Podcasts about Pitchfork

New York Times bestselling author Hanif Abdurraqib spoke to me about taking a leap of faith, the tentpoles of his writing practice, and his recent NBCC award-winning THERE'S ALWAYS THIS YEAR: On Basketball and Ascension. Hanif Abdurraqib is a lauded New York Times bestselling author, recent Winner of the NBCC Award for criticism, and a finalist for the National Book Award for A Little Devil in America. He is also a poet, essayist, cultural critic, contributor for The New Yorker, and a recipient of the MacArthur Foundation “Genius” grant. His latest book, There's Always This Year: On Basketball and Ascension, was described by Publishers Weekly, in a Starred Review, as "A triumphant meditation on basketball and belonging…" and named a Best Book of the Year by The New York Times Book Review, Time, The Washington Post, NPR, The Boston Globe, Publishers Weekly, Kirkus Reviews, Book Riot, Electric Lit and many others. Steve James, director of Hoop Dreams, called it, “Mesmerizing  ... not only the most original sports book I've ever read but one of the most moving books I've ever read, period.” Hanif's first collection of essays, They Can't Kill Us Until They Kill Us, was named a book of the year by NPR, Esquire, BuzzFeed, O: The Oprah Magazine, Pitchfork, and the Chicago Tribune, among others. [Discover The Writer Files Extra: Get 'The Writer Files' Podcast Delivered Straight to Your Inbox at writerfiles.fm] [If you're a fan of The Writer Files, please click FOLLOW to automatically see new interviews. And drop us a rating or a review wherever you listen] In this file Hanif Abdurraqib and I discussed: What it's like to be on a book tour for close to a year His superpower as a highly prolific writer Quitting his 9-5 job after squirreling away money from freelancing Building his own poetry curriculum Why his writing routine hasn't changed much over the years Hot takes on the 2025 NBA Playoffs And a lot more! Show Notes: abdurraqib.com  There's Always This Year: On Basketball and Ascension by Hanif Abdurraqib (Amazon) Hanif Abdurraqib on Facebook Hanif Abdurraqib on Instagram Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to an interview with the acclaimed Gary, Indiana composer and electronic music producer Jlin. Her music has been praised by Pitchfork, NPR, Vogue, Rolling Stone and The New York Times, and she's collaborated with artists including Björk and Philip Glass.  Born Jerrilynn Patton in 1987, Jlin's bold, genre-defying work has reshaped the landscape of experimental electronic music. Her rhythmically dense and emotionally intense style emerged from footwork, a high-speed dance music rooted in the underground music culture of Chicago. But Jlin's sound evolved over time, becoming an unmistakably original voice that transcends categorization.  Jlin rose to prominence with her 2015 debut Dark Energy. The album was immediately hailed as a landmark in contemporary electronic music. Both The Quietus and The Wire named it Album of the Year, and Pitchfork included Dark Energy in its Top 20 Albums of 2015. Her follow-up album, Black Origami further solidified her status as a leading avant-garde composer. The album received almost universal acclaim, with The New York Times, Rolling Stone, NPR, and The Guardian including Black Origami in their the Best Albums of 2017 lists. Jlin's latest, album Akoma has also garnered widespread critical acclaim.  Beyond her solo releases, Jlin's influence has expanded into the worlds of dance, classical music, and performance art. She has composed for the renowned Kronos Quartet and her music has been used by choreographers including Wayne McGregor and Kyle Abraham. Despite her international recognition, Jlin has remained firmly rooted in her hometown Gary, Indiana.

Kristin Hersh of THROWING MUSES joins Rain Phoenix on LaunchLeft for a raw, unfiltered conversation about artistic integrity and the music industry's dark underbelly. Kristin reflects on her journey in the music industry, discussing her experiences with major labels and her commitment to making music that feels true to her. She shares insights into her creative process, including her approach to songwriting and production. The conversation touches on themes of authenticity, the spiritual aspects of music, and the challenges of maintaining artistic vision in a commercial industry. Kristin Hersh then launches Wallace False, who offers his unique perspective on creating original music and art. The episode provides a fascinating look into two generations of musicians who prioritize creative expression over commercial success, offering listeners a glimpse into the world of independent and experimental music-making. IN THIS EPISODE:  (00:00) Intro: Kristin Hersh joins LaunchLeft podcast (05:58) The music industry's focus on image over art (13:18) Spirituality and channeling in music creation (19:39) Exploring unconventional sounds and instruments (25:49) Leaving major labels to pursue artistic vision (32:28) Kristin on producing her own music and incorporating nature sounds (38:32) Streaming's impact on musical exploration (48:50) Wallace False is launched (53:54) Creating original sounds from basic waveforms (59:18) Finding inspiration beyond audience expectations (60:00) Wallace False's new industrial soundscape album: Signal KEY TAKEAWAYS:  Kristin has always prioritized authenticity in her music, choosing to leave major labels to maintain artistic integrity and her creative process. She believes that music is about capturing a visceral truth, not conforming to industry standards of prettiness or marketability. It's about nurturing the energetic essence of a song and letting it resonate with listeners who appreciate its rawness. Kristin strives for originality and control through her creative process. By manipulating raw sounds to craft unique compositions and avoiding conventional influences, she aims to create something entirely its own. It's important not to become complacent in any artistic lane, but to explore and experiment, allowing inspiration to guide the way. Music has a spiritual component that goes beyond just sound. It's about being a vessel for inspiration, channeling something greater than oneself. Kristin and Wyatt create music that resonates with truth, rejecting superficial standards and focusing on the deeper connection it can foster with those who truly listen. RESOURCE LINKS:  LaunchLeft Podcast Smart Link KRISTIN HERSH LINKS: https://www.kristinhersh.com/ WALLACE FALSE LINKS: https://dondekko.bandcamp.com/album/signal https://medium.com/@wyatt.true.oconnell/the-fortune-letters-bc68e47777ea BIOGRAPHIES:  KRISTIN HERSH: "One of indie rock's most fascinating figures" - The Guardian The inimitable Kristin Hersh is a musician's musician, a songwriter's songwriter, and an innovator's innovator. The Queen of Grunge's first band, Throwing Muses, began recording and playing out when they were just 14 years old and they're still going. 2020's critically acclaimed Sun Racket was hailed as a "perfect record." Hersh's refusal to participate in a corporate industry saw her leave a Warner Brothers recording contract at the top of her success in order to become listener-supported. "Music is humanist and so are we," as she puts it. Wildly prolific, she has released more than 20 albums - solo, with Throwing Muses, and her noise rock band 50 Foot Wave ("A group that runs laps around most rock bands" said Pitchfork, on 2022's Black Pearl). She's also a celebrated author: Rolling Stone named her first book, Rat Girl (Penguin) one of the ten best rock memoirs of all time. NPR said of her second book, Don't Suck, Don't Die, "Not only one of the best books of the year, but one of the most beautiful rock memoirs ever written." Her third book, the game-changing Seeing Sideways, pushes the envelope of creative non-fiction while telling the story of raising her 4 sons on a tour bus. Hersh lives in New Orleans and New England. WALLACE FALSE: Wyatt True, sometimes known as Wallace False, is a writer, animator, and musician. True was born in Rhode Island and raised just about everywhere else. He now resides in the Deep South. The common thread in True's work is a grotesque dismantling of any and all familiar structures. Guitars twang sour, sorrowful sonatas, protagonists are lost amongst melting walls and rooms that time forgot. He is mostly docile and will only bite if cornered.   LaunchLeft, Music, Live Music, Music Inspiration, Musician Stories, Kristin Hersh, THROWING MUSES, Wallace False, music industry critique, artistic integrity, independent music, creative process, songwriting, music production, alternative rock, female musicians, Warner Brothers, music marketing, artistic authenticity, music streaming, musical literacy, studio recording techniques, sound experimentation, music collaboration, music touring, European music scene, music inspiration, music and spirituality, artistic personality, experimental music, DIY music production, music ownership

Avery Adams is a producer, musician, and chef, and Kevin W. Smith is a writer and radio host. We talk about Bon Iver's fourth album, I,i (Jagjaguar), released on August 9, 2019, an 8.8 Best New Music on Pitchfork. Also: Music writing circa 2007, For Emma vinyl sales, album “branding,” Vernon's non-falsetto register, Naeem drums, sliding on cardboard, no click, Texas, Hornsby, Beck, this album's got moments, “Hey, Ma,” bass lines, Aaron Rogers and Justin Vernon interview circa 2019, The Bee Gees, where this album stands against the discography, Radiohead, Animal Collective, Of Montreal, and indulging creative impulses. FULL EPISODE W/ PRODUCER CHRIS MESSINA ON PATREONAVERY matiakitchen.com instagram.com/rarebirdcommittee/instagram.com/realfreaque/https://www.instagram.com/nautilusenclave/KEVINhttps://kmre.org/island-time/https://keviniswriting.com/

This week on [edit] radio, Ben Marwood hosts another helping of perfectly curated new music for you to fall in love with. Artist “Track” [Album] [edit] radio podcast 772 – Right Click and Save As to Download The post Podcast 772 | Featuring Aesop Rock, Piebald & Laura Jane Grace appeared first on .

One-on-one pod today, Chris is in Atlanta, and Jason is home in Glendale. We chat about TJ's time at the Just Like Heaven festival, credential distribution, Slayer roadcases, melting electronics, Cento Raw Bar, Crunch Master crackers, Kanye's HH, fake Pitchfork scores, Keith McNally's memoir, a rainy walk of shame for Chris, intersexual marriage, and TJ has yet another way to save the crumbling film industry. twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

"I'm now way more confused than I was going in!"On the show this week:00:00:46 NewsTennis attack Pitchfork reviews00:12:10 The Scholars by Car Seat Headrest00:51:48 Upcoming releasesAlbum Rankings:Great Grandpa - Patience, MoonbeamThe Weather Station - HumanhoodSquid - CowardsBlack Country New Road - Forever HowlongJapanese Breakfast - For Melancholy Brunettes (& sad women)Nazar - DemilitarizeAnxious - BambiBarker - Stochastic DriftJulien Baker & TORRES - Send A Prayer My WayCourting - Lust for Life, Or: ‘How To Thread The Needle And Come Out The Other Side To Tell The Story'Om Unit - Acid Dub Studies IIIZement - PassagenFlipturn - Burnout DaysSASAMI - Blood On the Silver ScreenFreckle - FreckleZach Phillips - True MusicEthel Cain - Perverts

On this week’s episode of [edit] radio, Kev Lawson and Jenessa Williams talk about recording artists who know when to stay in their lane, pop stars that deserve the benefit of the doubt before their new song is criticised, spending time in New Orleans and more. Artist “Track” [Album] [edit] radio podcast 771 – Right... The post Podcast 771 | Featuring Career Women, Lorde & Nyah Grace appeared first on .

Ian Grant is the host of the Jokermen podcast. We discuss Bon Iver's 2016 record 22, a Million (Jagjaguar). After dipping into the 9.0 Pitchfork review, we talk about a For Emma sunrise show at the Hollywood Forever Cemetery, having his mind blown by this record in impact (and me ignoring it) in 2016, that year's prez election, the OP-1 synth, “It might be over soon,” Kanye briefly, Stevie Nicks singing “Wild Heart," listening Radiohead and Bon Iver while flying, “Staying at the Ace Hotel,” don't trust Spot*fy lyrics, “the days have no numbers,” saying these song titles out loud, Taylor in C0vid, and Jokermen's Beach Boys journey.THIS SHOW ON PATREONMe:⁠x.com/routinelayup⁠bsky.app/profile/routinelayup.bsky.social⁠Ian:https://bsky.app/profile/ianjgrant.comx.com/JokermenPodcastinstagram.com/jokermenpodcast

Valerie June is a Grammy-nominated singer/songwriter whose music has been praised by Pitchfork, Rolling Stone, The New Yorker, NPR, and Bob Dylan himself (who is a self-proclaimed fan). She has performed with John Prine, Norah Jones, Booker T. Jones, Robert Plant, Meshell Ndegeocello, Dave Matthews, Angelique Kidjo, Willie Nelson, Brandi Carlile, and Elvis Costello, written books of poetry and on art, and is a certified yoga and mindfulness instructor. We talk to Valerie about intention setting and the law of attraction, learning to live with chronic illness, testing different approaches and your creative limits, manifesting, rituals and routines to get ready to be present for people, and a whole lot more.Get more access and support this show by subscribing to our Patreon, right here.Links:Valerie JuneEp 39 - Joe HenryEp 17 - Elizabeth Cook'The Artist's Way' Elizabeth CottonMississippi John HurtSkip JamesCarla ThomasClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

It’s the fifth podcast of the month here at [edit] radio, and that means our founder, Kev Lawson, gets a whole show to himself to share a hand-curated set of new songs and artists for you to enjoy. Artist “Track” [Album] [edit] radio podcast 770 – Right Click and Save As to Download The post Podcast 770 | Featuring Greet Death, Freckle & feeble little horse appeared first on .

Despite TikTok defining this decade's music landscape, the app hasn't spawned a bonafide pop superstar – yet. 24-year-old Addison Rae is trying to be the first. She's already had cosigns from Arca, Charli XCX, and Benny Blanco; critical acclaim from outlets like Pitchfork, Rolling Stone, and Elle; and is cultivating a fervent fanbase with a slew of breathy, ethereal, and inspiration-laden singles. But how does one translate TikTok celebrity into pop success? On this episode of Switched On Pop, Reanna, Nate, and Charlie put their "Headphones On" to understand how one of the biggest Gen-Z celebrities is trying to parlay her allure into pop princess-dom. Songs discussed: Addison Rae – Diet Pepsi Addison Rae – Aquamarine Addison Rae – High Fashion Addison Rae – Headphones On Addison Rae – Obsessed Charlie Puth – The Way I Am Michael Jackson – Smooth Criminal Addison Rae – I got it bad Addison Rae – Nothing On (But The Radio) Addison Rae – it could've been u Addison Rae – 2 die 4 (feat. Charli XCX) Charli XCX, Addison Rae, A. G. Cook – Von dutch a. g. remix Lana Del Rey – Blue Jeans Lana Del Rey – Cherry Lana Del Rey – Diet Mountain Dew Lana Del Rey – Bartender Lana Del Rey – Cola Madonna – Nothing Really Matters Selena Gomez, A$AP Rocky – Good For You Edie Brickell & New Bohemians – What I Am Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ned Raggett joins us to close out our coverage of the second semi-final for Eurovision 2025. This week, we approach the entries from Australia, Serbia, Denmark, Austria, Israel, and Georgia. Ned Raggett Ned Raggett writes a lot, is a denizen of social media (https://bsky.app/profile/nedraggett.bsky.social), and more things besides. He has written for Pitchfork, the Guardian, The Quietus, Rolling Stone, The Wire, Shfl, Bandcamp Daily, Freaky Trigger, OC Weekly, Nashville Scene, Seattle Weekly, SF Weekly, SF Chronicle, KQED Arts, Vice, Careless Talk Costs Lives, Plan B, Loose Lips Sink Ships, FACT, Red Bull Music Academy, Fake Jazz and probably more than a few things that keep slipping his mind. Mélange Summary Australia - Go-Jo - "Milkshake Man" (1:34) Serbia - Princ - "Mila" (11:01) Denmark - Sissal - "Hallucination" (17:43) Austria - JJ - "Wasted Love" (26:10) Israel - Yuval Raphael - "New Day Will Rise" (39:44) Georgia - Mariam Shengelia - "Freedom" (42:06) Final Thoughts (50:24) Subscribe The EuroWhat? Podcast is available wherever you get your podcasts. Find your podcast app to subscribe here (https://www.eurowhat.com/subscribe). Comments, questions, and episode topic suggestions are always welcome. You can shoot us an email (mailto:eurowhatpodcast@gmail.com) or reach out on Bluesky @eurowhat.bsky.social (https://bsky.app/profile/eurowhat.bsky.social). Basel 2025 Keep up with Eurovision selection season on our Basel 2025 page (https://www.eurowhat.com/2025-basel)! We have a calendar with links to livestreams, details about entries as their selected, plus our Spotify playlists with every song we can find that is trying to get the Eurovision stage. Join the EuroWhat AV Club! If you would like to help financially support the show, we are hosting the EuroWhat AV Club over on Patreon! We have a slew of bonus episodes with deep dives on Eurovision-adjacent topics. Special Guest: Ned Raggett.

Merriam-Webster's Word of the Day for April 24, 2025 is: ostensible • ah-STEN-suh-bul • adjective Ostensible is used to describe something that seems or is said to be true or real, but is possibly not true or real. In other words, it is plausible rather than demonstrably true or real. // The ostensible purpose of a filibuster is to extend debate, but in reality it is used to delay or prevent action. See the entry > Examples: “No drums, no bass, no conventional song structures: Hosianna Mantra was a 40-minute contemplation of the cosmos and cosmic love, couched in words and sounds that explicitly linked it to humanity's grandest and most consistent way of considering meaning, religion. The ostensible polytheism conveyed by the name and the concept were only ways to realize how little we actually know, and how much we wager through mere survival.” — Grayson Haver Currin, Pitchfork, 19 Jan. 2025 Did you know? British philosopher and economist Jeremy Bentham once wrote to Indian religious leader Ram Mohan Roy asking him to “send me two letters—one confidential, another ostensible.” By ostensible he meant that, unlike the confidential letter, the latter was intended to be shown to people other than Bentham himself. This sense of ostensible shows clearly the influence of the word's Latin ancestor, the verb ostendere, meaning “to hold out for inspection,” “to show,” “to make clear by one's actions,” and “to demonstrate.” Ostensible is still used today as it is in Bentham's letter, but it is much more likely to suggest a discrepancy between a declared or implied aim or reason (i.e., the aim or reason that someone displays or “shows” to others) and the true one. For example, someone might give “seeing an old friend” as their ostensible reason for planning a trip when in reality they are planning on spending most of their time relaxing on the beach.

This week on [edit] radio, Barry Dolan takes you on a late-night journey into the heavier side of the new music landscape as he delivers another expertly curated show for your enjoyment. Artist “Track” [Album] [edit] radio podcast 769 – Right Click and Save As to Download The post Podcast 769 | Featuring HLLLYH, Farewell Sons, and Deady appeared first on .

Mark Richardson is former Editor in Chief at Pitchfork and current Rock and Pop Critic at the Wall Street Journal. We talk about the 2011 album Bon Iver, Bon Iver, for which Mark wrote the Pitchfork review (9.5). We talk about the anticipation around this record, fusing adult-contemporary and the avant-garde, Animal Collective, Bonnie Raitt, 80s R&B, sincerity vs. irony, is this “sad” music?, a careful use of arrangement and dynamics, Heath Ledger, Shakespearian verse, “Holocene,” the albums' sequencing, the midwestern-ness of it all, Kanye West, commas in the album titles, Rubber Soul/Revolver, we bow down to “Beth/Rest,” a bit of SABLE, fABLE, and Mark tells a story about how this record could have gotten a 10. Me:⁠x.com/routinelayup⁠bsky.app/profile/routinelayup.bsky.social⁠Mark:x.com/MarkRichardsonbsky.app/profile/markrichardson.bsky.socialhttps://markrichardson.org/

Our favorite group of boss babes returned from space this week, and the internet had thoughts! Jodi and Nora start with some rapid-fire micro-obsessions, including pop culture anniversaries, a fun week in sports (shout-out to the WNBA draft and the Masters), and the shocking reveal that Nurse Jesse from 'The Pitt' used to drum for Rooney (1:40). Then, Jodi and Nora touch on the unhinged Pitchfork reviews coming out of Coachella's first weekend (27:16). Then, the ladies go full galaxy brain over our cringe space girls—why did Gayle King look so miserable? Like Katy Perry theorized, did this space mission, in fact, save the Earth? (37:10) Finally, Jodi and Nora preview a messy and dramatic summer TV slate—from 'And Just Like That ...' to 'The Gilded Age' to 'The Valley' to 'The Rehearsal' to 'The Morning Show'—before sharing their personal obsessions for the week. (1:05:55)  Email us with your latest obsessions at wereobsessedpod@gmail.com! Hosts: Jodi Walker and Nora Princiotti Producers: Devon Baroldi, Sasha Ashall, and Belle Roman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Moon King is a Toronto based musician, producer and DJ who's most recent EP 'Roses' was released last year on Arbutus Records. Moon King sat down with us to discuss knowing each other for 20 years, our high school bands, working as a session drummer, the Rosedale music program, Spiral Beach, the golden age of Toronto DIY, Montreal overshadowing Toronto in the 2010s, The House of Everlasting Superjoy, Sterling gentrification, the $1 Megabus as a connector for DIY scenes, 64 Augusta, The White House, Phedre, covering The Beastie Boys, Shae Stadium, Silent Barn, Andrew WK, Torn Curtain, when Moon King was a band, playing in an early version of DIIV, the tunnel between 285 Kent and Glasslands, living in Detroit, Doldrums, The Ward, Detroits influence on his later music, Ryan Spencer, learning to DJ with 2lanes, the blog era, getting a bad Pitchfork review, the death of music media and more!Moon KingJosh McIntyreNick Marian----COLD PODSign up below to access all episodes:https://www.patreon.com/c/coldpod

This week on [edit] radio, Tom Crook and Ben Smith return to host as they share new music, new stories and this month’s Top Of The Pops Cover. Artist – Track [Album] [edit] radio podcast 768 – Right Click and Save As to Download The post Podcast 768 | Featuring Meagre Martin, Lawn Chair & Stereolab appeared first on .

Amy is joined by author Kathy Iandoli to discuss her book, God Save the Queens: The Essential History of Women in Hip-Hop, exploring the incredible history of female pioneers in hip-hop history from old school crews like The Mercedes Ladies to contemporary superstars like Lil' Kim.Donate to Breaking Down PatriarchyKathy Iandoli is a critically acclaimed journalist, author, podcaster, media coach, and documentarian. She has nearly 25 years experience working in the music industry—from media, to publicity, radio, and artist management. Her first book, God Save The Queens: The Essential History of Women In Hip-Hop was named an NPR Best Book Of the Year. She is the author of the biography Baby Girl: Better Known As Aaliyah, as well as the co-author of rapper, Lil' Kim's memoir, The Queen Bee. Kathy has written about music and gender for two decades, with bylines in VIBE, The Source, XXL, Village Voice, Rolling Stone, Billboard, Pitchfork, BUST, Teen Vogue, PAPER, Playboy, i-D, Cosmopolitan, Maxim, The Guardian, VICE, and many others. Kathy was a professor-in-residence of Music Business at NYU for 7 years as well as an alum of Steinhardt's Music Business Graduate Program and has served as a pundit (television, radio, and panels) for discussions on hip-hop and gender.

Linktree: https://linktr.ee/AnalyticJoin Analytic Dreamz in this Notorious Mass Effect segment diving into Bon Iver's evolution and latest release. Founded in 2006 by Justin Vernon, Bon Iver blends indie folk with experimental and ambient sounds. From the raw emotion of For Emma, Forever Ago to the Grammy-winning Bon Iver, their journey continues with the 2024 SABLE, EP. Explore “There's a Rhythm,” a haunting track with sparse acoustics and introspective lyrics, earning praise from Pitchfork and Rolling Stone. Analytic Dreamz unpacks its chart performance, streaming stats, and cultural resonance, including 1.9M Spotify streams and a No. 1 spot on Billboard's Top Alternative Albums.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On today's episode, I talk to cartoonist Anders Nilsen. Growing up between Minneapolis and the mountains of Northern New Hampshire, Anders is the artist and author of ten books including Big Questions, The End, and Poetry is Useless. His work has been featured in the New York Times, Poetry Magazine, Kramer's Ergot, Pitchfork, The New Yorker and elsewhere. His comics have been translated widely overseas and his painting and drawing have been exhibited internationally. Anders' work has received three Ignatz awards as well as the Lynd Ward Prize for the Graphic Novel and Big Questions was listed as a New York Times Notable Book in 2011. His most recent work Tongues vol. 1 was just published by Pantheon and like everything else he does, it is wonderful! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

Join me and special guest billy woods for the eighth iteration of Reel Talk, a Reel Notes movie night, on Saturday, May 10 at LoudmouthBK. We'll be screening the 1997 psychological horror film Cure and talking about his latest album, Golliwog. Tickets and more info here.  If you'd like to see full video of this and other episodes, join the Reel Notes Patreon at the Homie ($5/month) tier or higher. You also get early access to episodes, an invite to our Discord server, access to the Reel Talk archives, and more!My guest this week is Detroit rapper, producer, engineer, and Bruiser Brigade member J.U.S. We spoke about The Electric State, the use of AI in music and film, Friday, Batman: The Animated Series, coming up in the Detroit rap scene, meeting Danny Brown and joining the Bruiser Brigade, and the creative process behind his last two projects—3rd Shift, produced entirely by Squadda B, and Lord of the Streams part 2: Curse of the Castle. Come fuck with us.3rd Shift and Lord of the Streams part 2 are available wherever music is sold, streamed, or stolen. Consider copping Lord of the Streams part 2 directly via Bandcamp. Follow J.U.S. on Instagram (@j_u_s_) and Twitter (@i_am_J_U_S).Read Alphonse Pierre's profile of J.U.S., which is one-third of a larger piece on the current Michigan rap landscape, at Pitchfork. My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.Reel Notes stands in solidarity with the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Palestine Children's Relief Fund,  The Palestinian Youth Movement, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti.  For information about contacting your representatives to demand a ceasefire, finding protests, and other tools, check out CeasefireToday!Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), Bluesky (@cinemasai.bsky.social), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped into all things Dylan Green.    Support the show

This week on [edit] radio, an exhausted Ben Marwood drags himself from a hectic work week and looks for songs by turning over the rocks in his garden. He found twelve. Here they are. Artist “Track” Album [edit] radio podcast 767 – Right Click and Save As to Download The post Podcast 767 | Featuring Pup, Loretta Lynn & The Bug Club appeared first on .

Jake Lenderman plays and records under the name MJ Lenderman. He put out his first album in 2019. In addition to his solo work, he's been a member of the band Wednesday, and he's also featured on the Waxahatchee hit song “Right Back to It." In September 2024, the fourth MJ Lenderman album came out. It's called Manning Fireworks. The New Yorker named it the best album of the year, and Stereogum, Rolling Stone and Pitchfork all put it in their top ten. For this episode, I talked to Jake about one of the songs from that album, called “You Don't Know the Shape I'm In.” The song itself took shape in a few different ways. Coming up, you'll hear the way the song started as a demo, and then how that got fleshed out, and then how it got rebuilt, and then how Jake completely reimagined the whole thing.For more info, visit songexploder.net/mj-lenderman.

“Eternal Sunshine,” Ariana Grande's seventh studio album, released on March 8, 2024, via Republic Records, marks a triumphant return for the pop icon after a three-year hiatus following 2020's “Positions.” This 13-track, 35-minute project, titled after the 2004 film “Eternal Sunshine of the Spotless Mind,” is a loosely conceptual exploration of love, loss, and self-discovery, blending vulnerability with theatrical flair. Crafted with collaborators like Max Martin, Ilya Salmanzadeh, and Oscar Görres, the album fuses pop and R&B with dance, synth-pop, and house influences, characterized by mid-tempo beats, subtle guitar riffs, and lush string arrangements. Grande has called it her most personal work, inspired by her divorce from Dalton Gomez and her romance with “Wicked” co-star Ethan Slater, yet it sidesteps tabloid fodder for a broader emotional narrative.The album opens with “Intro (End of the World),” a delicate query about love's endurance, setting a reflective tone. Lead single “Yes, And?”—a #1 Billboard Hot 100 hit—channels Madonna's “Vogue” with defiant house beats, addressing public scrutiny with a cheeky shrug. “We Can't Be Friends (Wait for Your Love),” another chart-topper, pairs a Robyn-esque dance-pop pulse with Grande's aching vocals, its video nodding to the film's memory-erasing premise. “The Boy Is Mine,” reimagining Brandy and Monica's classic, became a TikTok sensation, later earning a remix with the duo. Tracks like “Don't Wanna Break Up Again” and “True Story” weave R&B melancholy with sly humor, while “Supernatural” and “Imperfect for You” showcase her vocal restraint and harmonic finesse. The interlude “Saturn Returns,” sampling astrologer Diana Garland, ties the album to Grande's late-20s reckoning, fading into the title track's wistful acceptance of past pain.Critics praised “Eternal Sunshine” for its emotional depth and sonic cohesion, with Pitchfork noting its “restrained yet generous” spirit and Rolling Stone calling it a “victory lap with scars.” It debuted at #1 on the Billboard 200, her sixth chart-topper, and snagged three Grammy nods, including Best Pop Vocal Album. Expanded editions followed: a “Slightly Deluxe” version on March 10, 2024, added remixes, while “Eternal Sunshine Deluxe: Brighter Days Ahead,” released March 28, 2025, with a short film, introduced six new tracks like “Twilight Zone,” deepening the breakup saga. Filmed during the 2023 SAG strike, the album reflects Grande's “Wicked” downtime, balancing her Glinda role with raw artistry. Closing with “Ordinary Things,” featuring her grandmother Nonna's sage advice, it's a tender cap to a journey of heartbreak and hope.

On this week’s episode, Jenessa Williams and Kev Lawson talk about cup final wins, and overdose on their fav new K-pop before delving into the indie bands who are currently floating their boat. Artist “Track” [Album] [edit] radio podcast 766 – Right Click and Save As to Download The post Podcast 766 | Featuring sleepazoid, Hearts2Hearts & HAIM appeared first on .

“More Deep Thoughts,” the eighth studio album by Chicago rapper Lil Durk, born Durk Derrick Banks, arrived on March 21, 2025, through Alamo Records and Only The Family (OTF), cementing his reign as a drill music titan. Spanning 22 tracks and 63 minutes, this follow-up to 2022's “7220” and its 2023 deluxe, “Almost Healed,” dives deeper into Durk's duality—street-hardened grit meets vulnerable reflection—while showcasing his evolution as a melodic storyteller. Released amid a banner year for the 32-year-old, who saw his Smurkchella festival sell out Chicago's United Center in February 2025, the album reflects both personal triumph and lingering pain, underscored by his ongoing legal battles and the loss of peers like King Von.The album opens with “Turn Up a Notch,” a menacing banger produced by Brizzy on Da Beat and Noc, where Durk's Auto-Tuned flow snarls over eerie keys and thumping 808s, signaling his intent to dominate. Lead single “Monitoring Me,” dropped in October 2024, blends haunting piano with boasts of resilience, peaking at #12 on the Billboard Hot 100 and setting the tone for a project heavy on introspection. Collaborations shine bright: Drake trades verses on the syrupy “Discontinuing Wockhardt,” 21 Savage snarls through “Internet Trolls,” and Future's woozy croon elevates “Late Checkout.” Rising stars like GloRilla and Lil Baby add fire to “Oprah's Bank Account” and “Went Hollywood for a Year,” respectively, while a posthumous King Von feature on “Same Me” delivers a gut punch of nostalgia.Production, helmed by Durk's go-to crew—Touch of Trent, Chopsquad DJ, and Noc—leans into drill's signature sound but softens it with melodic flourishes, a nod to his crossover appeal. Tracks like “Newsroom” and “Stomach Growling” tackle betrayal and hunger, both literal and figurative, with Durk lamenting lost friends and fake love. X posts from @LilDurkDaily praised its emotional heft, with one fan noting, “Durk really poured his soul into this, you can hear the growth.” The album's centerpiece, “Old Days,” a February 2025 loosie turned fan favorite, mourns his pre-fame simplicity over a soulful sample, earning comparisons to “What Happened to Virgil” for its raw honesty.“More Deep Thoughts” isn't without flaws—its 22-track length drags at times, and some cuts like “Bad Guy” feel formulaic. Yet, its highs are undeniable. Thematically, it wrestles with Durk's O Block roots, his role as a father of seven, and the weight of surviving a war-torn scene, all while dodging a 2024 murder-for-hire charge tied to a 2022 L.A. shooting. Rolling Stone gave it 4 stars, calling it “a victory lap with scars,” while Pitchfork lauded its “cinematic scope.” Debuting at #1 on the Billboard 200 with 185,000 units, it's his third chart-topper, proving his commercial clout.As of March 27, 2025, with Durk free on bond and teasing a deluxe via X, “More Deep Thoughts” stands as a testament to his staying power—a bruised, defiant diary of a drill king still fighting to heal.

Sophie Kemp is a writer from New York. Her buzzing debut novel, Padadise Logic, is out today. We chat about sunburn treatments, Chris got to wear a nametag around Michael Bloomberg, guys playing Spike Ball at the beach, Russian propaganda, the cover of her book could be considered misleading, the ins and outs of Brooklyn co-ops, she found The Row trousers for $50 at Beacons, showing her Nympho Sex Memoir to her dad, stand up comedy vs. poetry slams at Burger King, its hot when a guy smokes crack, a breaking inside scoop about Michelle Obama's alleged new trade, we wager if her cat has a usual name or not, she is also a teacher at Columbia, her past career reviewing 30 records for Pitchfork a year, and at school she was bullied by the other kids who got bullied. instagram.com/sophiefkemp twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Critically-acclaimed composer and saxophonist Darius Jones’s playing has been described using adjectives such as “fearless,” “riveting” and “breath-taking” from publications ranging from Pitchfork, to The Wire, to the New York Times, and has received superlatives from many other publications, as well. Currently an Assistant Professor of Music at Wesleyan University, Jones has previously been awarded the Van Lier Fellowship, Jerome Foundation Artist-in-Residence and commission, Western Front residency and commission, French-American Jazz Exchange Award, Robert D. Bielecki Foundation Award, and Fromm Music Foundation commission from Harvard University. Hear how music by Kim Burrell, Max Roach, and MF Doom helped form his artistic viewpoint. His newest album–Legend of e’Boi (The Hypervigilant Eye)--was released in December of 2024.See omnystudio.com/listener for privacy information.

Grab your full moon pair and beat the robot in an all new LIVE! This week the Boiz are throwing controversial opinions around and they're ready for the pitchforks to come for them. Pat is a soda whore. Matt is talking politics. Elephants are going homeless. Plus, is Gatorland too expensive? Can the couch belt be saved? Why does Pat think Matt should have a sex change? All that and a smoking hot batman take and it all happens LIVE!

“More Deep Thoughts,” the eighth studio album by Chicago rapper Lil Durk, born Durk Derrick Banks, arrived on March 21, 2025, through Alamo Records and Only The Family (OTF), cementing his reign as a drill music titan. Spanning 22 tracks and 63 minutes, this follow-up to 2022's “7220” and its 2023 deluxe, “Almost Healed,” dives deeper into Durk's duality—street-hardened grit meets vulnerable reflection—while showcasing his evolution as a melodic storyteller. Released amid a banner year for the 32-year-old, who saw his Smurkchella festival sell out Chicago's United Center in February 2025, the album reflects both personal triumph and lingering pain, underscored by his ongoing legal battles and the loss of peers like King Von.The album opens with “Turn Up a Notch,” a menacing banger produced by Brizzy on Da Beat and Noc, where Durk's Auto-Tuned flow snarls over eerie keys and thumping 808s, signaling his intent to dominate. Lead single “Monitoring Me,” dropped in October 2024, blends haunting piano with boasts of resilience, peaking at #12 on the Billboard Hot 100 and setting the tone for a project heavy on introspection. Collaborations shine bright: Drake trades verses on the syrupy “Discontinuing Wockhardt,” 21 Savage snarls through “Internet Trolls,” and Future's woozy croon elevates “Late Checkout.” Rising stars like GloRilla and Lil Baby add fire to “Oprah's Bank Account” and “Went Hollywood for a Year,” respectively, while a posthumous King Von feature on “Same Me” delivers a gut punch of nostalgia.Production, helmed by Durk's go-to crew—Touch of Trent, Chopsquad DJ, and Noc—leans into drill's signature sound but softens it with melodic flourishes, a nod to his crossover appeal. Tracks like “Newsroom” and “Stomach Growling” tackle betrayal and hunger, both literal and figurative, with Durk lamenting lost friends and fake love. X posts from @LilDurkDaily praised its emotional heft, with one fan noting, “Durk really poured his soul into this, you can hear the growth.” The album's centerpiece, “Old Days,” a February 2025 loosie turned fan favorite, mourns his pre-fame simplicity over a soulful sample, earning comparisons to “What Happened to Virgil” for its raw honesty.“More Deep Thoughts” isn't without flaws—its 22-track length drags at times, and some cuts like “Bad Guy” feel formulaic. Yet, its highs are undeniable. Thematically, it wrestles with Durk's O Block roots, his role as a father of seven, and the weight of surviving a war-torn scene, all while dodging a 2024 murder-for-hire charge tied to a 2022 L.A. shooting. Rolling Stone gave it 4 stars, calling it “a victory lap with scars,” while Pitchfork lauded its “cinematic scope.” Debuting at #1 on the Billboard 200 with 185,000 units, it's his third chart-topper, proving his commercial clout.As of March 27, 2025, with Durk free on bond and teasing a deluxe via X, “More Deep Thoughts” stands as a testament to his staying power—a bruised, defiant diary of a drill king still fighting to heal.

“I Am Music,” the third studio album by American rapper Playboi Carti, dropped on March 14, 2025, through AWGE and Interscope Records, marking his first full-length release in over four years since the groundbreaking “Whole Lotta Red” in 2020. This 30-track opus, originally teased under the title “Narcissist” before evolving into “Music” and finally “I Am Music,” arrives after a torturous gestation period that tested the patience of Carti's fervent fanbase. Spanning 77 minutes, the album is a sprawling testament to his enigmatic persona, blending trap, punk, and experimental rap into a chaotic yet captivating sonic tapestry. Featuring an all-star lineup of collaborators—Travis Scott, Kendrick Lamar, The Weeknd, Future, Lil Uzi Vert, Skepta, Jhené Aiko, Ty Dolla Sign, and Young Thug—“I Am Music” showcases Carti's ability to command a cultural moment, even amidst a rollout plagued by delays, leaks, and unfulfilled promises.The album's production, helmed primarily by Ojivolta, Cardo, and F1lthy, with contributions from heavyweights like Kanye West, Metro Boomin, and Mike Dean, oscillates between glitchy synths, booming trap drums, and atmospheric flourishes. Tracks like “Evil J0rdan” and “HBA” (formerly “H00dByAir”), released as standalone singles in 2024, anchor the project with their hypnotic beats and Carti's signature vocal contortions—ranging from guttural growls to high-pitched shrieks. The inclusion of DJ Swamp Izzo's bombastic interludes ties the album to Atlanta's mixtape heritage, lending a gritty, street-level authenticity to its futuristic sound. Standouts like “Mojo Jojo,” with Kendrick Lamar's playful ad-libs, and “Rather Lie,” elevated by The Weeknd's silky croon, highlight the album's versatility, while “Like Weezy” nods to Lil Wayne—whose phrase “I Am Music” Carti borrows—with a Rich Kidz sample that bridges past and present.“I Am Music” is as much a vibe as it is a statement, reflecting Carti's evolution from SoundCloud darling to a generational pacesetter. Its rollout began in earnest with cryptic Instagram posts in December 2023, including the tagline “I am music” and Pharrell's co-sign, “Prepare.” What followed was a barrage of YouTube and Instagram exclusives—“2024,” “Backr00ms,” “All Red”—that fueled anticipation while frustrating fans with their streaming absence. Recorded in eclectic locales, including a Paris cave studio for three months, as Carti revealed in a 2023 Numéro Berlin interview, the album channels themes of love, sex, drugs, and personal turmoil, with hints of bipolar struggles and rehab musings teased in his 2022 XXL interview. Yet, lyrically, it leans more into braggadocio and hedonism than introspection, a choice that critics argue limits its depth.Reception has been polarized but largely positive, with Pitchfork calling it a “dizzying, vibes-driven flood,” and The Guardian praising Carti's “mystical vocal range.” Its 30-track length—bloated to some, a feast to others—mirrors the excess of his persona, though tracks like “OPM Babi” and “Twin Trim” (a Uzi solo cut) feel like filler. The album debuted at #1 on the Billboard 200, moving 298,000 units, cementing Carti's commercial clout. Still, its messy release—delayed from midnight to dawn on March 14 amid sample clearance woes—mirrors its unpolished edges, with some accusing Carti of coasting on aura over substance. Regardless, “I Am Music” reaffirms his dominance in the rage-rap lineage he pioneered, a chaotic masterpiece that thrives on its contradictions.

This episode of Across The Margin : The Podcast features an interview with Erin Osmon, an award-winning, Los Angeles-based music journalist, critic, and author. She's written long-form album notes for archival releases on Blondie, Hüsker Dü, Townes Van Zandt, Sparklehorse, and many others. A veteran of Chicago newsrooms, her work appears in Rolling Stone, LA Times, New York Times, Washington Post, and other publications of record. She is part-time faculty at USC's Annenberg School of journalism. Her new book, about heartland rock in the 1980s, will be published by W.W. Norton in 2026. Her first book, Jason Molina: Riding with the Ghost — the focus of this episode — was published in 2017 and named a Best Music Book of the year by Pitchfork. Her book about John Prine's landmark debut album was published by Bloomsbury's 33 1/3 series. In Jason Molina: Riding with the Ghost, Erin presents a detailed, human account of the Rust Belt–born musician Jason Molina — a visionary, prolific, and at times cantankerous singer-songwriter with an autodidactic style that captivated his devoted fans. It details Molina's personal trials and triumphs and reveals for the first time the true story of his last months and works. Offering unfettered access to the mind and artistry of Molina through exclusive interviews with family, friends, and collaborators, the book also explores the Midwest music underground and the development of Bloomington, Indiana–based label Secretly Canadian. As the first authorized and detailed account of this prolific songwriter and self-mythologizer, Riding with the Ghost provides readers with unparalleled insight into Molina's tormented life and the fascinating Midwest musical underground that birthed him. In this episode host Michael Shields and Erin Osmon discuss how Molina's deep ties and affinity to the state that birthed him (Ohio) shaped his life and influenced his career. They explore Molina's surprising and varied musical influences, the comparison to singer-songwriter Will Oldham which shadowed Molina throughout his career, the birth of the timeless classic album that is Magnolia Electric Co., and so much more. Hosted on Acast. See acast.com/privacy for more information.

I have spoken before on the show about my absolute love and admiration for the one and only Nora Ephron, who is the reason why I am a writer. I have met my match in today's guest, Ilana Kaplan, who I previously worked with at People, who is absolutely fantastic, and who has written this gem of a book about our shared heroine called Nora Ephron at the Movies: A Visual Celebration of the Writer and Director Behind When Harry Met Sally, You've Got Mail, Sleepless in Seattle, and More, which came out last October 29. The words are beautiful, but it is a visually stunning book as well—one your coffee table absolutely needs. Today Ilana and I talk about the life, work, and legacy of Nora, who died far, far too soon at age 71 in 2012. And when I say I've met my match when it comes to being a Nora fan in Ilana, I mean it—she even had Nora in her wedding vows, which not even I can say I did. Among so much else, Ilana and I talk today about Nora's rom-com trio: When Harry Met Sally (which is my favorite movie of all time), Sleepless in Seattle, and You've Got Mail—and Ilana shocks me with a revelation about how one of those movies is actually meant to be a sequel of the other. We talk about Nora's successes in film, but also her failures, and which of Nora's movies Ilana thinks are underrated. Nora was a writer, a director, a playwright—we talk about her legacy and how her fingerprints are still felt, even 13 years after her death. Ilana is a writer and culture editor whose work has been everywhere from the aforementioned People to PAPER, The Independent, The New York Times, New York magazine, the Los Angeles Times, Rolling Stone, GQ, Vanity Fair, Vogue, NPR, Pitchfork, Variety, Billboard, and more. She's totally compelling, and I can't wait for you to hear from her. Nora Ephron at the Movies: A Visual Celebration of the Writer and Director Behind When Harry Met Sally, You've Got Mail, Sleepless in Seattle, and More by Ilana Kaplan

You could have heard this episode months early by supporting us on Patreon for $5/month or more: https://www.patreon.com/IndieheadsPodcast On this episode, Jackie, Rose and Matty are joined by special guests Larry Fitzmaurice (current writer/owner of Last Donut of the Night and former Reviews Editor at Pitchfork) and Shak Lambert as they talk some BNTs that were […]

Music has become increasingly playlisted, personalized, and autoplayed. But how did we get here, and what does it mean for artists, listeners, and the music industry as a whole? In today's episode, journalist Liz Pelly unpacks the origins of Spotify, its meteoric rise, and its transformative impact on the way we create and experience music. Whilst researching for her new book, Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist, Pelly conducted over one hundred interviews with industry insiders, former Spotify employees, and musicians. Liz Pelly is a music journalist and author living in New York. Her essays and reporting have appeared in the Baffler, where she is a contributing editor, as well as in the Guardian, NPR, Rolling Stone and Pitchfork. She's joined by Timandra Harkness, writer, presenter and author of Technology is Not the Problem, for a conversation on the ethics of streaming, the economics of playlists, and the hidden costs of the “perfect” listening experience. If you'd like to become a Member and get access to all our full conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week the boys* decidedly did not Stay Home!! (they are in Tokyo) so we're airing a pre-recorded episode** about punk music. It is hard to say more from Tokyo each time I type something good it gets caught in the intercontinental wires, an excuse that I'm sure is true. Fortunately our guest Evan is much better at explaining things so I will leave him to it.*Chris did Stay Home!!**We recorded it two days earlier than normalAlso up for discussion: A Reno reminiscence (Renominiscence for short), Brazilian shoegaze is unearthed, Egg punk drama(?), and an oral history of what it's like to work at Pitchfork and piss off Flying Lotus.The Guest: Evan Minsker of see-saw. After a twelve-year run at Pitchfork, Evan started his own punk rock publication where you can find in-depth pieces, interviews, lists, you know all the stuff. He also co-hosts Punk This Week with our friend Nina Corcoran where they discuss snacks and six cool new punk records every week. He's got a boppin' Discord channel and a bunch of cool projects and events in the pipeline. Evan's on Bluesky and Instagram and probably other places too but that's what his website is for.The Album: Hank Wood and the Hammerheads - Stay Home!! (2014)You can find Evan's oral history of the album hereNew Discoveries: Cult Crime - Self-Titled, terraplana - naturalShowtime: Yuasa-ExideCall the Hot Hotline at 360-559-2371Find Chris on Bluesky, Instagram, and I think other places@ChrisFavata Hosted on Acast. See acast.com/privacy for more information.

Chris DeVille is Managing Editor at Stereogum and author of the book Such Great Heights, available for preorder now. We talk about the 2007 Bon Iver debut album, For Emma, Forever Ago. Also going cabin-mode in the Wisconsin winter, this album's lore, the indie landscape in '08, Pitchfork kingmaking, The OC, Garden State, Popt*mism, gentrifying indie music, hearing "Skinny Love" at my bad recession-era office job, "Flume" as a thesis, stacking falsetto harmonies, the lyrics, staring out windows at crows, Sable, bass-fishing boats, "Re: Stacks" and final tracks, cooking with minimal ingredients, Blood Bank EP, the pursuit of hipness and the evolution of indie rock. Order Chris's book.Blood Bank EP episode is live now on Patreon: patreon.com/afterthedeluge--Justin: x.com/routinelayup / routinelayup.bsky.socialChris: x.com/chrisdeville / chrisdeville.bsky.social/

What is the MAGA movement's aesthetic? According to the New York Times' Dan Brooks, it's an aesthetic captured by the generative AI video “Trump Gaza”. Childishly absurd, it's an aesthetic, Brooks suggests, of “bearded belly dancers, an Elon Musk look-alike on the beach and a golden statue of President Trump”. It's not reality, of course. There are neither bearded belly dancers nor golden statues of Trump in Gaza right now. It doesn't even resemble actual MAGA America. But as Brooks notes, the MAGA aesthetic - driven by AI generated visuals - is social and cultural “posturing”. It's the post-ironic irony of social media. Unseriously serious. Designed for Instagram and TikTok. Here are the five KEEN ON AMERICA takeaways in our conversation with Dan Brooks:* The MAGA style employs a unique form of irony - Brooks describes it as "unstable irony" rather than the "stable irony" of traditional satirists like Jonathan Swift or Stephen Colbert. This style mixes sincere statements with exaggerations and jokes in a way that makes it difficult to determine what's meant seriously.* Generative AI has been embraced by MAGA communities - The conversation highlights how conservative online communities have adopted AI technology for creating content (like the Gaza video discussed) at a higher rate than other groups, enabling them to produce visually impressive media quickly that aligns with their messaging style.* The relationship between politics and morality is shifting (duh) - Brooks contrasts his earlier writing about how social media "weaponized morality" with the MAGA approach, which he characterizes as "anti-moral" rather than amoral—a deliberate rejection of or reaction against perceived moralism in American politics.* Politics increasingly operates on "vibes" rather than facts - Brooks suggests that the "fact-based era in politics" may have been an illusion, with voters making decisions based on associations and cultural identity rather than policy specifics or factual information.* Contemporary American culture is saturated in irony - The conversation traces how irony has become embedded in American communication since the mid-90s, when even institutional messaging began adopting an ironic stance. Brooks notes that in current culture, "the worst thing you can be is cringe or overly sincere."Dan Brooks is a contributor to the New York Times Magazine, The Guardian, Harper's, Pitchfork, and other publications. He lives in Montana with his handsome dog.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Rich loves Lady Gaga's Mayhem, and the little monsters love his body. We revisit the heartwarming story of the rescue of Baby Jessica. Plus, Six Flags Great Adventure's Kingda Ka rollercoaster was imploded, to the dismay of at least two in the Philadelphia area.You can read Rich's Mayhem review at Pitchfork.You can find the Women Supporting Women (Anna Nicole and Courtney Love embracing) sweatshirt, plus Pot Psych merch and smoking accessories at Pipe Dreams.Call us for shout outs and dedications. 347 450 4239Video episodes, bonus episodes and our premium series WAWU—we're currently recapping Hey Paula—on Patreon.Check out potential drama and our Diamond Girls on our Instagram. ★ Support this podcast on Patreon ★

Let's get existential up in here!!! In this episode, we discuss two bummer songs beautifully delivered: "Christmas Eve Can Kill You" by the Everly Brothers, followed by "Christmas Will Break Your Heart" by LCD Soundsystem. The ranking music in this episode is "Daft Punk Is Playing At My House" by LCD Soundsystem.

My guests this week are Detroit rapper-producer Black Milk and Detroit rapper and Bruiser Brigade member Fat Ray. We spoke about Baki Hanma, Atlanta, Shaka Zulu, Bloodsport, the art of the double feature, Menace II Society, growing up  in one of the meccas of Black American music, their respective careers and their partnership, from the B.R. Gunna days up to their latest project, Food From The Gods, out now via Computer Ugly. Come fuck with us.Food From The Gods is available wherever music is sold, streamed, or stolen. Consider copping directly from Bandcamp or securing a vinyl, CD, or cassette via Fat Beats while supplies last. Follow Black Milk on Instagram and Twitter (@black_milk). Follow Fat Ray on Instagram (@fatray1) and Twitter (@FatRayMotorBoy). Read my review of "Elderberry" via Hearing Things. Read Matthew Ritchie's album review via Pitchfork.Join the Reel Notes Patreon today starting at $5/month to get early access to video interviews of every episode, our Discord server, exclusive access to the Reel Talk live interview archive, and more!My first book, Reel Notes: Culture Writing on the Margins of Music and Movies, is available now, via 4 PM Publishing. Order a digital copy on Amazon.Reel Notes stands in solidarity with the oppressed peoples of Palestine, Congo, Sudan, Tigray, and Haiti. Please consider donating to the Palestine Children's Relief Fund,  The Palestinian Youth Movement, The Zakat Foundation, HealAfrica, FreeTigray, and/or Hope For Haiti.  For information about contacting your representatives to demand a ceasefire, finding protests, and other tools, check out CeasefireToday!Follow me on Instagram (@cinemasai), Twitter (@CineMasai_), Bluesky (@cinemasai.bsky.social), TikTok (@cinemasai), Letterboxd (@CineMasai), and subscribe to my weekly Nu Musique Friday newsletter to stay tapped into all things Dylan Green.   Support the show

Illustrators Samya Arif and Sana Nasir come on TPE to discuss the world of design, illustration, art, Indus Valley School, Feminism, Social Media and AI.Sana Nasir is an international award winning Illustrator and a record label Art Director. Sana's work is rooted in illustration told through local folklore, mythology and fantasy that she uniquely incorporates into the field of music, event and festival design as well as activism. Amongst her recent achievements Sana created the visual identity for the global event series, Boiler Room for itʼs historic debut in Pakistan and was part of the team that received the coveted British Council New Perspectives Grant in 2022 for which she was invited to speak at the Victoria & Albert Museum in London. Nasirʼs talk ʻDesign in the Name of Loveʼ was debuted at the National Digital Design Conference (ND2C) in 2018 and her talk, ʻCulture Alt Deleteʼ was featured on Islamabadʼs first PechaKucha 20x20. Her work is inspired from folklore and mythology combined with technology and pop-culture and has been acclaimed and featured on platforms such as World Illustration Awards, Communication Arts Awards, Vice, Pen America, Oxford University Press, Border Movement and several local publications including Herald magazine.Sana currently lives and works between Karachi and Kathmandu as an illustrator and multi-disciplinary artist and as Art Director at an ethical record label that she and her partner co-run called Cape Monze Records.sananasir.coSamya Arif is a Pakistani visual artist, illustrator, and graphic designer whose work has been featured internationally. Her artistry is focused on female perspectives and observations of social and cultural paradigms, often exploring the themes of women and the spaces they inhabit.After earning her degree in Communication Design from the Indus Valley School of Art & Architecture, Samya has built a diverse portfolio that includes creating visuals for publications, editorials, book covers, and film posters. Additionally, she has been actively involved as an artist, designer, and DJ in Karachi's budding underground electronic and indie music scene.She has been featured in several prestigious publications such as The New York Times, BBC, Vice, CBC, The Fader, and Pitchfork. Samya has also collaborated on a variety of international projects, such as the Mumbai-based Taxi Fabric, for which her designs were featured in the music video of the British band Coldplay. Her client list includes Penguin Books, HarperCollins, Al Jazeera, the US Embassy in Nepal, British Council, NPR, and Google. Her illustrations were regularly published in Pakistan's renowned, now defunct Herald magazine.Samya's work has been exhibited in numerous countries, including Pakistan, India, UAE, England, US, Belgium, and Spain. She currently resides and works in Karachi, Pakistan and serves as a part-time professor at her alma mater.The Pakistan Experience is an independently produced podcast looking to tell stories about Pakistan through conversations. Please consider supporting us on Patreon:https://www.patreon.com/thepakistanexperienceChapters:0:00 Introduction2:00 Difference between Graphic Design and Illustration8:30 Indus Valley10:00 Choosing Design and Love for Music13:30 Is it innate or can you learn Art?16:00 Parents and living as Artists20:00 Herald27:30 Do you care about what people think?30:30 Paving the way and Woke Culture33:00 Being trolled online35:00 Saying something through Art40:00 Progress across Generations43:00 Feminism of our mothers48:00 Putting yourself in your Art51:30 Creative Process and Finding yourself55:00 Would you rather be in your 20s?57:00 Delusion is a super power1:02:00 The world of Social Media1:10:30 Watermelon symbol and the Power of an Image1:17:00 Local Context is very important1:25:00 Making your own art1:30:40 What is Pakistani culture and Getting inspired1:39:40 AI and Art1:58:40 Audience Questions

What happens when a band tears apart its own music only to rebuild it into something even more powerful? Music journalist Saby Reyes-Kulkarni (PopMatters, Pitchfork, SPIN, Billboard) joins us to explore Wilco's art of deconstruction—how their A Ghost Is Born reissue reveals new layers of the band's sonic evolution.We discuss the delicate balance between melody and chaos and Jeff Tweedy's songwriting genius. Saby also weighs in on the live Wilco experience, the mythology of Yankee Hotel Foxtrot, and what three songs he'd choose to introduce someone to the band.Join us for a deep dive into Wilco's creative process, where the cracks aren't flaws—they're where the gold seeps in.Follow Saby on Substack.

Merriam-Webster's Word of the Day for February 25, 2025 is: superfluous • soo-PER-floo-us • adjective Superfluous is a formal word used to describe things that exceed what is necessary or sufficient, or that are simply not needed. // Further discussion seems superfluous, given the thorough conversation we just had. See the entry > Examples: “On the final single from his album Manning Fireworks, MJ Lenderman sketches a character study of a man so preoccupied with superfluous status symbols that he finds himself totally isolated from the world.” — Arielle Gordon, Pitchfork, 2 Dec. 2024 Did you know? If, say, you were to go chasing waterfalls in addition to the rivers and the lakes that you're used to, such a pursuit would be superfluous. In other words, you would be exceeding what is necessary to satisfy your need for water-based enjoyment and recreation. “You've already got rivers and lakes,” your friends might advise with a bit of TLC, “just stick to them!” “Extra water” is also key to understanding the history of the word superfluous, which entered Middle English from the Latin adjective superfluus, meaning literally “running over.” Superfluus, in turn, comes from the verb superfluere (“to overflow”), which combines the prefix super- (meaning “over”) and fluere, “to flow.” In addition to influencing superfluous, fluere also flowed into the English words affluent, influence, and fluid, among others.

This week Ari sits down with Liz Pelly, a prominent music journalist and author of the new book Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist. Liz's journalism has appeared in NPR, The Guardian, and Pitchfork among other prestigious publications. Preceded by an exposé in Harper's Magazine, Pelly's latest work, Mood Machine, pulls back the curtain on Spotify's exploitative practices and uncovers how those practices impact artists and listeners. In this episode, Liz gives the low down on research she conducted for the book and explains how Spotify has unfairly conspired with major labels since its launch. As she does in Mood Machine, Liz calls out Spotify's Perfect Fit Content (PFC) program and explains how its use of ghost artists degrades the integrity of their model for all. Ari and Liz discuss the value of music and how that can differ in the eyes of major corporations and individuals. Whether you're an artist, label, or listener who uses Spotify, this episode will help you understand the impact Spotify's model has on your relationship to music.https://www.instagram.com/lizpelly Harper's article: https://harpers.org/archive/2025/01/the-ghosts-in-the-machine-liz-pelly-spotify-musicians/Chapters00:00 The Inner Workings of Spotify12:48 Ghost Artists and the PFC Program37:50 Spotify's Launch and Major Label Relationships41:26 The Evolution of Streaming Contracts44:14 Valuing Music: A Cultural Perspective49:43 The Impact of Streaming on Music Value56:10 Algorithms and the Personalization of Music01:01:20 The Role of Music in Society01:07:23 Future Solutions for Musicians01:19:38 Defining Success in the New Music BusinessEdited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

Merriam-Webster's Word of the Day for February 11, 2025 is: ruminate • ROO-muh-nayt • verb To ruminate is to think carefully and deeply about something. // We ruminated over the implications of our decision. See the entry > Examples: “Most of the songs bear the name of a store you'd see in every mall in the United States before they became sad ghost towns, air conditioning and smooth jazz blasting in the emptied, echoing caverns of capitalism. ... The trio uses nostalgia as a tool of examination, ruminating on the not-too-distant past in order to process the funny and sometimes heartbreaking process of getting older together.” — Dash Lewis, Pitchfork, 8 July 2024 Did you know? When you ruminate, you chew something over, either literally or figuratively. Literal rumination may seem a little gross to humans, but to cows, chewing your cud (partially digested food brought up from the stomach for another chew) is just a natural part of life. Figurative ruminating is much more palatable to humans; that kind of deep, meditative thought is often deemed quite a worthy activity. The verb ruminate has described metaphorical chewing over since the early 1500s and actual chewing since later that same century. Our English word comes from and shares the meanings of the Latin verb ruminari (“to chew the cud” or “muse upon”), which in turn comes from rumen, the Latin name for the first stomach compartment of ruminant animals (that is, creatures like cows that chew their cud).

Merriam-Webster's Word of the Day for January 30, 2025 is: audition • aw-DISH-un • noun An audition is a short performance to show the talents of someone (such as an actor or a musician) who is being considered for a role in a play, a position in an orchestra, etc. // Auditions will be held next week for the spring musical. // She had an audition for a small part but ended up landing a starring role. See the entry > Examples: “When she was 18, Hannah D'Amato auditioned for a spot at the Berklee College of Music. Midway through her audition, one of the male judges walked up to her guitar amp and lowered the volume knob. Demoralized and insulted, D'Amato decided to bypass the prestigious institution and start a band on her own. Thus the origin story of Fake Fruit, the Bay Area punk trio she's been fronting over several incarnations since 2016.” — Zach Schonfeld, Pitchfork, 23 Aug. 2024 Did you know? Today, audition most often refers to an artistic performance, but that wasn't always the case. Audition has roots in the Latin verb audīre meaning “to hear,” and was first used in the late 16th century to refer to the power or sense of hearing. Audīre is also the root of such hearing-related words in English as audible (“capable of being heard”), audience (which first meant “the act or state of hearing”), and the combining form audio-, which appears in various words relating to sound. It wasn't until the late 19th century that the noun audition began being used for an entertainer's trial performance. And the verb audition, meaning “to test or try out in an audition,” didn't appear on the English language stage until the mid-20th century.

It's been almost a year since the historic music outlet Pitchfork shrank considerably. On this week's On the Media, why the distinctive voices in music journalism are worth saving. Plus, how AI music generators could upend the industry. [01:00]  Host Micah Loewinger, speaks with Ann Powers, critic and correspondent for NPR Music, on Condé Nast's acquisition of the influential music publication Pitchfork, and what this means for the future of music journalism.[12:45] Host Micah Loewinger speaks to Kyle Chayka, staff writer at The New Yorker, about how algorithms are changing how people discover and listen to music – and all too often, not for the better.[28:39] Former OTM producer, and current composer and sound designer, Mark Henry Phillips, on how AI music generators could fundamentally upend the industry for good. Further reading:“With Pitchfork in peril, a word on the purpose of music journalism,” by Ann Powers"Why I Finally Quit Spotify," by Kyle ChaykaA segment from this show originally aired on our January 19, 2024 program, Trouble at The Baltimore Sun, and the End of an Era for Pitchfork.      On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.