsFred again.., Angie McMahon - light dark lightGAZZI - me acuerdo de tiDJ Python, Isabella Lovestory - Besos RobadosJon Hopkins - RITUAL (nothing is lost)Escuchar audio

Two decades after his debut with Animal Collective, Noah Lennox (best known as Panda Bear) delivers more of the signature sound we’ve come to love via his  latest single ahead of new album Sinister Grift, “Ferry Lady.”  But don’t take our word for it, LA singer-songwriter Jessica Pratt is among the first to experience and review Panda Bear’s first album in five  years. She says: “On Sinister Grift, Panda Bear cuts a lone figure, bracing himself against the winds of fortune and calamity. Noah’s pure and poignant lamentations are less elusive this time around, as though our narrator has awoken from a sobering dream. Singing a familiar round on an imperiled path, Panda Bear presents a set of torch songs conveying hard-fought wisdom, buoyant despite the load they bear.”

'Sinister Grift', quédate con ese nombre y apunta fecha: 28 de febrero. Este será el nuevo disco en solitario de Panda Bear, el primero desde 2019. Un capítulo nuevo en la creatividad de Noah Lennox que se adelanta con un psicodélico 'Defender' que sorprende, especialmente, por su colaboración con Cindy Lee. Playlist:Oklou, underscores - harvest skyCharli xcx - Everything is romantic featuring caroline polachekGanges - TECHNO TRISTEBikôkô, Crystal Murray - LA MANOCoco & Clair Clair - ... Kate SpadePanda Bear, Cindy Lee - Defense070 Shake - Winter Baby / New Jersey BluesVampire Weekend - Capricornthe Smile - Bodies LaughingThe Cure - A Fragile ThingFour Tet - LovedKelly Lee Owens - HigherJustice, Tame Impala - Neverender (KAYTRANADA remix)Magdalena Bay - That's My FloorLa Femme - Love is OverEscuchar audio

We conclude our Panda Bear series with BUOYS, the lowkey 6th album from Noah Lennox (06:50). We talk about dad trap, autotune, process over result, and how Buoys now sounds like a detour compared to the "reset" Noah intended it to be at the time.Also discussed: our first Bonefish grill review, and the latest installment of Bonefish Recs (03:00)Floating Mountains by Soshi TakedaDysnomia by Dawn of MidiJoin our Patreon for exclusive episodes! Follow us on Instagram

On this week's Talkhouse Podcast we've got two guys who were part of monumentally influential bands in the 2000s, and who continue to make groundbreaking music today: Paul Maroon and Noah Lennox.  Maroon is behind the incredible, instantly recognizable guitar sound of The Walkmen, a band that sort of split up a decade ago but reunited just this year for what has turned into an incredibly jubilant tour. The band is currently in Europe, where they just played a show in Lennox's adopted home country of Portugal, and they'll return for a string of U.S. dates this fall, culminating in a hometown—that'd be New York—show in October. Since the Walkmen split, Maroon has mostly turned his attention to composing classical music and the occasional film score. He put out a really engaging record with the pianist Jenny Lin called 13 Short Piano Pieces, with each of those pieces inspired by and named for a different place Maroon has lived—he currently calls Seville, Spain home. Check out “El Raval” right here, and go to Paulmaroon.co for info on his solo stuff, or thewalkmen.com for tour dates. Maroon released a seven-inch recently that featured singing from his friend Noah Lennox, who's perhaps better known by the name he uses as part of Animal Collective, Panda Bear. Lennox has been part of that massively influential experimental rock band for nearly 25 years, and he's released a ton of great music both with Animal Collective and as a solo artist. His latest release, though, is a collaboration with Pete Kember, also known as Sonic Boom. Kember was a member of Spacemen 3 way back when, and he's also released incredible music as Spectrum and E.A.R. He's also earned his production stripes over the years, producing records for Beach House, MGMT, and… Panda Bear. Last year, Kember and Lennox released a collaborative album they recorded during the pandemic called Reset, and they just followed it with a dub version of the album remixed by Adrian Sherwood called Reset in Dub. Check out “Gettin' to the Point” from Reset. In this conversation, we learn that Lennox was in attendance for the first-ever Walkmen show; we hear about their adventures living in Portugal and Spain, the difference between a good show and a bad show, and whether these two are “daily guys.” Lennox also makes an accurate prediction about the NBA Finals, even though, as you'll hear, this is not a basketball podcast. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Noah Lennox and Paul Maroon for chatting. If you liked what you heard, please follow us on your favorite podcasting platform, and check out all the goodness at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Line Noise typically concerns itself with electronic music. But we couldn't resist the opportunity to have a word with two genuine musical legends. Noah Lennox, better known as Panda Bear, is an American musician, singer-songwriter, multi-instrumentalist, and co-founding member of the band Animal Collective; Pete Kember, also known as Sonic Boom, is a psychedelic pioneer, guitarist, producer and vocalist, known for his work with Spacemen 3 and Spectrum. Together, they made one of our favourite albums of 2022, with the gorgeous Reset. We met them in Barcelona, before their brilliant gig, to talk about intros, Pete's (lowbrow) love of Queen, a stage show, children, appearing on the Simpsons and working with Daft Punk.

Line Noise typically concerns itself with electronic music. But we couldn't resist the opportunity to have a word with two genuine musical legends. Noah Lennox, better known as Panda Bear, is an American musician, singer-songwriter, multi-instrumentalist, and co-founding member of the band Animal Collective; Pete Kember, also known as Sonic Boom, is a psychedelic pioneer, guitarist, producer and vocalist, known for his work with Spacemen 3 and Spectrum. Together, they made one of our favourite albums of 2022, with the gorgeous Reset. We met them in Barcelona, before their brilliant gig, to talk about intros, Pete's (lowbrow) love of Queen, a stage show, children, appearing on the Simpsons and working with Daft Punk.

00's show, by popular demand. 1. Coldplay - Don't Panic (Parlophone) 2. Modest Mouse - Gravity Rides Everything (Epic) 3. The Shins - Caring is Creepy (Sub Pop) 4. Interpol - PDA (Matador) 5. Parsley Sound - Ease Yourself and Glide (Mo' Wax Labels) 6. Broken Social Scene - Anthems for a Seventeen Year-Old Girl (Arts and Crafts) 7. The Go! Team - Ladyflash (Memphis Industries) 8. Broadcast - I Found the F (Warp)9. TV on the Radio - Wolf Like Me (Touch and Go) 10. LCD Soundsystem - Someone Great (DFA)11. MGMT - Time to Pretend (Sony) 12. Crystal Castles - Vanished (Different) 13. Atlas Sound - Walkabout (feat. Noah Lennox) [kranky] 14. Washed Out - Feel It All Around (self-release)

1. Henry Mancini - Lujon (BMG) 2. Scott Walker - Rosemary (Mercury Records) 3. Alessandro Alessandroni - Guitar Daydream 2 (Coloursound Library Edition) 4. Linda Perhacs - Hey, Who Really Cares (Geffen)5. The Durutti Column - Spent Time (London Music Stream) 6. Deux Filles - Los Estrellas (De Wolfe) 7. Cocteau Twins - Whales Tails (4AD) 8. Felt - Fortune (Cherry Red Records) 9. Blonde Redhead - Girl Boy (Numero Group)10. Jefre Cantu-Ledesma - A Song of Summer (Kemado Records) 11. Faust - Jennifer (Virgin Records) 12. Fishmans - Daydream (Universal Music) 13. HOMESHAKE - But I Know (self release) 14. Atlas Sound - Walkabout (feat. Noah Lennox) [kranky]15. Beach House - Bluebird (Sub Pop)

Entrevistem Panda Bear i Sonic Boom abans que actu

A musical collision between the Spaceman 3 legend, Sonic Boom, aka Peter Kember (getting everywhere of late) and his close friend and Animal Collective MVP, Panda Bear, aka Noah Lennox, would seem the years most tantilising collaboration. However this could not be further from a marriage between Lennox's, Person Pitch and the totally under appreciated recent Kember album, All Things Being Equal if it tried. In fact it maybe the most inconsequential album either artist has been associated with.

In keeping with their long standing partnership, Panda Bear and Sonic Boom (aka Noah Lennox and Pete Kemper) have teamed up again to create Reset, a collection of songs that started with Sonic Boom sending song length two track samples pulled from his vinyl collection to Panda Bear to write to. The result is an album that sounds like Summer with lyrical themes of hope and the need for common ground. Noah and Pete caught up with Geoff Stanfield from their homes in Portugal to discuss. Enjoy! Sponsored by McDSP https://www.mcdsp.com

Noah Lennox, also known as Panda Bear, is an American multi-instrumentalist, singer and songwriter who aside from his solowork creates and performs alongside musicians Avey Tare, Geologist and Deakin in the experimental pop band Animal Collective. The band made a name for themselves with their 2007 outing 'Strawberry Jam' and the 2009 follow-up 'Merriweather Post Pavillion', which is their most successful album to date. We spoke with Lennox about the new album 'Time Skiffs', injuring his hand, how the collective got started, his creative process, working in service of the songs, being guarded about lyrics, the song Prester John, a crossroads in the music industry, and a lot more! Interview by: Robin HignellSupport the show (https://www.patreon.com/FaceCulture)

After the success of Person Pitch, Noah Lennox took those lessons learned with him back into the studio with the rest of Animal Collective to create another touchstone record of the 2000s. This time, the melodic electronica that felt more man than machine was refined and amplified to an infectious, hypnotic, and deeply human electronic record. The record improves even more on their trademark harmonies with Noah and Avey Tare sounding better together than ever, and the lyrical themes very much a continuation of Noah's lean toward introspection in Person Pitch. One of the greatest records from the 2010s that could only have spawned from the hive mind of Animal Collective, join us as we fawn and gush over the many reasons we love this record.Tracklist: Summertime Clothes Also Frightened Daily Routine Guys Eyes No More Runnin' Brother Sport Visit tiestatea.com and use promo code NOFILLER15 for 15% off at checkout. A bold tea for a bold you. This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman.

After the success of Person Pitch, Noah Lennox took those lessons learned with him back into the studio with the rest of Animal Collective to create another touchstone record of the 2000s. This time, the melodic electronica that felt more man than machine was refined and amplified to an infectious, hypnotic, and deeply human electronic record. The record improves even more on their trademark harmonies with Noah and Avey Tare sounding better together than ever, and the lyrical themes very much a continuation of Noah's lean toward introspection in Person Pitch. One of the greatest records from the 2010s that could only have spawned from the hive mind of Animal Collective, join us as we fawn and gush over the many reasons we love this record. Tracklist: Summertime Clothes Also Frightened Daily Routine Guys Eyes No More Runnin' Brother Sport Visit tiestatea.com and use promo code NOFILLER15 for 15% off at checkout. A bold tea for a bold you. This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman. Learn more about your ad choices. Visit megaphone.fm/adchoices

After the success of Person Pitch, Noah Lennox took those lessons learned with him back into the studio with the rest of Animal Collective to create another touchstone record of the 2000s. This time, the melodic electronica that felt more man than machine was refined and amplified to an infectious, hypnotic, and deeply human electronic record. The record improves even more on their trademark harmonies with Noah and Avey Tare sounding better together than ever, and the lyrical themes very much a continuation of Noah's lean toward introspection in Person Pitch. One of the greatest records from the 2010s that could only have spawned from the hive mind of Animal Collective, join us as we fawn and gush over the many reasons we love this record.Tracklist: Summertime Clothes Also Frightened Daily Routine Guys Eyes No More Runnin' Brother Sport Visit tiestatea.com and use promo code NOFILLER15 for 15% off at checkout. A bold tea for a bold you. This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman.

With our buddy Josh joining us once again, we gush over Panda Bear's 2007 touchstone indie record Person Pitch. Trading in the usual guitar for a Roland sampler, Noah Lennox created a record made up almost entirely of samples ranging from Cat Stevens to a hooting owl. His reverb-drenched vocals, often densely layered to create harmonies on par with Beach Boys, paired perfectly with his introspective lyrical themes focused on his marriage, his newfound fatherhood, and even deeply personal stories like his reliance on anti-depressants. Person Pitch laid the foundation for countless indie bedroom poppers in the decade to come, and a sound that became the stepping stone for the chillwave movement.Tracklist: Comfy In Nautica Take Pills Bros I'm Not Gothic Voices - Rose, Liz, Printemps, Verdure Ponytail Visit tiestatea.com and use promo code NOFILLER15 for 15% off at checkout. A bold tea for a bold you. This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman.

With our buddy Josh joining us once again, we gush over Panda Bear's 2007 touchstone indie record Person Pitch. Trading in the usual guitar for a Roland sampler, Noah Lennox created a record made up almost entirely of samples ranging from Cat Stevens to a hooting owl. His reverb-drenched vocals, often densely layered to create harmonies on par with Beach Boys, paired perfectly with his introspective lyrical themes focused on his marriage, his newfound fatherhood, and even deeply personal stories like his reliance on anti-depressants. Person Pitch laid the foundation for countless indie bedroom poppers in the decade to come, and a sound that became the stepping stone for the chillwave movement.Tracklist: Comfy In Nautica Take Pills Bros I'm Not Gothic Voices - Rose, Liz, Printemps, Verdure Ponytail Visit tiestatea.com and use promo code NOFILLER15 for 15% off at checkout. A bold tea for a bold you. This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman.

With our buddy Josh joining us once again, we gush over Panda Bear's 2007 touchstone indie record Person Pitch. Trading in the usual guitar for a Roland sampler, Noah Lennox created a record made up almost entirely of samples ranging from Cat Stevens to a hooting owl. His reverb-drenched vocals, often densely layered to create harmonies on par with Beach Boys, paired perfectly with his introspective lyrical themes focused on his marriage, his newfound fatherhood, and even deeply personal stories like his reliance on anti-depressants. Person Pitch laid the foundation for countless indie bedroom poppers in the decade to come, and a sound that became the stepping stone for the chillwave movement. Tracklist: Comfy In Nautica Take Pills Bros I'm Not Gothic Voices - Rose, Liz, Printemps, Verdure Ponytail Visit tiestatea.com and use promo code NOFILLER15 for 15% off at checkout. A bold tea for a bold you. This show is part of the Pantheon Podcast network. Pantheon is a proud partner of AKG by Harman. Learn more about your ad choices. Visit megaphone.fm/adchoices

First Sean and Jamie do a roundup of the news: Donnie is back and he appears to not be dead but bisexual; Dems get the Supreme Court they deserve and Sen Mike Lee outs himself as a Bordigist? Next Sean does a non-leftcom's guide to left communism: what is this thing? What's its relation to non-left communism? Wait how can communism be not left in the first place?? With help from some history and some help from leftcom friend of the show Noah Lennox he tries to explain. Outro: Le otto ore - Canto di lotta Follow Noah Lennox @commiePandaBear Leftcom listener questions bonus will be out later this week: become a patron at www.patreon.com/theantifada

Recorded February 3, 2020 - Rudy and Flick open discussing the passing of Gang of Four guitarist Andy Gill. Then it's the second installment of "I"m Gonna Make You Love Me," where the two exchange playlists of bands and artists they want to convert each other into fans of. The featured artists are Canadian power pop band Sloan and Noah Lennox a.k.a. Panda Bear of Animal Collective.  Spotify Playlists: https://open.spotify.com/playlist/1jTNR79wLhWIyqbZfZqy6O https://open.spotify.com/playlist/0fd7BM2WqicCaIBCrjkogA

Panda Bear is musician Noah Lennox. He’s a founding member of the experimental, genre-defying band Animal Collective, and as a solo artists, he’s released six albums. In February 2019, Panda Bear released the album Buoys, and in this episode, he and his co-producer Rusty Santos break down the opening song, “Dolphin.” You’ll hear the original demo, and how they drew inspiration from music from all over the world. songexploder.net/panda-bear

Special guest Noah Lennox (the musician Panda Bear). Thugged out, orthopedic Hokas (4:30), Kawhi's New Balance ad (8:25), tragic state of the Wizards (15:22), Knicks fans are weirdly mad (32:04), Anthony Davis in New Orleans gets more complicated (51:02), All-Star Weekend in Charlotte (57:42), Giannis and Bucks fatigue (1:06:22), Linsanity in Toronto (1:13:45), Panda Bear's new album (1:20:01), Pelicans fire Dell Demps (1:23:32). Cookies is hosted by Ben Detrick, Jordan Redaelli and Andrew Kuo.

One fourth of the beloved Animal Collective, Panda Bear calls into the podcast this week, just days removed from the release of his sixth album, Buoys. In addition to discussing the record and his upcoming tour, Panda Bear (aka Noah Lennox) and host Lior Phillips discuss the very first Animal Collective tour with Black Dice, how singing in a choir as a child formed his musical mindframe, what it's like performing solo as an introvert, and how working in Animal Collective is like being on a basketball team. For information regarding your data privacy, visit acast.com/privacy

A second special episode where we pair one original song with the newer one that sampled, covered or remixed it. Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Walkabout (W/ Noah Lennox) by Atlas Sound,Noah Lennox on Logos (kranky) 4′46″ Holy Thursday by David Axelrod on Holy Thursday (Blue Note Records) 10′04″ Rabbit In Your Headlights by UNKLE,Thom Yorke on Psyence Fiction (Universal-Island Records Ltd.) 17′41″ Quiet Place by The Paragons on The Mighty Paragons Collection (Attack) 19′31″ Man Next Door by Massive Attack on Mezzanine (Circa) 26′29″ Fate by Chaka Khan on What Cha' Gonna Do For Me (Rhino/Warner Bros.) 29′43″ Music Sounds Better With You - 12" Club Mix by Stardust on Total Music: Dance Classics Vol. 1 (Thrive Records /IDJ) 34′44″ The Last Time by The Rolling Stones on Out Of Our Heads (Abkco Music & Records, Inc.) 38′16″ The Last Time by Andrew Oldham Orchestra on The Rolling Stones Songbook (Decca Music Group Ltd.) 42′01″ Bitter Sweet Symphony by The Verve on Urban Hymns (Hut) 1429′52″ Are You My Woman (Tell Me So) by The Chi-Lites on Original Brunswick Hit Recordings (Brunswick Records) 1432′45″ Crazy In Love by Beyoncé,JAY Z on Dangerously In Love (Columbia) 1437′28″ What Am I Going to Do by The Dovers on Psychedelic Singles: Hits & Misses (45 RPM Records)

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Old Panda Days (w/ Nick Krgovich) by Casiotone For The Painfully Alone on Advance Base Battery Life (Tomlab) 2′28″ Intentions by The Whitest Boy Alive on Rules (Bubbles Records) 6′00″ Walkabout (W/ Noah Lennox) by Atlas Sound,Noah Lennox on Logos (kranky) 10′01″ Cannibal Resource by Dirty Projectors on Bitte Orca (Domino Recording Co) 16′11″ Forest Eyes RBG Version by Logh on Death To My Hometown (Bad Taste Records) 20′45″ Change Of Heart by El Perro Del Mar on Love Is Not Pop (Licking Fingers) 25′28″ Aldrig ensam by Jonathan Johansson on En hand i himlen (Hybris) 32′16″ Greyest Love Of All by Taken By Trees on East Of Eden (Rough Trade) 35′27″ Future Primitive by Papercuts on You Can Have What You Want (Gnomonsong) 39′52″ Fake Blues by Real Estate on Real Estate (Real Estate The Band) 45′04″ Äppelöga by Anna Järvinen on Man var bland molnen (Häpna) 48′18″ Nobody Could Change Your Mind by Generationals on Con Law (Park The Van) 54′13″ The Sweetest Thing by Camera Obscura on My Maudlin Career (4AD) 57′15″ Den minsta av segrar by 1900 on 1900 (St4t) Check out the full archives on the website.

​Noah Lennox, aka Panda Bear of Animal Collective, joins COOKIES to discuss his beloved Washington Wizards, the Golden State Warriors' defensive dilemma, the league's growing horde of talented young big men, and being called a "psycho" while playing playground basketball in Portugal. ​

The Guests: Nikki Georgia K— website: nikkigeorgiak.com IG: nikitabananaaaa, FB:Nikki Georgia K Brian Bins— IG: BrianBins, FB: Brian Bins, Web: www.BrianBins.com, LinkedIn: Brian Bins The Books: “Spark Joy” by Marie Kondo, “Eat, Pray, Love” and “Big Magic” by Elizabeth Gilbert, “The Art of Asking” by Amanda Palmer, “The Little Prince” by Antoine de Saint-Exupéry, “The Great Gatsby” by F. Scott Fitzgerald, “Fear and Loathing in Las Vegas” by Hunter S. Thompson, “Where the Wild Things Are” by Maurice Sendak, “The Very Hungry Catapillar” by Eric Carle, “1984” by George Orwell, “Brave New World” by Aldous Huxley, “Tuck Everlasting” by Natalie Babbitt, “Drawing People” by Barbara Bradley, Frida Kahlo, “Humans of New York” by Brandon Stanton The Music: “Walkabout (w/Noah Lennox)” by Atlas Sound and Noah Lennox, “Crazy Feeling” by King Coleman Actionable Takeaway: Build a blanket fort and color in it OR create unstructured time http://www.huffingtonpost.com/2015/03/06/dangers-of-blowing-kisses_n_6810416.html Eaux Claires Music Festival http://eauxclaires.com/ Helmet Newton, Photographer #inkandworm #rfb #theMet #thelouve #beautifulclosets #jacksonpollock #dontstopdrawing #ideasarealive #nycismagical #itsnotreallywinter #subwaymusicians #subwaybreakdancers #noifellonmyface #cartherapy #marcmaron #cartherapy #picassoscows #abstractart #billmurray #saintvincent #eauxclairesfestival #whereyoufromwhatdoyoudo #brooklyn #brooklynlove #mentalillness #homeless #seeinghobosashumans #hotwaterisablessing #publicmasturbation #bedbugs #paradoxes

This week: Noah Lennox (a.k.a. Panda Bear) gives us a sporting shot… Peter the Great wages war on the hirsute… And Rico meets the baker behind some medical munchies.

(Minimal Techno)Hey all.  I just realized that Pantha du Prince and Noah Lennox (Panda Bear) released a music video to their single Stick to My Side.  It's not the greatest video. In fact I was a little disappointed, but it's not bad either. It's just... really weird. But maybe all you weirdo's out there will like it a little more.  It's a great song by Pantha du Prince, featuring Panda Bear (of Animal Collective), and the video actually does capture the essence that the song is trying to convey (I think...). Anywho. There is a bigfoot-esque character in here that seems to be like friends to this human and the human lets him stay in his house. And later he runs out and finds another monster thing and hugs it incredibly awkwardly. That sums up the video... in the snow.Support Pantha du Prince (and Noah Lennox). Buy the CD: Black Noiseor buy the vinyl: Black Noise