Podcasts about Pitchfork

On this week's Talkhouse Podcast, we've got a pair of fantastic music makers who also happen to be… women in music. That's their joke, not mine—you'll hear. It's Johanna Samuels and Madison Cunningham. Though she's from New York, Johanna Samuels' music has always had West Coast vibes—it makes perfect sense that she now calls Los Angeles home. Her latest album, Sorry, Kid, just came out, and it's got an interesting backstory: The songs were written years ago but never finished, and there were false starts making them work this time around. But she found a great collaborator in Jonathan Rado—you'll hear her refer to “Rado” a bunch in this chat—and finally broke through to a stunning set of mellow, downcast songs. You'll hear the influence of Aimee Mann, Tom Petty, Elliott Smith—if those are your thing, give it a close listen.  The other half of today's conversation, Madison Cunningham, plays a little bit on Samuels' record. The two are old friends, and you may have heard Cunningham in a variety of disparate places over the years: She played with Andrew Bird, and the two covered the lone Buckingham-Nicks album together. She's toured with big names, including Harry Styles. Her 2022 album, Revealer, won the Grammy for Best Folk Album. Cunningham's third album, Ace, was released late last year, and it's a winning left turn—less guitar, more piano, a little weirder than ever before. Check out the Samuels' track “Rare,” which features some playing and singing from Cunningham. This episode was recorded with our guests in the same room, and you can hear the friendly energy these two have. They joke around about being “women in music” as well as the long road to Samuels' album, Fiona Apple, Tom Petty, and much, much more. I hope you enjoy listening as much as they did recording. Thanks for listening to the Talkhouse Podcast, and thanks to Johanna Samuels and Madison Cunningham for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the other great shows in our network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! 0:00 Intro 2:18 Start of convo 2:20 On “women having a moment” in music, and Pitchfork's mean reviews 3:51 On their newest albums, seeing how art comes out of each others' lives, and artistic phases 7:01 On releasing songs after the inspiring emotion has passed, mental health, and using songs to process emotions 09:22 On the joy of creation, tarot cards, and the addictive qualities of the creative process 12:17 On the recording process, and finding the sound and lyrics 13:46 On Tom Petty, finding inspiration from great songs, simple lyrics, and cover songs 17:05 On learning to write songs by dissecting other songs, inspiring each other, and deceptively simple pop songs 20:45 On the timeline of making an album, the “Sha Sha Redemption,” and the importance of fun 25:06 On humor and self-awareness in sad songs 28:09 On their “women are having a moment” joke, dealing with anger, and not wanting to be known for one emotion 29:43 On how male songwriters approach expressing emotions differently, and if being hot makes for shallower art 33:58 On being grounded, loving life, discomfort, and feeling free to make new art 37:24 On other artists' paths and growth, and being willing to try new things Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠, and visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Don't miss the latest from your favorite artists: subscribe to the Talkhouse newsletter to receive weekly highlights in your inbox. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Episode 499 features the New Old Heads (with guest Brotha2daKnight) breaking down Lecrae's recent comments demanding that artists focus on quality rather than operating as full-time content creators chasing viral moments. We react to Rapsody calling out the Hip Hop industry for giving platforms like Vlad and No Jumper access to the culture's stories. The panel exposes the reality behind Timbaland's $100K Orbiiit contest, debating if it is just a disguised data harvest for AI. Finally, we analyze Pitchfork giving Tyga's AI-generated "Starface" album a brutal 0.0 rating as a definitive stand against soulless generative music.Support the show

My guest this week is Evan Minsker (Critic/Journalist for Pitchfork & the heart behind the amazing punk newsletter See/Saw) who (...wait for it...) picked a very punk film: Autonomy And Deliberation, by a very Australian AND very punk band The UV Race. And although it has never been publicly released, the director and the band let us watch it so we can discuss it for you! Got it yet?!?!?We talk about why the finished film never reached eyes outside of a few friends in Australia, Evan's early punk rock roots, the fear of being reviewed on Pitchfork, not being able to get into the venue to see Fugazi and Scratch Acid (so you listen to them outside), the amazing punk scenes and punk labels happening all around the world right now, alternative DIY spaces, being the oldest person at the show (at age 27), Turnstile, how The UV Race has no wikipedia page/follows no one back on social media/embraces broken web links, the poetry of front man Marcus, the mystery surrounding the director Johann Rashid and his film inluences as a child which influenced his filmmaking, Courtney Barnett, the self-depricating tone of the film, the cameos from members of Eddy Current Suppression Ring, Dick Diver & Total Control, the soundtrack for the unreleased film, blowing the band money at the Greyhound Track, how the structure of the film is bascially The Blues Brothers ("I've got to get the band back together"), how the film is built upon the band's inner workings/language and sense of humor, Marcus' other band Hot Tubs Time Machine, their also unseen Sci-Fi followup: THE UV RACE DISGRACE SPACE, and we pitch a new film to complete their filmic trilogy.EVAN MINSKER:see-saw.funTHE UV RACE: intheredrecords.com/collections/the-uv-race/products/autonomy-deliberationREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film, or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon (over 125 bonus episodes are available and counting). If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it is at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes and series such as A Very Opinionated Look At Urgh! A Music War & What Makes The Midnight So Special?, A Devotees Look At New Wave Theater, Exploring The Axis: The Oral History Of Frontier Records With Lisa Fancher, Dips On Chips w/ Jeff McDonald of Redd Kross, physical goods such as a limited edition 7" Flexidisc, and other exclusive goods that I send out to you for supporting the show. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Happy Monday! Baby D kicks off this episode in search of tickets for “The Odyssey”, while the guys give their takes on what the musical lineup should look like for the Democratic National Convention. Orlando Brown makes his boxing debut against Ray J, and Claressa Shields cements herself as the GOAT in women' s boxing. Pitchfork gives Tyga’s new album their first 0.0 rating in over 19 years, which brings up a debate about the usage and sustainability of AI in music, and J.Cole gets emotional at the Cleveland stop on his tour. We take some calls, one from a listener curious about spinning the block with an ex, and another who is concerned about being too obsessed with maintaining her peace. Finally, we send our condolences to Hayden Panettiere, who sadly passed away at age 36 on Sunday. Visit your nearest Boost Mobile store or https://www.boostmobile.com/promo/25-foreverSee omnystudio.com/listener for privacy information.

This week, Matt P. & special guest co-host Janie Stolar discuss Billboard's list of the Best #2 Hot 100 Hits, Christina Aguilera celebrating the 20th anniversary of Back to Basics, Tyga receiving a 0.0 rating from Pitchfork, and more!Fill out the Two Gay Matts listener survey!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Get some of our brand new merch from shoptwogaymatts.com!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Become a part of our newly revamped Patreon!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch Matt Steele's movie DIVOS!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch us on YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow @mattpalmermusic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow @itsmattsteele⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Hosted on Acast. See acast.com/privacy for more information.

On today's all new cast, we take a look at the nu-metal acts that adorned the Billboard Modern Rock Tracks charts way back in the day, and further examine how these acts made an impact on the charts in the late 90's and early 00's. We revisit bands such as Korn, Limp Bizkit, Deftones, and Papa Roach who made an immediate impact on the charts with their early hits and how it started a movement that was intertwined with MTV's TRL and connected with the youth of that time with everything going on in their lives. We talk about some criticisms of the genre itself, including one where a Pitchfork critic said that it was a turning point in the chart's history and it became loathed by people alike for its cringe worthiness. I also play you Papa Roach's hit "Scars" at the end of the cast that also became their biggest crossover hit on the Hot 100 as well. 

The JBP kicks off its latest episode discussing Lionel Richie's comments about Chris Brown & Usher (37:25) before turning to Charlamagne tha God vs. Ray Daniels due to Ray's thoughts on Roc Nation and the next JAY-Z album (1:18:41). Mona discusses the allegations against Sidney Starr (1:56:25), updates in the Lil Durk trial (2:12:33), and Marc Lamont Hill shares info on his interview with DJ Vlad (2:18:12). Also, Russell Westbrook announces his retirement (2:22:34), new music (2:29:10), Pitchfork's review of Tyga's new album (2:43:00), and much more! Become a Patron of The Joe Budden Podcast for additional bonus episodes and visual content for all things JBP! Join our Patreon here: http://www.patreon.com/joebudden 

Merriam-Webster's Word of the Day for August 13, 2026 is: salvo • SAL-voh • noun In military contexts, salvo refers to various actions involving discharge or release of bombs, rockets, artillery, etc., as well to the bombs or projectiles released in such an action. In general use, salvo is usually used to refer to a strong or sudden verbal attack, but it can also refer to a sudden occurrence of applause, laughter, etc., from many people. // The troops were driven back by a salvo of cannon fire. // The editorial's opening salvo was a list of grievances against the mayor's policies. // The conclusion of her performance was answered with a salvo of cheers and applause. See the entry > Examples: “Nas dropped Illmatic, his unimpeachable opening salvo, when he was only 20, taking a haunted stroll through his Queensbridge adolescence on ‘Memory Lane (Sittin' in da Park).' An undercurrent of nostalgia weaves throughout his 30-year discography.” — Dash Lewis, Pitchfork, 8 Jan. 2026 Did you know? No opening salvo here: salvo in phrases like “an opening salvo” is a kind of attack, especially one that is strong or sudden. Usually, such salvos are verbal attacks, like a critical remark aimed at a debate opponent, or a pointed accusation at the start of an editorial. But salvo can also refer to attacks of a more perilous kind, including various martial actions involving bombs, rockets, and artillery. (It can also refer to the bombs or projectiles released in a salvo.) The word arrived from Italian in the late 16th century with a complex meaning: it referred to a simultaneous discharge of two or more guns, either in military action or as a salute. The word's ultimate source is the Latin word salve, meaning “hail!,” which was an ancient Roman greeting. In English, salvo is sometimes used for a sudden occurrence of applause, laughter, etc., from many people, which sounds to us like the best kind of all.

In which we talk Joan's recent near-death experiences, Rihanna back in the studio, TYGA's 0.0 Pitchfork rating, Sophia leaving Katseye, Barbie 2's risk of getting shelved, and we bring back Ask Us Anything!  JOIN US ON PATREON +2 VIDEO BONUS EPISODES EACH WEEK GIRL ON GAY - WHAT WE'RE WATCHING/READING/PLAYING LEFTOVERS - EXTRA HOLLYWOOD GOSSIP WE CAN'T SHARE ON THE MAIN FEED About Eating For Free: Hosted by journalists Joan Summers and Matthew Lawson, Eating For Free is a weekly podcast that explores gossip and power in the pop culture landscape: Where it comes from, who wields it, and who suffers at the hands of it. Find out the stories behind the stories, as together they look beyond the headlines of troublesome YouTubers or scandal-ridden A-Listers, and delve deep into the inner workings of Hollywood's favorite pastime. The truth, they've found, is definitely stranger than any gossip. You can also find us on our website, Twitter, and Instagram. Any personal, business, or general inquires can be sent to eatingforfreepodcast@gmail.com  Joan Summers' Twitter, Instagram Matthew Lawson's Twitter, Instagram

Since hard launching with Elon Musk at the Met Gala in 2018, recording artist Grimes has been a mysterious and divisive figure. Who is Grimes as an artist, and what could she have been had Musk not interceeded in her strange little indie career? Joining Tess for a deep dive on this mid aughts trance diva is Steven Ray Morris @stevenraymorris, host of “See Jurassic Right,” who has produced shows like “My Favorite Murder”, “Keenan and Lakin Give You Deja Vu” and “Jordan Jesse Go.”   Listen to “The Daily's”  episode on Elon Musk  Read “Star Tribune” Houseboat Article  Watch Grimes' “Pitchfork” interview  Listen to “Girl in Stem”  Follow Pop Mystery Pod on Twitter, Instagram, and TikTok @popmysterypod  Pop Mystery Pod is written and produced by Tess Barker @tesstifybarker. Produced by Tyler Hill.  Theme song by Rick Wood @Rickw00d. Support independent pop journalism and join us on Patreon at Pop Mystery Pod. Get access to ad free episodes, bonus content, and polls about upcoming topics. patreon.com/PopMysteryPod Follow Tess's other podcasts Lady to Lady and Toxic: The Britney Spears Story wherever you get your pods.  Make sure to leave us a review! And tell a friend about the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Diddy is out of solitary confinement at FCI Fort Dix after allegedly fighting another inmate, though it remains unclear whether he will face further disciplinary action. He is also countersuing former videographer Rodney Jones, alleging Jones stole footage and sold it to Netflix for a competing documentary. Meanwhile, Chris Watts is reportedly seeking to marry a woman he met while incarcerated, Don Toliver's Houston concert was cut short after a man was arrested with a handgun, and Tyga's $TARFACE received a rare 0/10 rating from Pitchfork over criticism of its music and use of A.I. Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this week’s episode of Edit Radio, Ben Marwood shoulders the immense responsibility of sharing another handpicked selection of new music for your enjoyment. Artist “Track” [Album] [edit] radio podcast 830 – Right Click and Save As to Download The post Podcast 830 | The Bug Club, Laura Branigan & Dead Pioneers appeared first on [edit] radio.

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.

In 2016, Mitski did an episode of Song Exploder about her song “Your Best American Girl.” She had just released her second album, Puberty 2. Later, Pitchfork named “Your Best American Girl” one of the top 10 best songs of the past decade, and Billboard named it as one of the songs that defined the decade. And in honor of the 10th anniversary of the album, there's a new deluxe version that's out digitally, and a limited edition vinyl is coming in October. I thought this would be a good time to revisit Mitski's episode, where she and her collaborator Patrick Hyland break down how “Your Best American Girl” was made. To learn more, visit songexploder.net/mitski

On this week’s show, Kev Lawson takes us on a walk around his little slice of California as he shares his favourite songs from the past few weeks and months. Artist “Track” [Album] [edit] radio podcast 829 – Right Click and Save As to Download The post Podcast 829 | Featuring Annabelle Dinda, thistle & Homework appeared first on [edit] radio.

Our guests this week are Swapmeet. The Adelaide four-piece have quickly become one of the most talked about bands in Australian music, making indie rock that moves fluidly across grunge and shoegaze without ever feeling overloaded. Earlier this year they became the first non-US act to sign to beloved indie label Winspear, and their debut record Mount Zero has drawn praise from Pitchfork, The Line of Best Fit, Stereogum, and many more. A record built around rotating vocal duties and instrument swapping across all four members, Mount Zero is as sonically adventurous as it is immediately compelling. On today's episode, Jack Medlyn and Maxwell Elphick from the band join us to discuss the making of Mount Zero, the hype and attention surrounding the band, the patchwork of sounds across the record, and the exciting new class of musicians emerging from Adelaide.Swapmeet  : Instagram / Spotify / WebsiteVisit our official website here and follow us across our socials.

On this week’s podcast, we welcome back Barry Dolan to the hosting chair as he shares his favourite tracks from the noisest section of the 2026 new music catalogue. [edit] radio podcast 828 – Right Click and Save As to Download The post Podcast 828 | Featuring Evil Island, Fanchon & The Barbarians of California appeared first on [edit] radio.

This week on edit radio, Tom Crook, Paul Whitty and Ben Smith take us on a journey into the heart of their friendship and favourite new music pikcs. Artist – Track [Album] [edit] radio podcast 827 – Right Click and Save As to Download The post Podcast 827 | Featuring Heatmiser, Foxwarren & Slint appeared first on [edit] radio.

Gracie Abrams has dropped her third album Daughter From Hell, and the reviews are savage. We're unpacking the most brutal takedowns (and the outlets quietly calling it her best yet), plus the question no one wants to ask: has being blissfully in love with Paul Mescal drained the heartbreak that made her music hit?Plus, another A-list wedding for the week: Matty Healey has married it-girl Gabbriette Bechtel at Madonna's former LA estate, complete with an old-Hollywood dress code and one of the most jaw-dropping gothic gowns we've seen in years.And we can't ignore the timing: Taylor Swift's ex tied the knot exactly a fortnight after her wedding. So we're deep diving into whether anyone's really thinking about anyone else right now.Watch Gracie Abrams' New York Times interview ahead of her album drop here. Remember The Spill drops the tea twice a day in this feed so follow us for all the latest entertainment news… OR you can WATCH our show in full length video on the Apple Podcast app - make sure your phone is up to date and enjoy the watch! Link here. THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/ Support Independent Women’s Media. Your subscription helps us continue to tell the stories that matter to women. The Out Loud hosts have handpicked their all-time favourite reads and one subscriber is winning the entire 12-book stack. Subscribe to Mamamia here to be automatically entered to win. Current subscriber? You're already in the draw. T&Cs apply. Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Not sure how three years in we still get all worked-up by click-baity lists, but here we are. Pitchfork's "Perfect 10" series is a curious one for sure - both for their choices of artists to interview and the albums those artists choose as "Perfect 10s." Let's talk about it.What album is a "Perfect 10" for you? Let us know in the comments!Listen to the Ultimate Extended Playlist (Spotify, YouTube)Like/follow/subscribe to Extended PlayJoin the Extended Family on Patreon for even more playlists

This week on [edit] radio: Ben Marwood talks rock music for dance crowds, 1970s BBC documentaries and at least one song you absolutely can’t play in front of the vicar. [edit] radio podcast 826 – Right Click and Save As to Download The post Podcast 826 | Featuring Charli xcx, Frog & JER appeared first on [edit] radio.

On this week’s podcast, Jenessa Williams hosts her first solo podcast of 2026 as she shares her handpicked playlist of new music for you to love. Artist “Track” [Album] [edit] radio podcast 825 – Right Click and Save As to Download The post Podcast 825 | Featuring Mary In The Junkyard, Ego Ella May & LedByHer appeared first on [edit] radio.

Drama on a SundayFirst,  a look at this day in History.Then, Father Knows Best starring Robert Young, originally broadcast  July 5, 1951, 75 years ago, The Meaning of Freedoms.   The Andersons are back in the days of the American Revolution. The last show of the season. Followed by The Adventures of Philip Marlowe starring Gerald Mohr, originally broadcast July 5, 1950, 76 years ago, Girl from Pitchfork Corners.  Donna Rawlings hires Marlowe to make sure Arnold Lattimore gets where he's going. Donna turns up dead, and a lovesick girl from Kansas complicates the case. Then, Screen Directors Playhouse,  originally broadcast  July 5, 1951, 75 years ago. Only Yesterday starring Mercedes McCambridge and Jeff Chandler.  A newlywed's husband goes off to war. The wife has a baby while he's gone, but when he returns, he's forgotten all about her. After the stock market crash, a reunion takes place. Finally, Claudia, originally broadcast July 5, 1948, 78 years ago, It's a Boy!  Kathryn Bard and Paul Crabtree star.  Thanks to Bill B for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

Peso Pluma Biography Flash a weekly Biography. In the last few days, Peso Pluma has been in that volatile space where global stardom meets intense public scrutiny, and the biographical stakes are starting to feel long term. According to MundoNow, the most structurally important development is still the recently confirmed end of his relationship with Kenia Os, made official in a joint Instagram statement where both emphasized that the breakup was mutual, respectful, and without public drama. That declaration, coming after weeks of rumors, marks a clear personal turning point that will define this phase of his narrative. MundoNow reports they were together for more than a year, making this a meaningful chapter close rather than a brief fling. Yet even post breakup, the story refuses to settle. A recent Instagram reel highlighted that Peso Pluma and Kenia Os have quietly started following each other again on social media, and a clip reshared by Quinientos 55 News mentions this rekindled online connection. That has fueled fan speculation of a possible reconciliation or at least a softening of tensions, but there is no official confirmation of any romantic reunion, so for now it remains firmly in the realm of gossip and fan theory rather than verified fact. On the career front, his artistic positioning continues to be reinforced by major outlets. Pitchfork recently framed Peso Pluma among the key artists updating the sentimental sounds of traditional Mexican music while staying true to its history, a description that speaks to his longer term cultural impact rather than just chart success. Billboard, in a Facebook feature on the 26 best Latin albums of 2026 so far, includes him among the top-tier names shaping the year, solidifying his status as a core figure in the current Latin landscape rather than a passing trend. Visually and virally, one of the most talked about recent items has been a widely shared photo of Peso Pluma with legendary producer Rick Rubin. An Instagram post questioning whether the image was AI generated or real notes that it circulated shortly after his breakup statement. The photo itself, regardless of its authenticity, has amplified a narrative that Peso Pluma is orbiting the upper echelons of global music creativity. Another reel, posted within the last several hours, teases “more of Peso Pluma with Rick Rubin,” fueling curiosity about whether a deeper collaboration is coming. At this point, there is no confirmed project announcement, so talk of a formal Rubin produced album or session is speculative, but the mere association adds a potentially pivotal biographical thread: the possibility of crossing fully into a global, cross-genre creative sphere. Not all headlines have been flattering. A recent Instagram commentary reports that independent rapper Dan Sur has publicly claimed on his social media that Peso Pluma allegedly owes him a significant amount of money. These are accusations from a third party, not corroborated by legal filings or statements from Peso Pluma's team, so they remain unverified allegations rather than established fact, but they introduce a note of possible business controversy into the narrative. Meanwhile, social media continues to recycle and expand his image: fan edits of Peso Pluma and Tito Double P emphasize their chemistry onstage, and retrospective posts highlight his breakthrough moments from Coachella with Becky G and his appearance on The Tonight Show Starring Jimmy Fallon, reinforcing how quickly he vaulted from regional corridos to mainstream American late night. Chartmetric data shows no major recent spikes beyond his already massive following, suggesting his audience has entered a stable, superstar plateau rather than boom-and-bust volatility. Taken together, these past days sketch a biography in motion: a major romantic chapter closing in public view, a possible new tier of creative alliances, and the first rumblings of money-related controversy, all while his broader cultural influence continues to be validated by serious music press. For fans and future biographers, this is a period likely to be remembered as a hinge moment, where personal upheaval and career consolidation happened almost simultaneously. Thank you for listening, and be sure to subscribe so you never miss an update on Peso Pluma, and search the term Biography Flash for more great Biographies. Thanks for listening. This has been a Quiet Please production. Get the best deals https://amzn.to/3ODvOta

StraightioLab's George Civeris and Sam Taggart join Louie to discuss Lizzo's Pass – a concept Sam created to describe the fork in the road in which a pop star must decide to make music for Target of for Pitchfork.Join Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow Pop Pantheon on InstagramFollow DJ Louie XIV on InstagramFollow Russ on Instagram Hosted on Acast. See acast.com/privacy for more information.

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Buster McLaury figures he has started nearly 10,000 colts under saddle. Before becoming a full-time trainer and clinician, he cowboyed in the thick brush country of West Texas. He says there's nothing he loves more than working cattle horseback, and for many years he made a living working for legendary outfits such as the Four Sixes, the Triangle and the JA. However, his career shifted about 30 years ago when he began training horses for ranches such as the Moorhouse and Pitchfork. He also began teaching horsemanship clinics, inspired by gentler methods he learned from renowned horseman Ray Hunt. McLaury and his wife, Sheryl, have traveled throughout the country and hosted many horsemanship clinics at their home in Paducah, Texas. They have started colts for legendary ranches such as the Haythorn in Nebraska, the Muleshoe in Texas, the Parker in Hawaii, the Stuart in Oklahoma, and the Waggoner in Texas. Today, McLaury continues to start colts, teach horsemanship, and work cattle whenever he gets the chance. A big thank you goes out to our sponsor, 100th Meridian Ranching 100thmeridianranching.com

Will and Chris discuss the latest releases by La Sécurité, Angine de Poitrine, and Yea-Ming and the Rumours, plus a live report, bonus songs, and more.

This week we cannonball into the 90s with the help of music critic Abby Jones, who walks us through The Breeders' classic record Last Splash, and if you want better writing than this sentence provides, you can check out her work at https://www.abbyfjones.com/Also up for splashscussion (that's discussion in a tidal pool): We demand to pull the blur lever at Pitchfork, what is the quintessential 7.0 record?, and Chris attempts to goad Abby into slandering her previous employers for some reason.10/10 You're Great is presented by The Alternative. Support the site and our show on Patreon.Follow us on Instagram. You can also find Chris @ChrisFavata on most social media sites.Call the Hot Hotline: 360-559-2371Send an email: 1010youregreat@gmail.com Hosted on Acast. See acast.com/privacy for more information.

Photo by Natalie Keyssar Andy Beta is an award-winning arts and music writer. His newest book, Cosmic Music: The Life, Art, and Transcendence of Alice Coltrane, was published in March by Da Capo. His writing on rock, jazz, experimental, and electronic music has appeared in The New York Times, The Wall Street Journal, Pitchfork, Rolling Stone, The Washington Post, Los Angeles Times, Texas Monthly, NPR, We Jazz magazine, and many more. Andy Beta was interviewed by BIO member and podcast producer Karolyn van Putten.

In honor of Black Music Month, Dr. Joy sits down with two women who experienced twenty years of Black music from opposite sides of the industry. Shanti Das spent over 25 years as a marketing executive at labels like LaFace and Universal Motown, working with artists from OutKast to Prince, before founding the mental health nonprofit Silence the Shame. Ivie Ani came of age alongside the music itself — a Bronx-raised teenager replaying The Beyoncé Experience on YouTube who grew into an award-winning journalist covering music and culture for The New York Times, Pitchfork, Okayplayer, and beyond. Together they trace the road from new music Tuesdays and 106 & Park to streaming, playlist culture, and fan communities millions deep. They revisit the albums that defined two eras — B'Day, In My Mind, Lemonade, Anti — and consider why 2016 feels like the last time we all listened together. The conversation turns to what emotional transparency costs Black women artists, how Rihanna became the blueprint for a new kind of superstar, and why the future of Black music may be taking shape in Lagos and Johannesburg as much as Atlanta and New York. About the Podcast The Therapy for Black Girls Podcast is a weekly conversation with Dr. Joy Harden Bradford, a licensed Psychologist in Atlanta, Georgia, about all things mental health, personal development, and all the small decisions we can make to become the best possible versions of ourselves. Resources & Announcements Want to reflect on this conversation in community? Join us inside our Patreon community where we’re unpacking this episode together. You can now catch episodes of the Therapy for Black Girls podcast on YouTube. Be sure to subscribe to get new episodes every week. Did you know you can leave us a voice note with your questions for the podcast? If you have a question you'd like some feedback on, topics you'd like to hear covered, or want to suggest movies or books for us to review, drop us a message at memo.fm/therapyforblackgirls and let us know what’s on your mind. We just might share it on the podcast. Grab your copy of Sisterhood Heals. Where to Find Our Guests Shanti Das Website: https://shantidas.biz Instagram: https://www.instagram.com/shantidas404/ Silence the Shame: https://silencetheshame.com | @silencetheshame on Instagram and TikTok Ivie Ani Website: https://www.ivieani.com Instagram: https://www.instagram.com/ivie.ani/ Substack: https://infulleffect.substack.com Stay Connected​ Is there a topic you'd like covered on the podcast? Submit it at therapyforblackgirls.com/mailbox. If you're looking for a therapist in your area, check out the directory at https://www.therapyforblackgirls.com/directory. Grab your copy of our guided affirmation and other TBG Merch at therapyforblackgirls.com/shop. The hashtag for the podcast is #TBGinSession. Make sure to follow us on social media: Instagram: @therapyforblackgirls Facebook: @therapyforblackgirls Our Production Team Executive Producers: Dennison Bradford & Gabrielle Collins Director of Podcast & Digital Content: Ellice Ellis Producers: Tyree Rush & Ndeye Thioubou Production Assistant: Bria MosleySee omnystudio.com/listener for privacy information.

Nick has some new music to share in a Three For Thursday. There's the new London based art-pop band, 1000 Rabbits, Yoni Mayraz has a phenomenal Portuguese drummer named Zoe Pascal, and Baltimore's experimental rock band, Horse Lords, is out with a new album.Songs: 1000 Rabbits - "Rubik's Cube"Yoni Mayraz - "Rooftops"Horse Lords - "Brain of the Firm (feat. Nina Guo, Evelyn Saylor, Madison Greenstone & Weston Olencki)"Then, for the first time ever, Jay's SOUND MACHINE CRASHED!!! (Don't forget to update the software, Jay!)Next up, Greg noticed that one artist in particular appeared numerous times on Pitchfork's Perfect 10 Album list, and he whole heartedly agrees. We're taking a deep dive into the music and career of Elliott Smith. Early in the discussion, Greg proclaimed, “he's one of those people that makes me love words.”Songs:Elliott Smith - “Pretty Mary K”Elliott Smith - “Everything Means Nothing to Me”Heatmiser - “blackout”Elliott Smith - “Coast to Coast”Finally, we're a week late but this segment is for you, Dirk Mauer! Joe Negri, or “Handyman Negri” for anyone that grew up watching Mr. Rogers, died last week at the age of 99. It turns out the guy that taught little kids about musical instruments and fixed stuff for Mr Rogers was also an incredible guitar player. There's been an outpouring of love for him online and some incredible performances have been unearthed in the process. We listen to a few.Songs:Joe Negri & Johnny Costa - “Little Brown Jug”Joe Negri with the Pittsburg Pops Orchestra - “Bumble Boogie”Fred Rogers, Joe Negri & Yoyo Ma - “Tree Tree Tree”

Inspired by Pitchfork, Jay presents a question. What's your perfect 10 album? The guys discuss their picks. Jay chose Paul's Boutique by the Beastie Boys, Nick went with In the Aeroplane Over the Sea by Neutral Milk Hotel, and Greg landed on his first perfect 10 album, Nevermind by Nirvana. You can check out the 240 artists that responded over on Pitchfork: https://pitchfork.com/features/240-artists-on-their-perfect-10-albums/Song: Beastie Boys - “Shake Your Rump”It's News with Nick! Apparently it was news to Nick that in 2009, when Thom Yorke was assembling a band to perform songs from his solo record Eraser, he enlisted Flea of the Red Hot Chili Peppers to play bass! In more recent news, the Kennedy Center retains it's original name and independent music platform Nina Protocol is shutting down in July.Song: Flea - “Traffic Lights (feat Thom Yorke)”Friend of the show, Nate Kalwicki, was recently awarded a mortgage free home by the amazing folks at A Soldier's Journey Home. An Afghanistan veteran, Nate lost his right leg in an ambush and met Greg while recuperating at Walter Reed Hospital. Listeners may remember that he's now the guitarist for The Resilient. The band got to perform at the celebration and Greg gives us a play-by-play on “Tales From the Concert.”Song: Aphex Twin - “Window Licker”

Merriam-Webster's Word of the Day for May 31, 2026 is: permutation • per-myoo-TAY-shun • noun Permutation is a formal word for any one of the many different ways or forms in which something exists or can be arranged. It can also refer to a major or fundamental change in something based primarily on rearrangement of its existing elements. Permutation is usually used in its plural form. // Early permutations of the design look nothing like the final result. // The system has gone through several permutations. See the entry > Examples: “Megadeth have weathered nearly all of metal's generational permutations, only once deviating from their ... formula with 1999's infamously confused country'n'industrial mish-mash, Risk.” — Eli Enis, Pitchfork, 26 Jan. 2026 Did you know? “Ch-ch-changes!” David Bowie sang memorably in his classic (and appropriately titled) hit “Changes,” which concerns the phenomenon of artistic reinvention—something Bowie knew a lot about. In fact, he could have titled the song “Permutations,” though we admit that the word would have been a bit clunkier to sing. Permutation is, after all, all about change—specifically change (as in character or condition) of something based primarily on rearrangement of its existing elements. For example, Bowie's artistic persona went through many permutations over the course of his career, from the alien rock star Ziggy Stardust to the aristocratic Thin White Duke, with the common denominator—the existing elements—being Bowie himself. (Permutation can also be used for a form or variety resulting from such changes, and can thus refer to Bowie's individual personae as well.) Permutation, perhaps ironically, has not changed all that much since it was borrowed into Middle English from Anglo-French as permutacioun.

In this episode we are joined by Rob Arcand to discuss his work on Spotify, streaming, and the financialization of culture. We begin with Spotify's emergence as a supposed democratizing force for working musicians, even as its model relied on surveillance and data-trawling. We explore how this data-driven promise — that listener analytics could be leveraged for touring and merch — reshaped the relationship between artists and audiences, often in ways that reinforced precarity rather than alleviated it. From there, we turn to Arcand's comparison of Spotify's ambitions to Uber and Airbnb, situating streaming within the broader logic of platform capitalism. We discuss how corporate consolidation has shaped the power dynamics of the music industry over the past several decades, and how subscription and ad-supported services emerged from a moment of crisis as neoliberal adaptations to instability. Our conversation also examines how disenfranchisement has paradoxically opened space for new labor struggles within the culture industries, and what a more equitable path forward might look like in an industry dominated by monopoly capitalism. We trace Spotify's shift from search-centric functionality to playlist curation, its "Music for every moment" strategy, and its rebranding from a "celestial jukebox" into lifestyle accessories for individual listeners. Arcand helps us unpack Spotify's editorial logic — from "chill" playlists to hyperpop — and how mood-based categorization blurs the boundaries between artistic expression, consumer mood management, and financialized cultural assets. We consider the assimilation of subcultural genres into profit-seeking structures, the emergence of "Spotifycore," and the recalibration of genre itself for algorithmic infrastructures. Rob is a writer, editor, web developer, and PhD candidate at McGill University in Montreal. He's a former staffer at Pitchfork and SPIN, and has published work on music, visual art, books, film, and technology with outlets like n+1, The Los Angeles Review of Books, Artforum, Art in America, The Nation, The Fader, Rolling Stone, Vice, and more. Twitter: @robarcand If you like what we do and want to support our ability to have more conversations like this. Please consider becoming a Patron. You can do so for as little as a 1 Dollar a month and gain access to our Discord. The Same Stream Twice by Rob Arcand  

Russ is joined by Pitchfork's Walden Green to countdown their lists of the most underrated pop songs of the year so far.Check out a playlist of Russ and Walden's favsBuy tickets to Gorgeous Gorgeous Pride in LA on 6/19 and NY 6/26Join Pop Pantheon: All Access, Our Patreon Channel, for Exclusive Content and MoreShop Merch in Pop Pantheon's StoreFollow Pop Pantheon on InstagramFollow DJ Louie XIV on InstagramFollow Russ on Instagram Hosted on Acast. See acast.com/privacy for more information.

Our friend Kevin Morby returns to How Long Gone. His critically acclaimed new record, Little Wide Open, is out now. We spoke with Kevin from his hotel room in Phoenix about life on the road in the desert, crushing his sleep score at the Holiday Inn Express, the game of “Odds,” getting sweaty on TikTok, just playing Kimmel and getting autotune put on his voice without being told, proposing a modern-day Traveling Wilburys with Morby as Dylan, which older bands make new fans and which don't, his Pitchfork score starts with an eight, we update the famous people in Kansas City list, and a temp check on whether he's reading the reviews. instagram.com/kevinmorby twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2026, fascism in the US is rising while “the left” descends further into powerlessness, goofiness, and irrelevance—but, author William C. Anderson argues, it doesn't have to stay that way. In this episode of Rattling the Bars, Anderson returns to the show for an unflinching conversation with former political prisoner and host Mansa Musa about the state of the political left today and the lessons organizers and everyday people can learn from the Black Liberation Movement and figures like the late Russell Maroon Shoatz. Editor's Note: This conversation was recorded on May 1, 2026.Guests:William C. Anderson is a writer and activist from Birmingham, AL. His work has appeared in outlets ranging from The Guardian, MTV, Truthout, British Journal of Photography, to Pitchfork. He is the author of The Nation on No Map: Black Anarchism and Abolition, and co-author of As Black as Resistance: Finding the Conditions for Liberation. He's also the co-founder of Offshoot Journal and provides creative direction as a producer of the Black Autonomy Podcast.Additional links/info: William C. Anderson, Prism / TRNN, “Another Way Out: We need a mosaic movement, not fragmented ‘leftism'”Credits:Producer / Videographer / Editor: Cameron GranadinoBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-real-news-podcast--2952221/support.Help us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Follow us on:Bluesky: @therealnews.comFacebook: The Real News NetworkTwitter: @TheRealNewsYouTube: @therealnewsInstagram: @therealnewsnetworkBecome a member and join the Supporters Club for The Real News Podcast today!

Chance The Rapper Talks Coloring Book’ 10 Year Anniversary Tour, Fatherhood, Pitchfork + MoreSee omnystudio.com/listener for privacy information.

Hot Chip is a band from London made up of Alexis Taylor, Joe Goddard, Al Doyle, Owen Clarke, and Felix Martin. Their second album, The Warning, came out in 2006. It was nominated for a Mercury Prize, and named one of the best albums of the year by NME and Pitchfork. And later, NME would include it in their list of best albums of all time. For this episode, I talked to them about one of the songs from The Warning called “Boy From School.” You might have heard it in the second season of the show Beef on Netflix—the band's also in the show—or you might have heard it on The Simpsons. You could have also heard the song in my car all the time in 2006. So I was very excited to talk to Alexis and Joe from Hot Chip about how “Boy from School” was made.For more info, visit songexploder.net/hot-chip.

The show breaks down why Chris Brown continues to trend, as his latest album Brown sparked major backlash after receiving an extremely low 1.3 rating from Pitchfork, which labeled the project “soulless” and “hit-chasing.” Despite the criticism, fans and collaborators are defending him, highlighting his long-standing success and influence. See omnystudio.com/listener for privacy information.

From breaking news to celebrity drama, today’s Rickey Smiley Morning Show delivers a mix of serious headlines and real talk that keeps listeners locked in. The show opens with a tragic story out of San Diego, where two teenage gunmen opened fire at an Islamic Center, killing three people before taking their own lives. Authorities say the suspects expressed “generalized hate rhetoric,” and the shooting is being investigated as a hate crime, with reports indicating the teens may have shared extremist views and left behind writings tied to racial hatred. On the entertainment side, the show breaks down why Chris Brown continues to trend, as his latest album Brown sparked major backlash after receiving an extremely low 1.3 rating from Pitchfork, which labeled the project “soulless” and “hit-chasing.” Despite the criticism, fans and collaborators are defending him, highlighting his long-standing success and influence. Meanwhile, Ne-Yo opens up about his personal life, revealing that the end of his marriage to Crystal Renay—after accusations of infidelity—pushed him toward a polyamorous lifestyle, which he says is rooted in honesty and works better for him, even as it continues to spark public debate. The show also features T.I., who talks about his return to music, teasing new projects while reflecting on Atlanta’s culture—including how clubs like Magic City still serve as testing grounds for hit records, a tradition deeply tied to the city’s hip-hop scene. With its blend of heavy news, culture, and candid conversations, this episode keeps listeners informed while staying true to the show’s voice. Website: https://www.urban1podcasts.com/rickey-smiley-morning-show See omnystudio.com/listener for privacy information.

T. Kyle and Brad discuss the “piece of s—t” Pitchfork headline for the Chris Brown album, promoting Zara Larsson, Luscious Massacr calling out Bob the Drag Queen to his face for “giving male,” Slayyyter's “CRANK” becoming a graduation meme, Lady Gaga's ‘Mayhem REQUIEM' funeral, Spotify's 20th anniversary celebration with First Songs and All-Time playlists, Dua Lipa announcing her Live From Mexico special, Kylie Minogue's ‘Tension Tour Live' coming to Netflix, High Fashion Editorial! featuring Venus Williams at the Kevin Hart roast, Baby Yoda at the Mandalorian & Grogu premiere, Hilary Duff for SI Swimsuit Issue, Taylor Swift popping up around NYC, Jennifer Lopez's stunt walk, a teLOgram from a Little Monster, new music from Becky G, Tove Lo, mother-daughter pop duos, a Madonna Minute update about the Peggy Gou remix of “Bring Your Love,” the Tribeca Film Festival premiere of ‘Confessions II,' the FIFA World Cup Final, and early listening party reviews. Hosted on Acast. See acast.com/privacy for more information.

It's Charles Holmes Week!! While Nora gets hitched and honeymooned during the month of May, we'll have four very special besties of the pod to talk about their obsessions. Up second is Charles Holmes! Jodi and Charles first do a quickfire round of takes on reader-suggested topics (2:55), before getting into the awful things that happened on boats this week, including the hantavirus outbreak (14:45), photos of Dianna Russini and Mike Vrabel's boat trip from 2021 (28:30), and where we stand before the ‘Summer House' reunion (they were on a boat last week!!) (38:09). Then, criticism is so back with Pitchfork's review of Chris Brown's new album (54:16) and the Current Affairs piece on Jimmy Fallon (1:04:55). Finally, they have a Hot Take Happy Hour, where they touch on Sydney Sweeney, Lena Dunham, Hollywood's representation of OnlyFans, and Tom Holland as a father (1:11:48). Last but not least, they each share their personal obsession for the week (1:33:40). Shop Pandora today, in-store or online at Pandora.net. Talk to a State Farm agent today to learn how you can choose to bundle and save with the Personal Price Plan®. Like a good neighbor, State Farm is there®. DM us on Instagram at instagram.com/wereobsessedpod! Subscribe to our YouTube channel at youtube.com/@wereobsessed! Host: Jodi Walker Guest: Charles Holmes Producers: Sasha Ashall and Belle Roman Learn more about your ad choices. Visit podcastchoices.com/adchoices

Family of the show, REASON, drops by to talk about his new project Moving Towards Love_PINK, and share his takes on the “Who’s the Giant” posters that have been popping up in Los Angeles, New York, and Atlanta. The guys talk everything from favorite studio sessions, Kendrick Lamar’s GNX being pulled from streaming, and the East Coast vs. West Coast beef from last year. They also address Wale’s recent comments about the toxicity in online hip hop discussions, and discuss Pitchfork’s disrespectful review of Chris Brown’s new album. All lines provided by Hard Rock Bet Visit your nearest Boost Mobile store or https://www.boostmobile.com/promo/25-forever Go to https://baskandlatherco.com and use code RORYANDMAL for 20% offSee omnystudio.com/listener for privacy information.

The JBP's latest episode begins with Joe commenting on the Knicks sweeping the Sixers (27:40) before the crew recaps their Mother's Day 2026 (39:46). Pitchfork releases a disrespectful review of Chris Brown's new album (53:21), The Roast of Kevin Hart on Netflix (1:04:30), and Caitlin Clark walking out with Morgan Wallen draws mixed reactions from fans (1:38:20). Also, Swatch and Audemars Piguet are planning a collaboration watch (1:48:20), Dr. Cheyenne Bryant's appearance on the Breakfast Club (2:03:53), Kendrick Lamar's 'GNX' and other videos being reuploaded (2:31:52) leads to release week for Drake's 'Iceman', Paul Pierce's comments about women with makeup (2:47:00), and much more! Become a Patron of The Joe Budden Podcast for additional bonus episodes and visual content for all things JBP! Join our Patreon here: http://www.patreon.com/joebudden 

The Mystery of Richard Simmons on ABC, Spencer Pratt v. TMZ, Thomas Markle's GoFundMe for a house, Rich Beato destroys the New York Times, Michael Jackson defenders hate us, pooping in school, and a Tic Tac took Marc out. Marc vs a Tic Tac. The Tic Tac was victorious. Why can't doctors tell us how much a service costs? Michael Jackson molested the Cascio family and his defenders have infiltrated out YouTube page. Don't forget to subscribe. DoorDash driver Olivia Henderson lied about a sexual assault and shared a TikTok of her naked customer, yet somehow she's the victim. Can Spencer Pratt actually win the election for LA Mayor? He's getting slammed for living in a hotel instead of his Airstream. Kevin Hart and Tony Hinchcliffe are in trouble for a George Floyd joke. Katt Williams killed it at the roast. There is a GoFundMe worth donating to… ‘Help Thomas Reunite with Family'. Meghan Markle is apparently out-earning Prince Harry. Chris Brown and Usher are going on tour. Pitchfork recently ripped Chris Brown's new album to the point that he wants to beat up the writer like he's Rihanna. Goop is moving to AI and firing employees. NYU students are not fans of Jonathan Haidt. Diane Sawyer has a new special out on The Mystery of Richard Simmons. Rosie O'Donnell ruined the show. Did you ever poop in middle school? Rick Beato takes on the New York Times' 30 Greatest Living American Songwriters list. Sydney Sweeney's huge boobs dominated the latest episode of Euphoria. Alex Murdaugh's double murder convictions are overturned thanks to some dope clerk. Merch is for sale! Buy it. Or don't. But do. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (Drew Lane, Marc Fellhauer, Trudi Daniels, Jim Bentley, BranDon, and Roberto).

Hrishikesh Hirway is a musician from Los Angeles, best known for his masterful podcast Song Exploder. His new record, In the Last Hour of Light, is out now. We chat with him about the new Salem x Supreme collection, Pitchfork giving Chris Brown's new offering a devastating 1.3, our salad days of podcasting, competing with A.I. in both music and podcasts, when the emo band opens for the hardcore band, what happens when doctors and lawyers run in your family but you choose Spotify, exactly how many licks it takes to explode a song, whether songs will have ads one day, the “Ratatouille moment” when a singer hears their original recording from decades ago, and which podcasts Hrishikesh is listening to. instagram.com/hrishihirway twitter.com/donetodeath twitter.com/themjeans howlonggone.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On today's episode, host Kate Lindsay is joined by Pitchfork news director Alex Suskind to talk about why musicians keep coming down with “blue dot fever.” Stars like Meghan Trainor and Post Malone are among many in recent months who have cancelled entire tours, seemingly due to a lack of ticket sales. Has social media changed what it means to be famous, or have things like Ticketmaster finally made concerts too expensive to attend? Or are we, the audience, to blame? This podcast is produced by Vic Whitley-Berry, Daisy Rosario, and Kate Lindsay. Hosted on Acast. See acast.com/privacy for more information.

The xx formed in 2005, when they were still in high school. They signed to the UK label Young, and put out their first album in 2009. It won the prestigious Mercury Prize, and was named one of the best albums of the year by Rolling Stone, Pitchfork and more. Since then, the Guardian has named it one of the best albums of the 21st century. This year, the three band members, Romy Croft, Oliver Sim, and Jamie xx played together as The xx for the first time in 8 years. I spoke to them in between the weekends at Coachella, where they were opening their sets with the song “Crystalised.” It's the first song they ever released, back in April 2009, when the lineup also included Baria Qureshi on guitar. I spoke to Romy, Jamie and Oliver, here at my studio, about how they first found each other, and how they made “Crystalised.”For more info, visit songexploder.net/the-xx.