Podcasts about Shins

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.

Waxing Lyrical - Shins 08.07.26 | VISLA FM by VISLA

Our guests this week are DICE. The Western Australian indie rock four-piece have become one of Australia's most beloved young bands, known for upbeat, high-fidelity songs that sit somewhere between the energy of youth and the weight of adulthood. Their 2024 debut Midnight Zoo expanded their reach significantly, taking them on tour across the UK, Europe and North America. On July 31st they return with their sophomore record I Thought The Altitude Would Make It Worth The View, recorded in LA alongside producer Joe Chiccarelli, known for his work with The White Stripes, The Shins and The Strokes. On today's episode, Ben Hodge and Tom King from the band join us to discuss the making of the new record, how their time with Joe Chiccarelli pushed their creative techniques forward, and the self-reflective lyrical world at the heart of the album.DICE  : Instagram / Spotify / WebsiteVisit our official website here and follow us across our socials.

This week's show is full of songs about horses...or related to horses...or tangentially connected in some way to horses.  In this show you will hear Modern English, Wolf Alice, The Beatles, Marc Bolan & T. Rex, Electric Six, Jet, Echo & The Bunnymen, Slothrust, Fleetwood Mac, The Dead Weather, Robert Plant & The Strange Sensation, Ian McCulloch, The Shins, The Trash Can Sinatras, Bat For Lashes, Genesis Owusu. On most podcast platforms. Facebook: SuburbanUndergroundRadio     Instagram: SuburbanUnderground     #newwave #altrock #alternativerock #punkrock #indierock

Waxing Lyrical with Shins 06.05.26 | VISLA FM by VISLA

Gugs Mhlungu speaks to Dr Ziyaad Mayet, Orthopaedic Foot and Ankle Surgeon, about shin splints, their causes, prevention and treatment, the impact of footwear, and possible long-term effects if left untreated. Gugs Mhlungu gets you ready for the weekend each Saturday and Sunday morning on 702. She is your weekend wake-up companion, with all you need to know for your weekend. The topics Gugs covers range from lifestyle, family, health, and fitness to books, motoring, cooking, culture, and what is happening on the weekend in 702land. Thank you for listening to a podcast from 702 Weekend Breakfast with Gugs Mhlungu. Listen live on Primedia+ on Saturdays and Sundays from 06:00 and 10:00 (SA Time) to Weekend Breakfast with Gugs Mhlungu broadcast on 702 https://buff.ly/gk3y0Kj For more from the show go to https://buff.ly/u3Sf7Zy or find all the catch-up podcasts here https://buff.ly/BIXS7AL Subscribe to the 702 daily and weekly newsletters https://buff.ly/v5mfetc Follow us on social media: 702 on Facebook: https://www.facebook.com/TalkRadio702 702 on TikTok: https://www.tiktok.com/@talkradio702 702 on Instagram: https://www.instagram.com/talkradio702/ 702 on X: https://x.com/Radio702 702 on YouTube: https://www.youtube.com/@radio702See omnystudio.com/listener for privacy information.

AI & Robots: Waymos seem to be plotting something in an Atlanta cul de sac, China has rolled out a legit mecha suit.Mixtape Game: Jim has played the game Mixtape which has been stirring up controversy over paid reviews which leads to a discussion on the state of gaming and our media in general as they push us to eat bugs and dirt.Bugs In The Food: Speaking of eating bugs, we love to watch the sugary drunks covered in bees and the man making dough covered in bees. This is the future.THE BEAR!, FUCK YOU WATCH THIS!, PURSUIT OF HAPPINESS!, LISSIE!, THE DIRTIES!, KID CUDI!, MATT JOHNSON!, STREAMATHON!, THE SHINS!, SO SAYS I!, THE RIVOLI!, HEADLINING!, WAYMO!, CUL DE SAC!, ATLANTA!, AI!, ROBOTS!, STRANGE!, CREEPY!, AI SOCIAL MEDIA!, REDDIT!, LLM!, VIDEO GAMES!, JURASSIC PARK!, CHINA!, MECHA!, ROBLOX!, MIXTAPE!, INDIE GAMES!, 10/10!, IGN!, PAID OFF REVIEWS!, ANNAPURNA!, MUSIC!, JOURNEY!, TELLTALE!, CALL OF DUTY!, MOVIES!, ELLISON!, HYPE!, BUZZ!, COMING OF AGE!, MULTIPLAYER GAMES!, GTA VI!, HALLOWEEN GAME!, 007 FIRST LIGHT!, CONCORD!, WOLVERINE!, TOO EXPENSIVE!, DON'T WANT YOU TO OWN ANYTHING!, STREAMING!, PS5!, ETHICS!, RED CARPETS!, TIKTOK INTERVIEWERS!, TOYS R US!, DISCLOSURE DAY!, REVEAL!, SPIELBERG!, ALIENS!, EATING BUGS!, DOUGH!, FLIES!, SUGAR!, CROSS STREETS!, FLOUR!You can find the videos from this episode at our Discord RIGHT HERE!

Plus: His Crazy Car Accident, Comic Books, Letters From Prison, Hegseth, Hampshire College Closing and More! Comedians are under attack. The MAGA machine has pushed Stephen Colbert off the air, gone after Jimmy Kimmel, and skipped a comedian at the White House Correspondents Dinner for the first time in memory. That's not an accident — it's the playbook of every authoritarian regime that ever feared a punchline. Paul Rieckhoff sits down with his old college friend, beloved comedian and actor Eugene Mirman — Bob's Burgers, Flight of the Conchords, and the new special Here Comes the Whimsy — for a candid, funny, and unexpectedly moving conversation about what it means to make people laugh while the rigged two-party system burns and Trump and the executive branch goes all gas, no brakes. Eugene, a refugee from a genuinely authoritarian country, doesn't sugarcoat it: Trump's instincts are fascist, the cruelty is the point, and the use of state power to threaten billion-dollar companies into firing comedians is straight out of the thug-regime handbook. But he also refuses nihilism — America, he argues, is too big and too used to freedom to be wholly silenced, and that's exactly why the work of comedians, podcasters, and independent voices matters right now. Along the way the two cover Eugene's harrowing New Hampshire car crash and rescue, the absurd unqualified men running the Pentagon and the VP's office, comic books as hopeful dystopia, and why the angry middle should keep laughing — and keep showing up. Eugene Mirman is one of the most respected comedic voices of his generation. A refugee from the former Soviet Union, he is best known as the voice of Gene Belcher on Bob's Burgers and as the landlord on Flight of the Conchords, and was a regular on Adult Swim's Delocated. He co-founded the Pretty Good Friends comedy company in the basement of Brooklyn's Union Hall, has opened for The Shins, Modest Mouse, Yo La Tengo, Gogol Bordello, and Cake, and was named best New York City comedian by The Village Voice. A graduate of Hampshire College — where he designed his own major in comedy and delivered a one-hour stand-up set as his thesis — his latest special is Here Comes the Whimsy. -WATCH full video of this episode here. -Watch/hear Eugene Mirman's hilarious new special album: Here Comes the Whimsy. -Check out Eugene's Pretty Good Friends.  -Ditch your expensive carrier and support Independent Americans! Make the switch to Noble Mobile. -Join IVA and stand up to Trump's Forever Wars. -Learn more about Paul's work to elect a new generation of independent leaders with Independent Veterans of America. -Learn more about American Veterans for Ukraine here. -Remember Independent is an Attitude. -Learn more about The Headstrong Project for Veterans, Tragedy Assistance Program for Survivors (TAPS), and Department of Veterans Affairs resources in your area. Seeking support is not a sign of weakness. It's a show of strength. If you or a loved one are in immediate crisis, dial 988 and press 1, or text 838255. Connect with Independent Americans: Subscribe on YouTube, Spotify, Apple Podcasts, and all podcast platforms Read more at Substack Support ad-free episodes at Patreon  Connect: Instagram  • X/Twitter • BlueSky • Facebook  Follow on social: @PaulRieckhoff on X, Instagram, Threads, and Bluesky -Join the movement. Hook into our exclusive Patreon community of Independent Americans. Get extra content, connect with guests, meet other Independent Americans, attend events, get merch discounts, and support this show that speaks truth to power.  -And get cool IA and Righteous hats, t-shirts and other merch now in time for the new year.  Independent Americans is powered by veteran-owned and led Righteous Media.  And now part of the BLEAV network!  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Chutes too Narrow, dreams too big. This week we take a melancholy look at the Shins.    Music: "Baby You Change Your Mind" by Nouvellas Happy MaxFunDrive! Right now is the best time to start a membership to support your favorite shows. Learn more and join at https://maximumfun.org/joinbuffering

Waxing Lyrical with Shins, Sawteeth, Azael & Haney Lee 03.06.26 | VISLA FM by VISLA

A scraped shin, a breezy dock, and the Gulf stretching out like a stage—this one starts chaotic and turns strangely tender. We set up at the bay in Corpus Christi, swing by the Selena statue, and talk about what it means when a city adopts an artist as family. That sparks a music thread—how Selena's warmth and Pantera's grit both shape identity—and why certain songs become rallying cries long after the amps go quiet.From there we roll into the craft. Two shows in one night deliver a split-screen lesson in crowd work: a first set that floats because the host nails the warmup, and a second where two loud guys try to take the wheel. We break down reading the room without losing the room, why a well-timed pause beats a sharp put-down, and how food choices—yes, that pizza between sets—sneak into performance. New material gets a live workout, wobbling and landing all at once.The bay keeps pulling focus. Pelicans fish, doves glide in, a duck maybe stays under too long, and we spiral into the weird beauty of not knowing what any of it means. Hotel life slips into the mix—eggs you shouldn't trust, gyms you only admire, towels you definitely avoid—and somehow those tiny choices feel like the real bandmates of a touring comic. We wrap with a nudge toward art, nature, and adding new skills to who we are, even if it's as simple as taking a walk and paying attention. If you've ever chased calm while the world feels loud, you'll hear something familiar here.If the laughter hits, share it with a friend, tap follow, and leave a quick review—your words help us keep the lights on and the mics up.Support the showhttps://www.patreon.com/c/DiscombobulatedwithBobbyJaycox

Waxing Lyrical - Shins 02.06.26 | VISLA FM by VISLA

Tacoma, Washington songwriter Kye Alfred Hillig returns with “Ezekiel Bobbing For Apples,” the new single arriving January 7, 2026, and the first release from his upcoming album The All-Night Costume Company, due March 4. Built around haunting guitar leads and striking male-female harmonies that nod to the emotional gravity of classic country duets like Gram Parsons and Emmylou Harris, the track introduces Hillig at his most direct and melodic. It sits between alternative-country and indie rock, carrying the tension and plainspoken urgency of a songwriter raised on punk rooms rather than polish. Hillig has spent more than two decades working the margins of the Puget Sound music scene, balancing songwriting with the realities of work, responsibility, and long stretches outside the spotlight. Since stepping fully into his solo work in 2012, he's released a deep catalog of records defined by sharp hooks and lyrical candor. His songs often land where discomfort and dark humor overlap, more interested in honesty than resolution. Fans of Father John Misty, The Jayhawks, and early-era The Shins will recognize the instinct for narrative and melody, even as Hillig's voice and perspective remain distinctly his own. “Ezekiel Bobbing For Apples” moves with restless intent. The arrangement is lean but charged, guitars circling and cutting while the rhythm section pushes steadily forward. The blend of voices adds weight rather than gloss, creating moments of tension and release that feel earned instead of ornamental. Lyrically, the song sits with a kind of open-eyed vulnerability. “It's really a bit of singing up from the bottom of the well,” Hillig says. “Everything feels kind of screwed and hopeless at times, but the message is I am with you. There's something freeing about saying that out loud.” Shaped by years of DIY spaces and unvarnished rooms, the song carries a quiet defiance, even as it stretches into broader country and indie-rock forms. It never pauses to second-guess itself. Kye Alfred Hillig Online INSTAGRAM | SPOTIFY | BANDCAMP | FACEBOOK Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

This week's Mixtape Rewind takes you back to where Matt and Sam reviewed memorable first tracks from albums.  The first track can make you stay, skip, or fall in love. We dove into 12 album openers that don't just start a record — they define it — and traced how a great intro sets the promise for everything that follows. From the sunlit optimism of the Beach Boys' Wouldn't It Be Nice to the neon stride of Taylor Swift's Welcome to New York, we explore how artists use track one to signal a theme, a shift, or a dare.We share the moments that hooked us: Alanis Morissette cutting straight to the bone on All I Really Want, Pearl Jam's Once roaring to life as a debut mission statement, and Chance the Rapper turning gospel joy into a full-album thesis on All We Got. We also talk about pivots and reinvention — Springsteen's The E Street Shuffle breaking from his Dylan-leaning debut, and Swift's leap from Nashville to skyscraper synth-pop — and why that boldness belongs right up front. Along the way, we celebrate high-voltage openers like Sleigh Bells' Tell 'Em, the literate punch of Titus Andronicus' A More Perfect Union, the tender sting of Dashboard Confessional's Hands Down, the bittersweet charm of The Shins' Kissing the Lipless, and Andrew Bird's Fiery Crash turning an airline safety demo into a meditation on mortality.This is a love letter to sequencing, storytelling, and the lost art of letting an album guide your night. Matt and Samer go through twelve songs that served as the opening tracks for some amazing albums.You can find the mix here on Spotify:https://open.spotify.com/playlist/04FSmhh5ejKJ5oDdPr1WED?si=060ea013ab8c4c761. A More Perfect Union - Titus Andronicus2. Somebody's Baby - Jackson Browne3. Tell 'Em - Sleigh Bells4. Wouldn't It Be Nice - The Beach Boys5. All We Got - Chance the Rapper6. All I Really Want - Alanis Morrissette7. Kissing the Lipless - The Shins8. The E Street Shuffle - Bruce Springsteen and the E Street Band9. Hands Down - Dashboard Confessional10. Once - Pearl Jam11. Fiery Crash - Andrew Bird12. Welcome to New York - Taylor Swift13. Let Go - Frou Frou14. Back on the Block - Quincy Jones15. Marching Bands of Manhattan - Death Cab for Cutie16. Where the Streets Have No Name - U2 Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Waxing Lyrical with Shins 01.02.26 | VISLA FM by VISLA

While to the casual observer it might seem as if New Zealand’s The Beths appeared seemingly out of nowhere in or around the summer of 2023, they’ve in fact been making their extremely catchy brand of indie pop for almost ten years now. The Auckland-based quartet’s most recent album, Straight Line is a Lie, was released last year by Anti-. We spoke to founding members Liz Stokes and Jonathan Pearce for this episode in which they talk about how songs by Rilo Kiley, Ben Folds Five, and The Shins--among others--were formative for them.See omnystudio.com/listener for privacy information.

Waxing Lyrical - Shins 12.05.25 | VISLA FM by VISLA

Send us a textWelcome to Guess the Year! This is an interactive, competitive podcast series where you will be able to play along and compete against your fellow listeners. Here is how the scoring works:10 points: Get the year dead on!7 points: 1-2 years off4 points: 3-5 years off1 point: 6-10 years offGuesses can be emailed to drandrewmay@gmail.com or texted using the link at the top of the show notes (please leave your name).I will read your scores out before the next episode, along with the scores of your fellow listeners! Please email your guesses to Andrew no later than 12pm EST on the day the next episode posts if you want them read out on the episode (e.g., if an episode releases on Monday, then I need your guesses by 12pm EST on Wednesday; if an episode releases on Friday, then I need your guesses by 12 pm EST on Monday). Note: If you don't get your scores in on time, they will still be added to the overall scores I am keeping. So they will count for the final scores - in other words, you can catch up if you get behind, you just won't have your scores read out on the released episode. All I need is your guesses (e.g., Song 1 - 19xx, Song 2 - 20xx, Song 3 - 19xx, etc.). Please be honest with your guesses! Best of luck!!The answers to today's ten songs can be found below. If you are playing along, don't scroll down until you have made your guesses. .....Have you made your guesses yet? If so, you can scroll down and look at the answers......Okay, answers coming. Don't peek if you haven't made your guesses yet!.....Intro song: Ebony Eyes by Stevie Wonder (1976)Song 1: Ebony Eyes by Bob Welch (1977)Song 2: A Good Song Never Dies by Saint Motel (2020)Song 3: Memory Machine by The Dismemberment Plan (1999)Song 4: Ebony Eyes by The Everly Brothers (1961)Song 5: Youth by Troye Sivan (2015)Song 6: Happy Colored Marbles by Ween (2003)Song 7: Ebony Eyes by The Stylistics (1971)Song 8: New Slang by The Shins (2001)Song 9: All I Really Want to Do by Bob Dylan (1964)Song 10: Ebony Eyes by Rick James (1983)

Waxing Lyrical - Shins 11.07.25 | VISLA FM by VISLA

(image source: https://dinosaurpictures.org/Zuul-picture) Happy Paleo Bites-oween, where we will host Halloween themed episodes all week, every day! On this third day of Paleo Bites-oween, host Matthew Donald unearths an older Halloween episode from years back to rerelease in all of its glory. Kind of like a fossil. Or a mummy. From the Late Cretaceous, this 20-foot ankylosaur had a really big tail club and a really funny name, based off the demon dog from Ghostbusters. And just like Ghostbusters, 100% of this episode was improvised. I can only assume that Ghostbusters had no script and was just the actors riffing, anyway. Want to further support the show? Subscribe to our YouTube channel at https://www.youtube.com/channel/UCdXnbmbdvKBVoUexcFBgMNQ for ad-free episodes, and sign up to our Patreon for exclusive bonus content at Patreon.com/MatthewDonald. Also, you can get links to follow Matthew Donald and purchase his books at https://linktr.ee/matthewdonald. His latest book, Teslamancer, just released August 27th! And mild spoiler alert... there are kind of dinosaurs in it... mwuahahaha. Hosted on Acast. See acast.com/privacy for more information.

Planet Turbo Takeover: Nimvy, Untitled, Shins 10.26.25 | VISLA FM by VISLA

Waxing Lyrical - Shins 10.03.25 | VISLA FM by VISLA

This week, we get into Freddy Got Fingered; a film that Rob gives too much credit while Chris and Bob wish death on him. We're kicking off our 24th season: new(ish format), new bumpers, and, most importantly, we're digging into the mailbag. Big shoutout to Midge from Glasgow, Scotland for this request. We're worse off for it, and for that we thank you!Let's just go ahead and fuck this duck, shall we? Green gives us Gord, goes for grossout gags, gets the gimpy girl, garners gonorrhea from a galloping gelding, and gains garnishments via goofy graphics! Fists full of horse cock! Japan four? Shins of sin! Bob's bulge is back! Casual bestiality! Umbilical impropriety! Bamboo Blondes! Veggie blowjays? Wanton destruction of private property (again!)! Rip Torn's butthole! Fist full of elephant cock this time! Chris riding Rob's coattails! Unexpected Gymkata drops, and much, much more on this week's episode of The Worst Movie Ever Made! We're digging into the mailbag this season, so email us you cowards! Thanks again, Midge! www.theworstmovieevermade.com 

Today's Talkhouse Podcast features a pair of guys who've been making records for a long time and still manage to keep things not just interesting, but awesome: Mac McCaughan and Eric Johnson. Mac is the co-founder of legendary indie label Merge Records as well as the singer and guitarist for the band Superchunk, which has been making great, great records for about 35 years now, though they did take a bit of a break in the early aughts, which Mac mentions in this chat. Since reigniting around 2010, Superchunk has released five solid records that both reflect their maturity and bring the punk-rock energy. The latest just came out, and it's called Songs in the Key of Yikes. It's their first with new drummer Laura King, and you can catch Superchunk this weekend at Riot Fest in Chicago and then on a West Coast tour that starts October 9 at Pappy & Harriet's in the California desert. Check out “Is It Making You Feel Something” from Songs in the Key of Yikes right here. The other half of today's chat is Eric D. Johnson, who's both one-third of Bonny Light Horseman and the only constant member of Fruit Bats, the name under which he's been recording his smart, often gentle songs since around 2001. The newest Fruit Bats record, Baby Man, just came out on Merge, and it's an absolutely stripped-to-the-bone affair, with Johnson's voice even more front and center than usual. He lays it all out there and it's easy to get sucked in by his words and lovely melodies. He'll be touring all over in October, doing it “an evening with Fruit Bats” style. Check out “Let You People Down,” a song that comes up in this conversation, right here. In this easygoing chat, Eric and Mac talk about their long histories, from Eric's time in the Shins and I, Rowboat to Superchunk's not-that-fun stint opening for Teenage Fanclub. They also use some baseball analogies to talk about sequencing an album, and they commiserate about being dudes with unusually high singing voices. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Mac McCaughan and Eric D. Johnson for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff in our podcast network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

"Baby Man" The Grammy-nominated singer/songwriter Eric D. Johnson has one of the most consistently wonderful bodies of work you'll ever run to in this lifetime. From his 2001 debut Echolocation to albums like The Ruminant Band, Tripper, Gold Past Life, A River Running To Your Heart to his brand new one Baby Man, Johnson's discography has no dips and or musical unforced errors--every note, every melody, every turn of phrase is deeply affecting and altogether stirring. The Chicago-born Johnson is a prolific songwriter, who, in addition to his Fruit Bats endeavors, was a member of The Shins and currently is one-third of the the exquisite folk trio Bonny Light Horseman. Over the course of their career, the Fruit Bats have toured with everyone from Modest Mouse to The Sadies, had their songs covered by folks like The Decemberists and Guster, had their songs appear in movies like Youth In Revolt and Our Idiot Brother and played festivals like Bonnaroo, Pickathon and the Dave Matthews Band Caravan. By the way, this is a partial list, but here's a few more resume' highlights: they've garnered rave reviews from No Depression, Variety and MOJO, recorded a cover of the Smashing Pumpkins album Siamese Dream and played on late night shows like Craig Ferguson and Seth Meyers. As for the new album Baby Man, it may be hushed and intimate, but it's also decidedly rousing. A spare collection of songs where Johnson handles all of the instruments, Baby Man is subtle, personal and spare, but it shimmers with pure pop majesty. www.fruitbatsmusic.com www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers: BLUESKY + IG: @emberspodcast Email: editor@stereoembersmagazine.com

Nashville-based pop purveyor Jessie Baylin has shared the stage with artists like Stevie Nicks, The Shins, and Iron & Wine (to name just a few). “Wild Life” was co-written with Daniel Tashian, a two-time Grammy-winning songwriter and producer who has worked with Kasey Musgraves and Burt Bacharach. This track has all the glitter of classic orchestral pop, and evokes a timeless Laurel Canyon sound.

Our guest today is Sarah Register, a mastering engineer, from New York City, NY, USA.Sarah has worked with The Shins, Lee “Scratch” Perry, John Mayer, Meshell Ndegeocello, The Donnas, and Wye Oak.We talk about early memories of experiencing music, starting out mastering records in NYC, managing your body and time, how community plays in to work and life, working with Kim Gordon, keeping physically active, and what does success mean?This episode's music is brought to you by Bel from Philadelphia, PA - USA. For more information on Bel, head to instagram: @iz.furFor more information about Sarah:Check out: https://sarahregister.com/And Instagram: @  _sarah_register

Waxing Lyrical with Shins 09.05.25 | VISLA FM by VISLA

Waxing Lyrical - Shins 08.08.25 | VISLA FM by VISLA

Happy Independence Day!  This week, Steve picked two sets of independence and freedom songs.  Artists played in this week's show are: The Kinks, The Shins, M83, The Comsat Angels, Lloyd Cole, Oasis, The Rolling Stones, The Bangles, Old 97's, Roxy Music, The New Pornographers, The Horrors, Go-Go's, Tears For Fears. AI-free since 2016! On the Air on Bedford 105.1 FM Radio      *** 5pm Friday ***      *** 10am Sunday ***      *** 8pm Monday *** Stream live at http://209.95.50.189:8178/stream Stream on-demand most recent episodes at https://wbnh1051.podbean.com/category/suburban-underground/ And available on demand on your favorite podcast app! Facebook: SuburbanUndergroundRadio   ***    Instagram: SuburbanUnderground   ***    #newwave #altrock #alternativerock #punkrock #indierock

Today's guest is composer, mastering engineer, and guitarist in Kim Gordon's band, Sarah Register. Sarah joins me to discuss her solo debut, touring with Kim, and filming a music video with choreography and archival footage from a previously unfinished project. ✨ MORE ABOUT SARAH REGISTER ✨Sarah Register is a Grammy-winning composer, mastering engineer, and multi-disciplinary artist based in LA. Formerly one half of the experimental noise band Talk Normal she has mastered albums for the likes of Lee 'Scratch' Perry, Meshell Ndegeocello, and The Shins. She is the current touring guitarist in Kim Gordon's band and is now focused on her solo. Her brand new songs, "does it hurt" and "right" are out now. ✨ KEEP UP TO DATE WITH SARAH REGISTER ✨Web: https://sarahregister.com/masteringInstagram: instagram.com/_sarah_register/TikTok: https://www.tiktok.com/@_sarah_registerYouTube: https://www.youtube.com/@thesarahregisterBandcamp: sarahregister.bandcamp.com/album/right-does-it-hurt✨ CONNECT WITH IZZY ✨Blog: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://agrrrlstwosoundcents.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠youtube.com/channel/UCv6SBgiYCpYbx9BOYNefkIg⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/agrrrlstwosoundcents/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/grrrlsoundcents⁠⁠⁠⁠⁠

Calves, Shins and Toes (P2) by Maine's Coast 93.1

After meeting up with Havi and making plans for the evening, everyone decides to do a little shopping. They are assured that almost anything they could imagine wanting can be found in Qi's markets and shops. Everyone is looking for something different but everyone finds something they want. Animal boarding is arranged, styles are considered, and fragrances are concocted. Join us and Nehemiah, Smalren and Jhori once again go shopping in a big city. Music and SFX Credits: Intro - “Whispers of the Ancients” by Justin Longacre (https://www.youtube.com/channel/UCb91nye1bAWGc70VQevM5cA) “Mana two 2” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Valse Gymnopedie” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Pride” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Double Drift” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Divertimento K131” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Master of the Feast” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Evening” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 “Carpe Diem” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0 Outro - “The Monolith Speaks” by Justin Longacre (https://www.youtube.com/channel/UCb91nye1bAWGc70VQevM5cA)

Carly caught up with Jessica Dobson, Front Woman for Deep Sea Diver ahead of their show in Fort Collins July 8th. Hear about her impressive career as a side-woman for bands like The Yeah Yeah Yeahs, Beck & The Shins, running a band with your partner, and attempting to garden with a black thumb.Follow us for even more fun local radio content!https://www.facebook.com/x1039radio https://www.instagram.com/x1039radio

Send us a textWe dive into the Shins' debut album O Inverted World, examining how James Mercer established a unique sound that would define indie rock in the early 2000s.• The Shins formed in 1996 in Albuquerque, New Mexico with James Mercer as the driving creative force• The band's breakout hit "New Slang" gained massive popularity after being featured in the film Garden State• Oh, Inverted World showcases Mercer's distinctive songwriting style with thoughtful lyrics and unique melodies• The album blends influences from 60s psychedelic rock with contemporary indie sensibilities• Standout tracks include the opening "Caring Is Creepy," the hypnotic "One By One All Day," and the French horn-featuring closer "The Past and Pending"• The Shins have maintained relevance with James Mercer as the consistent creative force through lineup changes• Beyond The Shins, Mercer has worked on side projects including Broken Bells with producer Danger MouseIf you enjoyed this episode, be sure to check out our other deep dives into classic indie albums and don't forget to subscribe to Greatest Non-Hits wherever you get your podcasts.Support the show

Send us a textWe explore five cultural touchstones that have captured our attention, ranging from new releases to beloved classics experiencing revival.• Ryan Coogler's "Sinners" blends 1930s blues culture with vampire horror while exploring themes of brotherhood and the power of music• My Chemical Romance's upcoming remixed version of "Three Cheers for Sweet Revenge" addresses longtime complaints about the original's sound quality• Garden State's 20th anniversary concert reunited most soundtrack artists, including The Shins, whose song famously "will change your life"• Fargo Season One masterfully adapts the Coen Brothers' aesthetic to television with standout performances from Billy Bob Thornton and Martin Freeman• "The Studio" on Apple TV+ offers meta-commentary on filmmaking through technically impressive one-shot scenes while examining the contradictions of studio executives' rolesGo experience these cultural moments for yourself! Whether it's catching "Sinners" in theaters, streaming "The Studio," or revisiting classics like Garden State and Fargo, there's something for everyone to enjoy.Follow My Pop Five: @mypopfive on all platforms We'll see you next time. But until then, what's your Pop Five?

This week's guest has poured a lot of passion and creativity into dog advocacy. Happy to welcome to the show Janet Weiss, the heralded drummer behind Sleater-Kinney, Stephen Malkmus and The Jicks, The Shins and her long time band Quasi. Janet introduces us to her 7 year old Heeler Dizzy and pays respects to her "equal" Mac and her anxious girl Isobel. Great talk that covers her car accident that left her laid up for three months, the Drum-a-thon she put on that raised over $20k for her local dog rescue and her foray into pet portraits that she paints onto bass drum heads. Janet gave some well deserved shout outs to three great organizations starting with One Tail at a Time Dog Rescue PDX whose mission is to improve the lives of companion animals by providing humane, individualized care and a chance to know the comforts of a loving home through advocacy, education, and support of those in need. To adopt, foster, volunteer or donate visit otatpdx.orgHigh praise also goes out to Oregon Dog Rescue who are devoted to placing dogs in the best homes and assuring the long-term success of the adoption. To adopt, foster, volunteer or donate go to oregondogrescue.org to learn more.Lastly, there's Oregon Humane Society who are the largest animal welfare organization in the Northwest and offer a wide variety of services from pet adoption, training, humane law enforcement, veterinary care, humane education, and disaster response. For the many ways to get involved and support their mission go to oregonhumane.orgFor more pics and clips of Janet and her pack follow the show on Instagram @rockerdogpodcast

00:00 Intro Stateless Mogul? Taejun Shin's Journey Begins02:00 The Stateless Hustle: Born Stateless, Built an EmpireHow he leveraged adversity into resilience and entrepreneurial drive.3:15 What Does the World Economic Form Do?!8:53 United Nations

Paul & Charlie celebrate another great Thursday in style. They Speak to William & Anthony Crolla, the man who is tattooing all of Newcastle AND of course bring you the Birthday Spread. Hosted on Acast. See acast.com/privacy for more information.

Hour 2 of A&G features... Joe explodes & how woke can Hollywood get? Men are still in women's sports despite Trump's EO Elon on cutting the waste Bingo, Bango, Bongo See omnystudio.com/listener for privacy information.

Hour 2 of A&G features... Joe explodes & how woke can Hollywood get? Men are still in women's sports despite Trump's EO Elon on cutting the waste Bingo, Bango, Bongo See omnystudio.com/listener for privacy information.

Bryze joins us around the table to recap an illustrious weekend crossing enemy lines deep in Dad Kissing Country. We kick off by catching up with the coolest Grandad on Earth and what he's been up to, including his Podcast Royale 2 training and his hustling journey with Found 80 Cents. We dive in to our Sydney trip and what it entailed: the best people watching we've potentially witnessed to date, spinning rooms, businessmen bin rats and some e-foiling thanks to the legends at Fliteschool Manly. We cover the card and our thoughts on it before we wrap up with our regular segments. Was a great weekend away with the A-team, stay tuned for the vlog that will be released in the coming weeks. Enjoy the rest of your week Trendsetters!Got a yarn? Record it and email it to carryon@alphablokes.com.au - must be under 2 minutes to get on the show. Ever wanted to watch the Podcast? Check out full visual adfree episodes and all of our vlogs on our Patreon: patreon.com/alphablokespodcastBought to you by Better Beer. Check out their low sugar crisp Apple Cider today, perfect for the session: www.betterbeer.com.au0:00 - Bryze joins the Table2:32 - Yabby Pump Update3:50 - Found 80 Cents25:10 - Pet Cremation31:07 - Podcast Royale 2 Training36:41 - UFC Sydney1:17:51 - Cooking With Daddy1:25:22 - Alpha News1:35:30 - Motivation, Trendsetters, Wrapup Hosted on Acast. See acast.com/privacy for more information.

Ever had itchy clothes? You'll fit right in with Ben as he and Noah explore how God comforts us. Get comfy as you listen and learn how to share God's comfort with others!

What does it take to create something the world has never seen before? In this final episode of Artful Intelligence, Reid Hoffman and Chris McLeod explore what it takes to spark a creative revolution with filmmaker Paul Trillo. Using OpenAI's groundbreaking AI video generator, Sora, Paul directed the world's first fully AI-generated music video.  After gaining early access to Sora, Paul faced a massive creative challenge: How could he use an AI tool known for surreal, dream-like visuals to craft a music video that felt emotionally real? The answer came from embracing AI's quirks—its strange hallucinations, its unpredictable transformations—and writing prompts like poetic scripts to guide the machine's creative output. Join us as Paul reveals how he turned an experimental AI model into an award-winning music video—and how creators everywhere can harness emerging tech to redefine what's possible in art. Time Stamps: Part 1: To Create a Paradigm Shift with AI, Lean Into Its Constraints 07:25 - Paul Trillo discovers OpenAI's AI video generator, Sora 09:46 - Navigating early uncertainty about AI's impact on filmmaking 12:09 - Directing under creative constraints during COVID with The Shins' “The Great Divide” 16:57 - Making emotionally resonant art despite technological limits 19:09 - Reid: What advice would you give someone running into constraints with AI tools? Part 2: Paradigm Shifts Often Come from Reviving Old, Impossible Ideas 23:01 - Paul's early experiments with Sora push AI video limits 24:34 - Resurrecting old creative concepts from his “Graveyard of Ideas” 25:59 - Inspired by Carl Sagan's “Golden Record” and its sci-fi storytelling potential 28:49 - Creating a surreal AI-generated trailer blending historical and futuristic imagery 30:21 - Revisiting a decade-old “infinite zoom” concept for a music video 35:05 - Reid: How do paradigm shifts in AI go beyond just replicating older tech? Part 3: Excavating Right at the Edge of What's Possible Today 37:45 - Writing “alchemy-like” prompts to guide AI's hallucinations 40:19 - Blending AI's surreal misremembered details into an emotional story 42:36 - Generating 700 videos and 320 minutes of AI footage for the music video 44:56 - Reid: What kind of impossible ideas might AI make possible? Links: “The Hardest Part” Music Video by Washed Out. Directed by Paul Trillo: https://vimeo.com/941713443 “The Golden Record” by Paul Trillo: https://vimeo.com/927400626 “The Great Divide” by The Shins. Directed by Paul Trillo: https://vimeo.com/461473136 Infinite Zoom in Manhattan: https://vimeo.com/paultrillo Paul Trillo on Instagram: https://www.instagram.com/paultrillo Will Smith eating Spaghetti (example of early AI video generation):  https://www.youtube.com/watch?v=XQr4Xklqzw8 Reid AI: https://www.linkedin.com/posts/reidhoffman_the-nobel-prize-award-ceremony-took-place-activity-7272418124639928320-ZyMn/  Show Description: Artful Intelligence explores the thrilling intersection of creativity and artificial intelligence. Hosted by Chris McLeod, this mini-series dives into the stories of groundbreaking artists using AI to push the boundaries of what's possible. Each episode showcases how human ingenuity and machine learning collaborate to create the extraordinary. With thought-provoking contributions from Reid Hoffman, Artful Intelligence asks bold questions about the future of creativity: Can AI amplify human expression? How do we ensure it empowers rather than replaces us?

Send us a textIntro song: Umbrella by Rihanna (#2)Album 4: Wincing the Night Away by The Shins (2007)Song 1: Red RabbitsSong 2: Split NeedlesSong 3: A Comet AppearsAlbum 3: Plans by Death Cab for Cutie (2005)Song 1: Summer SkinSong 2: Crooked TeethSong 3: Brothers on a Hotel BedLink to Wincing the Night Away (Andrew's Mix)Link to Plans (Andrew's Mix)

Growing up in Bakersfield, Filmmaker Julian Acosta discovered his passion for filmmaking later in life, finding his voice through visual storytelling that connects with audiences on a human level. As a globally sought-after director, Julian has navigated the evolving landscape of the industry, embracing new tools like AI while staying true to his authentic creative vision. In this insightful discussion, Julian shares his journey, the importance of respecting the process, and his perspectives on the role of technology in the art of filmmaking. Before joining Wild Gift Content in 2024, Julian directed music videos and commercial campaigns for Samsung, VW, Powerade, Bose and Delta Air Lines, among others. His passion in music burned brightly while directing music videos and music documentaries for John Legend and The Roots, The Beach Boys, Passion Pit, MIA, Foster the People, Ellie Goulding, Shins and many others. Click his name to see his work. JOIN ME AT MOINKFEST!MoinkFest is December 19th, 2024 in Los Angles. It is FREE. Just sign up to attend and give your honest opinions & thoughts on camera. We're celebrating family farmers that bring ethically-raised beef, pork, chicken and lamb to your door. I want city folk to taste the quality of the meat for themselves, while learning what regenerative farming does for the families that own and operate them. And it's great for the planet. As a longtime flavorseeker, ethically-raised meat has really opened my mind and taste buds. MoinkFest is my way of introducing this amazing food to a diverse group of Angelenos. I want you all to come out, try the free food, and tell me - is there really a difference in taste? Does the source of your meat matter to you? FILMMAKER RETREAT JOSHUA TREE '25 Thursday, September 25th – Sunday, September 28th, 2025. Limit 15 Filmmakers. This will be our 4th year and it's so special, I'd prefer to jump on the phone with you and tell you more. Every year since our first, filmmakers have come back. Pretty much says it all. SIGN UP! MAGIC MIND BLACK FRIDAY SALESave on Magic Mind by using https://www.magicmind.com/BRADY20—This link is the way. BRADY20 is the code. ONLINE COURSESMy online courses come with a free 1:1 mentorship call with yours truly. Taking the Shadow course is the only way to win a chance to shadow me on a real shoot! DM for details. Thanks, Jordan This episode is about 80 minutes. My cult classic mockumentary, “Dill Scallion” is online so I'm giving 100% of the money to St. Jude Children's Hospital. I've decided to donate the LIFETIME earnings every December, so the donation will grow and grow. Thank you. Respect The Process podcast is brought to you by Commercial Directing FIlm School and True Gentleman Industries, Inc. in partnership with Brady Oil Entertainment, Inc.  

In this episode of Seeing Them Live, Charles interviews Shelley Van, an experienced community builder, marketer, and manager of Tru Band Room, a music venue in Decentraland. Shelley discusses her journey from her first concert experience at the B96 Bash to managing over 1,000 performances in the virtual world.Shelley highlights the unique aspects of virtual events, such as creating avatars, virtual merchandise, and NFTs to engage audiences globally. The conversation delves into the challenges and opportunities of Web3 and how it offers new ways for independent artists to monetize their work. Additionally, Shelley shares memorable moments from her virtual concerts, including a special Christmas event featuring Krampus and live interactions with fans from around the world.BANDS: Aerosmith, Ash Orphan, Buffalo, Death Cab for Cutie, Deep Sea Diver, Ed Sheeran, Jessica Dobson, Kid Rock, Kings of Leon, Krampus, Mr. Swee, New Kids on the Block, Pans, Psychedelic Furs, Spottie WiFi, Stoney Eye, Tara Who, The Shins.VENUES: Aragon Ballroom, Credit Union One Amphitheater, Decentraland, Filling Station, Kettle House Amphitheater, Liar's Club, New World Music Theater, Soldier Field, Troubadour, Tru Band Room. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

Our Superdelegate patron tier voted for us to discuss GARDEN STATE (2004), a millennial touchstone that may or may not have "aged well." We discuss Manic Pixie Dream Girls, whether or not the Shins are "cringe," and our own lost youths. PATREON-EXCLUSIVE EPISODE - https://www.patreon.com/posts/111698763

Meet the man who's making leaps forward in functional movement training. Ben Patrick (aka the Knees Over Toes Guy) went from chronic knee issues to becoming a dunking sensation with his remarkable 42-inch vertical leap. His journey led him to discover the unconventional “knees over toes” method. He now trains to reverse joint pain and defy aging.In this episode, Ben shares his three game-changing foundations of exercise. We look back at the history of backward walking, and talk about its benefits today. Ben gives us his best tips for strengthening and healing knees, calves, shins, hip flexors, and shoulders. We start from the ground up with fixes for feet and toes. Plus, we talk about the problem with most shoes.Today's biggest takeaway is recognizing the connection between functional movement and longevity. Functional training is key to how long you live and how well you live. Whether you're 18 and want to do parkour or you're 80 and want to get up off the floor—or still do parkour—you'll want to hear this one. (00:04:45) What's Up With Knees Over Toes?(00:13:58) Strengthening Joints, Not Just Muscles(00:19:54) Starting Off on the Right Foot(00:28:21) Taking It Back to Basics(00:38:30) Will These Workouts Help or Hurt Your Joints?(00:45:09) Fixes From the Toes Up(00:53:48) How To Have Healthy Hip Flexors(01:00:33) Healthy Movement Patterns for Life(01:03:03:) Secrets To Shoulder Healing(01:05:50) Marketing That Actually Helps PeopleSponsorsQuantum Upgrade | Go to QuantumUpgrade.io/Dave for a 7-day free trialResourcesDave Asprey's NEW Book ‘Smarter Not Harder' is out now: https://daveasprey.com/books Website: atgonlinecoaching.comATG Equipment: atgequipment.comInstagram: @kneesovertoesguyYouTube: @TheKneesovertoesguy TikTok: @kneesovertoesguyBiohacking Conference: biohackingconference.comThe Human Upgrade is produced by Crate Media.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.