Podcasts about Sub Pop

What better way to celebrate our 400th episode than having our old pal Fred Armisen (Portlandia, SNL) join us in studio to share laughs and some Middle Eastern puns, along with hot new singing sensations Twisted Teens performing "Florida Water Blues" from their new album of the same name. Support Office Hours, watch or listen to another hour of today's episode including another tune from Twisted Teens, Doug's Sub Pop game, and much more with OFFICE HOURS+. Try it FREE for seven days at patreon.com/officehoursliveBecome a member of The Onion with a year subscription plus a FREE tote bag of your choice at onionmembership.com/tim.Enjoy Marz the official soft and other kinds of drinks of Office Hours and get free shipping with discount code OFFICEHOURS at https://drinkmarz.comGet tickets to see On Cinema LIVE on the "Certified Five Bags of Popcorn Tour" this November at heinetwork.tv/eventsShop our merch store at officehours.merchtable.com and find the rest of our links at linktr.ee/officehoursliveSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Phoebe Bridgers. Jungle. Hovvdy. It's a surprisingly stacked Summer Friday this week, and you can hear all about it with New Music Friday host Stephen Thompson and guest Samantha Hval from WMNF in Tampa, Fla. Plus, a handful of NPR Music writers and critics offer their personal picks in the lightning round.The Starting 5(00:00) Phoebe Bridgers'Lost Weekend' (Dead Oceans)(10:25) Jungle'Sunshine' (AWAL)(19:38) Hovvdy'Big World' (Arts & Crafts)(27:08) Sweeping Promises'You Say I Romanticize' (Sub Pop)(32:59) L'Rain'fata morgana' (Mexican Summer)(37:54) The Lightning Round• The Womack Sisters, s/t• Channel Tres 'Enigma POV'• Ayra Starr, 'Starr Girl'• Nina Winder-Lind, 'Wild Love'• Open Mike Eagle & Kenny Segal, 'DOOMED!'Sample the albums via our New Music Friday playlist and see our Long List of notable releases on NPR.org.Credits:Host: Stephen ThompsonGuest: Samantha Hval, WMNFAudio Producer: Suraya MohamedDigital Producer: Dora LeviteEditors: Elle Mannion, Otis HartExecutive Producer: Suraya MohamedSpecial thanks to Sheldon Pearce, Ann Powers and Rodney Carmichael Support public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show's perks include bonus episodes and sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

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.

«Du, lass mal...» Wir wissen natürlich nicht, wie genau Kultlabel Sub Pop der kalifornischen Songwriterin nach drei Alben beibrachte, dass aus der vierten Zusammenarbeit nichts wird. Aber wir stellen es uns ungefähr so vor. Genau darum ist «Past the Veil» ein unfreiwilliger Neuanfang geworden. Auch wenn Sub Pop «nur» ein Indie-Label ist, bringt ein Plattenvertrag gewisse Vorteile mit sich. Das Studio, in dem Lay ihr neues Album aufgenommen hat, konnte sie dank eines Deals mit Produzent Rob Shelton – dem das Studio gehört – nur dann nutzen, wenn andere Acts absagten oder gerade kein Slot belegt war. Das Ergebnis kann sich trotz des fehlenden Sicherheitsnetzes mehr als hören lassen: dreamy Folk-Pop, der zwischendurch sogar Richtung Jazz abdriftet. Perfekt zum Durchschnaufen, wenn man irgendwo gerade ein Stückchen Schatten gefunden hat.

Dead Moon – Dirty Noise L7 – Shove Pussy Galore – Damaged II Sister Ray – The King Lazy Cowgirls – Loretta The Flaming Lips – Strychnine- What's So Funny ‘Bout Peace, Love and Understanding Mono Men – Skin and Bones Les Thugs – Chess & Crime Vertigo – Dyanmite Cigar S.F. Seals – Nowhereica Beat Happening – Nancy Sin Bewitched – Troll Doll Nirvana – Love Buzz Didjits – Dear Junkie Cows – My Girl Pain Teens – Death Row Eyes Rollins Band – Earache My Eye Fugazi – Song Number One Mad Daddys – Take Me Back To Woodstock Velvet Monkeys – Rock The Nation Gories – Give Me Some Money Sonic Youth – Is It My Body? Gumball – Under My Wheels Babes In Toyland – House Poison Idea – We Got The Beat Shonen Knife – Neon Zebra Thee Headcoats – Time Will Tell Das Damen – Makin' Time Love Battery – Mr. Soul Royal Trux – Steal Yr. Face Honeymoon Killers – Gettin' Hot The Afghan Whigs – White Trash Party Wolverton Brothers – My Assassin Boss Hog – Fire Of Love Lou Barlow – Forever Instant Snow Bud And The Flower People – Killer Bud

Today I'm breaking down every album by Six Finger Satellite. Formed in Providence, RI in 1988, Six Finger Satellite were an insane noise rock band unlike any other. James Murphy of LCD Soundsystem was their sound engineer and eventual producer, until he inadvertently contributed to their breakup. Just crazy.   Intro 00:00 Band Origins 00:40 Getting Signed to Sub Pop 2:54 Weapon EP 4:47 The Pigeon Is the Most Popular Bird 6:28 Machine Cuisine EP 12:14 Severe Exposure 16:46 Paranormalized/James Murphy 20:43 Law of Ruins 24:39 The First Breakup 27:23 Half Control 29:11 A Good Year For Hardness 30:49 Outro 33:42   ---------------------------------------------------------------------------------------------------------- My Top 77 Album Recommendations: https://every-album-ever.kit.com/0ee90183d0   Join the Patreon, it rules: https://www.patreon.com/everyalbumever   Mike's music: Pander Monkey on Bandcamp, Spotify, Apple,   Mike on Instagram @pandermonkey Tom on Instagram @tomosmansounds   Tom Osman's stuff: Music on Spotify, Apple, Website Podcast on Spotify, YouTube     ----------------------------------------------------------------------------------------------------------   Mike's Picks: Severe Exposure (1995) -- Best Album The Pigeon Is the Most Popular Bird (1993) -- Personal Favorite Machine Cuisine EP (1994) -- Worst Record, Least Favorite   Albums discussed this episode... Weapon EP (1992) The Pigeon Is the Most Popular Bird (1993) Machine Cuisine EP (1994) Severe Exposure (1995) Paranormalized (1996) Law of Ruins (1998) Half Control (2009) A Good Year For Hardness (2009)

Suki Waterhouse is a singer-songwriter, actress, and model from London. She released her first single in 2016, and her first album, I Can't Let Go, in 2022, on Sub Pop. You might have seen her in the show Daisy Jones & The Six, which came out in 2023. Since then, she's also had her first child, with her partner Robert Pattinson. And all of that history figured into her new album, Loveland. For this episode, Suki told me about how she made the song “Back in Love” with her longtime collaborators, producer Jules Apollinaire and songwriter Natalie Findlay. "Back in Love" was the first single from her album, but it was the last song that was written for it.For more info, visit songexploder.net/suki-waterhouse.

Speaks Volumes is back for Season 3, and we're kicking things off with someone who went from mopping floors at Chicago Mastering Service to owning the place.Greg Obis interned at Electrical Audio, talked his way into CMS in 2012 by offering to vacuum and grab groceries for Bob Weston and Jason Ward, and spent a decade working his way up from quality control to full-time mastering engineer. Then in 2024, Bob announced he was moving to Portugal, and Greg made him an offer.Mat Leffler-Schulman and Dan Coutant talk with Greg about the surreal jump from employee to owner, the lost art (and real fear) of cutting lacquers, why he asks clients to remove peak limiting, the loudness "come to Jesus" talk, reference mixes from The Replacements to Converge, and balancing life as a business owner with his band Stuck.Greg's latest record with Stuck, Optimizer, is out now on Exploding In Sound Records.Music in this episode: "Sicko" by Stuck, from Optimizer.About Our GuestGreg Obis is a mastering engineer and the owner of Chicago Mastering Service, where he has worked since 2012. He has mastered records for artists on labels including Sub Pop, Matador, ANTI-, Numero Group, Sacred Bones, and International Anthem. He also co-founded Born Yesterday Records and plays guitar and sings in the band Stuck.Topics We CoveredFrom intern to owner. Greg's path from Bennington College and an Electrical Audio internship to offering Bob Weston studio chores in exchange for a foot in the door, then a decade climbing from QC and archiving to a full mastering workloadBuying CMS. How Bob's move to Portugal turned into a handover instead of a shipping container, why building a new room from scratch priced itself out of the running, and the "child emperor" phase of suddenly running the showWearing every hat. Taking over project management, invoicing, and scheduling while keeping his own clients happy, and how coming up through quality control made him a better communicatorRevisions and being the fall guy. Why the mastering engineer, like a monitor engineer, is the last one in the chain and the first to catch blame, and why recall requests are the most valuable education in the businessReference mixes. Greg's listening playlist: "Bastards of Young" by The Replacements, Yes, Yellow Magic Orchestra, Kendrick Lamar, and Converge for when he needs something absurdly loud. Plus the legend of a Daft Punk record allegedly mastered twiceLacquer cutting. Learning on Bob's Neumann VMS 70, the fear of a blown cutter head, how cutting changed his digital work, and the great lathe-versus-house-down-payment debate now that the VMS 70 lives in PortugalPeak limiting and loudness. Greg's "limiter on or limiter off" philosophy, asking clients for unlimited mixes, 32-bit float delivery, and talking a client back from the loudness ledge with help from Tone Projects Uni-LWhen to say no. Mostly when it's a mix problem mastering can't solve. Otherwise: offer the professional opinion, then respect that it's their recordLife outside the racks. Stuck's new album Optimizer, touring while running a business, cooking, weightlifting as a third space, and Greg's dream of a gloriously unlistenable side project made purely for the joy of itLinksChicago Mastering Service: https://chicagomasteringservice.comGreg Obis: https://www.gregobis.comGreg's Substack, Live. Laugh. LUFS.: https://livelaughlufs.substack.comStuck, "Sicko" from Optimizer (Exploding In Sound Records): https://stuckchi.bandcamp.com/album/optimizerBorn Yesterday Records: https://www.bornyesterdayrecords.com

On today's episode, I talk to musician and writer Jonathan Meiburg. Born in Baltimore, MD, Jonathan started playing music in the early 1990s in Austin and towards the end of the decade began playing keyboards in Okkervil River. A year later, he formed the band Shearwater with Okkervil's Will Sheff as an outlet for their quieter songs, though by their fourth album Palo Santo, it became primarily Jonathan's group. Since 1999, Shearwater has released almost two dozen albums and EPs on labels like Misra, Matador and Sub Pop. In addition to his musical pursuits, Jonathan has also had an impressive writing career, contributing to publications like The Believer and Talkhouse, and his book A Most Remarkable Creature: The Hidden Life and Epic Journey of the World's Smartest Birds of Prey was published in 2021 by Knopf. Shearwater's latest album The New World will be released by Polyborus Records at the end of July, and it is wonderful! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

Space out with us this week with the way-out sounds from outer space! We're offering up an eight-course cosmic smorgasbord of delectable space rock. People of planet Earth, come and join us on another journey to aural galaxies beyond the Milky Way!  What is it that we do here at InObscuria? We exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. In this episode, we explore all things psychedelically spacey. Our hope is that we turn you on to something that was lost on your earthly ears. Songs this week include: Hawklords – “Dead Zone”from Faith(2025) Nebula – “The Eagle Has Landed” from Apollo (2006)  SLIFT – “Orbis Tertius” from FANTASIA (2026) Motorpsycho – “The Gaia II Space Corps” from The Gaia II Space Corps - Single (2026) Dust Giant – “Space Ghost” from Static In The Blood (2026) Monkeys On Mars – “Seasonal Pyres (Tiny Flames Edit)” from Monkeys On Mars (2025) SHINER – “So Far So” from BELIEVEYOUME (2025) Seedy Jeezus – “Dripping From The Eye Of The Sun” from Polaris Oblique (2018) Please subscribe everywhere that you listen to podcasts! Visit us: https://inobscuria.com/ https://bonelesspodcasting.com/shows/in-obscuria https://www.facebook.com/InObscuria https://x.com/inobscuria https://www.instagram.com/inobscuria/ Buy cool stuff with our logo on it: InObscuria Store If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/ If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/ Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/

Glitterhouse Records est un label indépendant allemand né au début des années 1980, issu à l'origine d'un fanzine consacré au garage rock et aux scènes alternatives. Très vite, le projet évolue vers une activité de vente par correspondance, puis vers une structure de distribution, avant de devenir officiellement un label en 1984. Cette transformation marque les bases d'un futur label indépendant solidement ancré dans l'underground européen. À la fin des années 1980, Glitterhouse joue un rôle important dans la diffusion du rock indépendant américain en Europe. Il devient notamment partenaire du label Sub Pop, associé à l'émergence du grunge à Seattle, et participe à la circulation de groupes majeurs comme Mudhoney, The Afghan Whigs ou Codeine. Cette période lui donne une forte visibilité internationale et renforce son identité tournée vers la scène alternative américaine. Le label est également lié à la diffusion du noise rock à travers sa collaboration avec Amphetamine Reptile, et soutient des formations aux esthétiques plus radicales ou expérimentales comme Helmet, Cows ou Monster Magnet. Parallèlement, il développe progressivement son propre catalogue en signant des artistes issus de scènes alternatives et expérimentales. À partir du milieu des années 1990, Glitterhouse élargit encore son champ artistique en devenant un label éclectique, mêlant indie rock, folk sombre, songwriting et post-rock. Il accueille des artistes comme The Walkabouts, Pere Ubu ou 16 Horsepower, affirmant une identité ouverte mais cohérente, centrée sur les musiques indépendantes et atmosphériques. Aujourd'hui, Glitterhouse reste un label indépendant reconnu, avec un catalogue riche et une place importante dans les scènes indie et alternatives européennes et internationales. Bastards/Monticello The White Birch/Beauty King Die Nerven/Jugend ohne Geld Bitch Magnet/Navajo Ace Codeine/D Nive & The Deer Children/Walking Spain/Laurel, Clementine Pere Ubu/The Fevered Dream of Hernando DeSoto Heads./Weather Beaten Wovenhand/Tempel Timber

PISS are a very important band. Tay Zantingh's lyrics on abuse and gender-based violence create an inclusive place of conversation, while the band's shake the house loudness can only be experienced in-person or a few live videos; until their debut album on Sub Pop comes out. Get in touch giles@mightymoonmedia.com Thanks The Lexington for having us. Get yourself some top class Shure microphone gear: https://shu.re/3YhV7p2 Set up Your Band's merch store, for free at Distrokid Direct: https://distrokid.com/direct/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Robert a le muscle créatif généreux. Prolifique par nécessité, protéiforme pour l'être encore davantage, il mène généralement trois albums de front. Ce qui fait que chaque projet a beau prendre le temps qu'il faut pour rapatrier et définir son unicité tout en changeant de direction en cours de route, il y en a toujours un du lot qui est sur le bord de la complétion.D'abord connu comme chanteur, guitariste, auteur et principal compositeur du groupe Corridor (signé sous l'iconique bannière Sub Pop), c'est en 2015 qu'il commence à archiver plus proprement ses déferlantes idées en solo, après que sa blonde lui ait offert un enregistreur Tascam quatre pistes. Un monde des possibles s'ouvre alors à lui : son appétence pour une vaste gamme de genres musicaux épouse ses intuitions lo-fi et, rapidement, il devient clair que le projet sera polymorphe. Il se met donc à réunir des maquettes aux sonorités ou inspirations similaires et, déjà, avant même qu'un premier morceau soit dévoilé, une discographie se dessine.C'est sous l'alias Jonathan Personne qu'il s'affirme – signe d'une volonté bien claire de ne pas devenir quelqu'un d'une part, tout comme c'est une affirmation de la pluralité de son identité. D'une dream pop désertique au rock spaghetti morriconesque, de la jangle pop à la The Clean en passant par une propension à l'utilisation d'échantillons et séquences, des grooves maniérés jusqu'à l'indie rock éloquent évoquant Galaxie 500 ou Yo La Tengo, il trace un chemin jalonné de cinq albums en seulement sept ans (avec, bien entendu, des albums de Corridor au travers). Si on voulait ploguer des beaux mots, on pourrait dire qu'il est d'un munificent stakhanovisme, et tant mieux.Ça commence en 2019 avec Histoire naturelle, un premier album naturellement constitué de morceaux créés au fil des premières années du projet, avançant un rock lo-fi perméable, à la fois économique et intrigant, en révérence des trames sonores grandiloquentes ici arrangées avec les probants moyens du bord. L'année suivante paraît (déjà, oui) Disparitions, une collection écrite pendant le mixage de la précédente, qui met de l'avant des riffs classic rock direstraitsesques bien vectoriels, et qui est notamment louangée par Libération en France. Il se met ensuite à plancher sur ce qui deviendra son cinquième disque, mais, décelant un changement de direction marqué, il préfère se concentrer sur un autre recueil de chansons, réunies sous l'appellation homonyme Jonathan Personne en 2022 : une élaboration rupestre et mystérieuse, syncrétique d'époques sondées, affirmant son intérêt pour les manipulations sonores, et saluée des deux côtés de l'Atlantique. Il revient en 2025 avec Nouveau monde, une sélection de morceaux jusqu'ici mis de côté, assemblés dans un corpus noise pop cohérent.Puis, en 2026, en phase avec ses habitudes, il se redéfinit encore avec Répertoire, un cinquième album entamé il y a une demi-douzaine d'années. En marge de ses parutions précédentes (comme toujours), Jonathan Personne porte ici son coffret de riffs tristes vers quelque lumière, puisant dans le yacht et le soft rock ainsi que dans des arrangements aux influences évasivement brésiliennes pour façonner quelque chose qui ne sonne pas du tout comme ce qu'on pourrait présumer : basse entraînante et mélodieuse bien à l'avant, figures récursives manipulées et guitares auto-échantillonnées forment une indie pop à la fois groovy et contemplative, noisy et rêveuse. Répertoire paraîtra le 28 août sous Bonsound – et, déjà, d'autres suites sont en chantier. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Greg Anderson and Stephen O'Malley from SUNN O))) are here to discuss their new self-titled album, American artists moving to Porto in Portugal, why they relate to author Robert Macfarlane's vivid liner notes and his essay about being overwhelmed by a standing wave, reflecting upon our experiences at a memorial gathering for Steve Albini and what we learned about him, how this album's producer Brad Wood kept things organized when songs might contain upwards of 130 guitar tracks each, ambient recording, a treehouse editing suite, and placing microphones in the woods outside of the Bear Creek Studio, why it was significant for SUNN O))) to connect their music to the environment, the significance of making their first record for Sub Pop self-titled and without any other collaborators, distinguishing between nostalgia and celebrating history, their recent visit with Ian MacKaye at Dischord House and its impressive archival systems, their digital live series, upcoming tour dates, other future plans, and much more.EVERY OTHER COMPLETE KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO PATREON SUPPORTERS STARTING AT $6/MONTH. Enjoy this excerpt and please subscribe now via this link to hear this full episode. Thanks!Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts.Support Y.E.S.S., Pride Centre of Edmonton, and Letters Charity. Follow vish online.Related episodes/links:Win an American Football Vinyl Bundle + a Mug in May/June 2026!Ep. #1096: Marisa AndersonEp. #1084: Janel LeppinEp. #1078: GeologistEp. #1053: Mint MileEp. #1044: Steve Albini (2008)Ep. #952: SilkwormEp. #927: Papa MEp. #900: Fugazi and Jem CohenEp. #819: ScreamEp. #667: Efrim Manuel MenuckEp. #224: Ian MacKaye & Steve Albini (Part II)Ep. #223: Ian MacKaye & Steve Albini (Part I)Ep. #70: Joel RL PhelpsSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

This week we're talking Kelley Stoltz, who has been making amazing DIY pop out of San Francisco for over 25 years for such labels as Sub Pop, Third Man and John Dwyer's Castle Face. His latest is If You Don't Know Me, Buy Now! and is his first of possibly three albums out this year. In addition to his own music, Kelley also spent time as an auxiliary member of Echo & The Bunnymen and Robyn Hitchcock's band, and also produces other artists' albums (Sonny and The Sunsets, Thee Oh Sees).   We talked about how his new album works could work as an entry point for the uninitiated, and how he thinks he's only truly found his own sound in the last decade. We also talked about his time living in New York City in the '90s where one of his jobs was sorting Jeff Buckley's fan mail, his path to home recording, the unique sounds of the Ebow, how he went from being a Echo & The Bunnymen superfan -- who had his own tribute band that include Pavement's Spiral Stairs -- to being an actual member of the Bunnymen, and how he ended up playing in Robyn Hitchcock's band. Plus: five records he thinks everyone should own and lots more. 

Justin is back with his solo side project The Guestlist, where he has on guests....to make lists. Joining Justin this week is Christopher of the Massachusetts indie/punk band Hedge. Hedge released their excellent new EP, Freeze Frame High Five earlier this year, and is here to discuss his favorite obscure / lesser known albums. Hedge Instagram: https://www.instagram.com/hedgebandma/ Hedge Bandcamp: https://hedgebandma.bandcamp.com/album/freeze-frame-high-five Song Clips: Hey Dude by Hedge Pillow by Loomis She Eats Her Esses by Vitreous Humor You're Not An Astronaut by Pond Mickey's Lament by Overwhelming Colorfast Never In by The 101

In which the Curmudgeons meditate on the year in which grunge as a movement officially entered the universal rock consciousness. The Seattle rock scene in the mid-to-late 1980s was defined by a bunch of smart, ambitious wiseasses who were in a virtual competition with one another to find the truest sweet spot between punk and metal. However, it was not until the band Mudhoney found an enthusiastic and adoring fanbase in the United Kingdom in 1988 and 1989 that the rest of the world started to take notice. An inquisitive and diligent writer named Everett True, with help of storied Seattle record company Sub Pop, traveled to Seattle and cranked out an authoritative, lovingly crafted primer on grunge for the magazine Melody Maker that triggered a wave of buzz and set in motion the commercial forces that made grunge a cultural phenomenon two-plus years later. And True's timing was impeccable: Mudhoney, Soundgarden, Mother Love Bone, Screaming Trees, Tad and this one "little brother" band named Nirvana all released exciting music in 1989. We cover that grungy waterfront during this episode.    Enjoy the awesome grunge music of 1989 by accessing our special Spotify playlist: https://open.spotify.com/playlist/7AKkKOtc1I4lCIcF6kp7Oz?si=c5dd28c7c3b940ed   Here's a handy navigation companion to this episode:   (00:52 - 03:43) - Arturo Andrade sets the parameters for our discussion of grunge in 1989   (04:19 - 22:43) - The Parallel Universe, in which we review recent albums from Lime Garden and Los Thuthanaka   (23:42 - 52:19) - We tell the story of how Everett True helped put grunge on the global map. We also analyze 1989 albums from Mudhoney, Soundgarden, Mother Love Bone and Screaming Trees.   (53:46 - 01:11:39) - WE discuss 1989 albums from Tad and Nirvana as well as "grunge-adjacent" albums from The Jesus Lizard and The Pixies   Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock   Edited with an assist from Descript! web.descript.com     Hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911   https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb   Co-written and co-produced by Arturo Andrade and Christopher O'Connor - The Curmudgeons          

Welcome to our bi-monthly ENCORE PRESENTATION of classic REVOLUTIONS PER MOVIE episodes from the vault! Today I bring you one of the most beloved episodes of RPM ever--a deep dive into the magical lives of REDD KROSS with JEFF & STEVEN McDONALD and the director of the documentary BORN INNOCENT: THE REDD KROSS STORY. At the time of our discussion, the film had barely reached human eyeballs, but now it's available on all sorts of physical formats and streaming. If I were still operating my video store, this would have been referred to as a 5-tape film (our highest ranking!). Enjoy!(Episode 66 originally aired on Dec 12th, 2024).ORIGINAL SHOW NOTES:This week, we are joined by legends Jeff & Steven McDonald of REDD KROSS and Andrew Reich, the director of the new Redd Kross documentary ‘BORN INNOCENT: THE REDD KROSS STORY.' A band very close to my heart and record collection, we discussed so much in this episode, including the Elks Lodge Punk Rock riot and the story of their parents rescuing them from it, Andrew's gateway into hearing the band for the first time, Jeff's early hair regiment and the moment the band decided they would cut their hair no more, their shows with Black Flag and The Go-Go's, the brother dynamic and what it's like starting your band at age 11 and 15, convincing their parents to drop them off at punk rock shows and how hard was it to get their parents to agree to be in the movie, how the film took almost 10 years to complete and what made Andrew want to be the one to direct it, the brother dynamic, the magic in how Redd Kross write songs, razzamataz, the cover art of Born Innocent, reclaiming the fun after the traumas of their youth, garbage culture, Beyond The Valley Of The Dolls and discovering Pink Flamingos, how video stores saved our young minds, what it was like acting in the Lovedoll films, Anarchy 6 (The Rutles of hardcore punk), their massive influence on the American underground and what later became grunge, Sub-Pop, working with Geza X and being out of their minds on drugs while recording theTeen Babes from Monsanto LP, the multitude of band members that have gone through the ranks of the band over the years, Bowie being at their first nightclub show, could Redd Kross ever existed anywhere else but L.A., breaking down their tragic show at the legendary CITY GARDENS venue, the night Jeff taunted the Suicidal Tendencies crew, the power and safety of wearing a guitar on stage, who would play Redd Kross in the big screen biopic version of their story and so much more!So blow a kiss in the wind and let your hair grow long on this week's episode of Revolutions Per Movie!!!REDD KROSS:https://www.reddkrossfilm.com/https://reddkross.com/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. 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?, 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: @revpermovie Hosted on Acast. See acast.com/privacy for more information.

This week, we're talking with Alex Edkins who you might know as the singer and guitarist for late great Toronto noise rock trio METZ and who now makes insanely catchy and still noisy powerpop as Weird Nightmare. His new album is titled Hoopla and is out via Sub Pop.   Alex and I discuss how Weird Nightmare came to be, and how the first Weird Nightmare album influence the final METZ album. Other conversation topics include: METZ reforming not long after calling it quits to play John Mulaney's Netflix talk show, Alex's youth behind the counter as a record store clerk,   moving from Toronto back to his hometown of Ottawa, working with Spoon's Jim Eno on HOOPLA, records Alex thinks everyone should own, and more.

Alexander Attitude and Kendra Cox are the founding members of Seattle based Telehealth. Their second full length and Sub Pop debut Green World Image will be available May 15th. Alexander and Kendra share the origin and evolution of Telehealth, how they secured an airtight record deal with Sub Pop and why the band partially functions as a coping mechanism. We learn how their pessimistic and satirical approach make's sense of tech culture's destruction of human culture and relieves the anxiety of a tech driven future. They unpack the structure and lyrics behind the single Things I've Killed; Alexander and Kendra share their writing technique and what they do when they are stuck in the process. The three discuss why backing tracks are a function practically and better performance and we hear a couple new singles from Green World Image. TelehealthSub PopTour Stories would like to welcome our newest sponsor Kuma Coffee. Kuma Coffee is a 100% Independently owned roasting company right here in Seattle since 2008. Kuma is a 5-person team, roasting over 100,000lbs of exclusively high scoring coffee each year. They source their coffees direct from origin and pay well over fair trade pricing to farmers. This guarantees the highest quality, while supporting rural farming communities throughout the Global SouthThey also just launched an instant coffee… (Joe's favorite instant)Find everything Kuma at Kumacoffee.comEpisode supported by our friends Izotope This episode is produced with Ozone 12, the newest from Izotope. Head over to izotope.com now for savings on all their production software. Go check out Ozone 12 and RX 11 and master with the best and solve the unsolvable 20 plug-ins for mastering mastery. Use code FRET10 at checkout.Ep supported by @distrokid. Distrokid now offers Bandzoogle where you can build your bands website and store in minutes. @thetourstories listeners get 30% off at distrokid.com/vip/tourstories. GET YOUR MUSIC OUT THERE! ITS EASY WITH @distrokidEp supported by Heil Sound. For 60 years, Heil Sound has provided innovative, professional quality sound for stage, studio, broadcast, and podcast. Grammy-winning artists and sound engineers worldwide trust Heil microphones for their legendary sound. To find out more about the full line of Heil microphones and products, visit heilsound.com.Mentioned in this episode:Heil sound"For 60 years, Heil Sound has provided innovative, professional quality sound for stage, studio, broadcast, and podcast. Grammy-winning artists and sound engineers worldwide trust Heil microphones for their legendary sound. To find out more about the full line of Heil microphones and products, visit heilsound.com.Kuma CoffeeDistrokidIzotope

Rosie Thomas is a singer-songwriter who came up alongside artists like Damien Jurado, Pedro The Lion and Sufjan Stevens. She was one of the first folk artists signed to Sub Pop Records and had a long-running comedic alter ego named Sheila Saputo. Her most recent music project is Lullabies For Parents.In this interview she talks about her experience as a child performing in musicals, joining Velour100, working at a daycare with Damien Jurado, signing to Sub Pop, performing at Lilith Fair in 2010, breaking through Sufjan Stevens' defenses and acting alongside Steve Zahn. ---Do you have a Christian rock story to tell? Want to respond to this episode? Leave us a message at ‪(629) 204-4264‬.If Rock That Doesn't Roll is important to you, support us on Patreon. https://www.patreon.com/rtdr (join via the website, not the iOS app for a 30% discount)Or make a one-time donation: https://coff.ee/rtdrIf you can't afford a donation, please tell five friends about the show.You can connect with us on Instagram or by emailing RTDRpod@gmail.comSign up for our Substack to keep up with show developments.Buy RTDR merch here.

This week we've got a true iconoclast: filmmaker, provocateur, author, hitchhiker, tastemaker, Sub Pop and Third Man Recording Artist, festival MC and all around legend John Waters. He's currently on tour with Going to Extremes: A John Waters 80th Birthday Celebration. John and I talk about what he's doing on his birthday tour, and on his actual birthday which is April 22. We also talk about how Donald Trump has ruined bad taste for everyone, how John Waters has influenced punk and vice versa, his first punk show, casting The Dead Boys' Stiv Bators in Polyester, getting L7 to be in Serial Mom, his long-running job as host of Oakland's Mosswood Meltdown, rules of etiquette, and lots more. -- Credits: Hosted & produced by Bill Pearis Mixed and mastered by Nick Gray Theme music by Michael Silverstein Photo: Greg Gorman

Send us Fan Mail# Grunge## Episode Info- **Episode**: S03E94- **Title**: Grunge- **Original Air Date**: March 2026- **Duration**: 1 hour, 26 minutes## Episode SummarySteve and Windham throw on their imaginary flannel and build a Perfect Album Side for grunge, focusing on the songs, videos, soundtrack moments, and closers that defined the genre's brief but massive takeover. Along the way they talk about how grunge steamrolled hair metal, salute David Hudson and *State of Amorica*, and argue through what really belongs under the grunge umbrella.## Topics Covered- How grunge disrupted late-80s hair metal almost overnight- The Seattle scene, Sub Pop, and the anti-corporate identity of grunge- Why Nirvana, Pearl Jam, Soundgarden, and Alice in Chains became the center of the movement- The role of movie soundtracks and MTV in making grunge unavoidable- The gray area of “is this actually grunge?” with bands like Stone Temple Pilots, Smashing Pumpkins, Sonic Youth, and The Breeders- The emotional weight of Andrew Wood's legacy in songs by Temple of the Dog and Alice in Chains## Deep Dives- **Temple of the Dog – "Say Hello 2 Heaven"** as a tribute to Andrew Wood and a statement opening track- **Pearl Jam – "Jeremy"** as the era's defining music video juggernaut- **Alice in Chains – "Would?"** and the *Singles* soundtrack as central grunge artifacts- **Soundgarden – "Outshined"** in *True Romance* and the wider movie-soundtrack moment- The case for outliers and neighboring acts like The Breeders' "Cannonball" and Stone Temple Pilots' "Plush"- **Nirvana – "Rape Me"** and the band's role in making the whole grunge explosion possible in the first place## Fun Facts & Highlights- The episode quickly escalates into a George Costanza-style block-of-cheese visual.- Steve realizes he no longer owns any flannel shirts, which leads to the instant fake-band name **Final Flannel**.- There's a heartfelt shoutout to David Hudson and Ian Rice of *State of Amorica*, with David's exit from the mic helping inspire the episode.- The guys keep circling back to the same glorious grunge question: was the music the revolution, or was it also the look, the attitude, and the backlash to purple sequined jackets?- Andrew Wood's shadow hangs over the episode in a meaningful way, with multiple songs tied back to him.## Referenced Artists, Songs & Content- Temple of the Dog- Pearl Jam- Alice in Chains- Soundgarden- Nirvana- Stone Temple Pilots- The Breeders- Sonic Youth- Smashing Pumpkins- Mudhoney- Screaming Trees- Mother Love Bone- Chris Cornell- Eddie Vedder- Kurt Cobain- Andrew Wood- "Say Hello 2 Heaven"- "Jeremy"- "Would?"- "Outshined"- "Cannonball"- "Plush"- "Rape Me"- "Smells Like Teen Spirit"- "Hunger Strike"- *Singles*- *True Romance*- *State of Amorica*## Episode TakeawayGrunge wasn't just a sound—it was a correction, a mood, a look, and a cultural hard left turn. This episode works because Steve and Wyndham don't just list songs; they capture why this music felt like a detonation when it arrived.One idea.  Six songs.  Infinite possibilities...

Returning guest and long-time friend of the show Tom Lawery brings us Sub Pop band (by way of the Carolinas) Band Of Horses and their second album, 2007s 'Cease To Begin'. Both evocative AND rocking, it's a record that delivers big riffs in a beautiful, indie-guitar pop package. Songs discussed in this episode: Luther (Kendrick Lamar and SZA cover) - Iron & Wine and Ben Bridwell; Trinidad - Geese; The Funeral - Band Of Horses; One Big Holiday - My Morning Jacket; They'll Only Miss You When You Leave - Carissa's Wierd; Is There A Ghost, Ode to LRC - Band Of Horses - No One's Gonna Love You - CeeLo Green; No One's Gonna Love You, Detlef Schrempf, The General Specific - Band Of Horses; Tears Of Rage - The Band; Lamb On The Lam (In The City), Islands On The Coast - Band Of Horses; Goin' Against Your Mind - Built To Spill; Mississippi - Bob Dylan; Marry's Song - Band Of Horses; Seven Bridges Road (Live) - The Eagles; Act Together - Ron Wood; Act Together (Live, 2007), Cigarettes, Wedding Bands, Window Blues - Band Of Horses; When I Get Old - Descendents

“I had never played a concert until I got a record deal with Sub Pop and they were like, ‘Well, you should consider going on tour,'" says Iron & Wine's Sam Beam. "I was like, ‘Oh shit.' It's a very atypical story, and it also made me suffer from a lot of imposter syndrome for a long time. I felt like I wasn't supposed to be there, that I had fooled someone along the way and they were gonna find out and the gig was gonna be up.” Some 24 years later, the gig is nowhere near up for Beam,  who's been releasing beautiful music as Iron & Wine ever since his 2002 Sub Pop Records debut, The Creek Drank the Cradle, and his latest, his 8th studio album Hen's Teeth is another wonderful collection of music. It came out in late February and we talk about the making of the album in episode 135, and we also delve into his earlier creative history, how he began in visual arts (drawing and filmmaking) before getting his first four-track, and the inspiration he got from artists including Sebadoh, Cowboy Junkies, R.E.M., Joni Mitchell and Leonard Cohen, among others.  We also discuss a future project he's excited to develop — a Broadway musical! You can hear more about that near the end of the interview. Iron & Wine will be playing shows in Hawaii later this month and then embarking on a full-scale North American tour in late April. Get tickets and further info here. 

If you were stranded on a desert island today, what's the one song you couldn't live without? This week hosts Jim DeRogatis and Greg Kot round up a handful of Desert Island Jukebox picks from previous guests of Sound Opinions. The hosts also review the new albums from Peaches and Danny Brown.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Beatles, "In My Life," Rubber Soul, Parlophone, 1965The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Peaches, "No Lube So Rude," No Lube So Rude, Kill Rock Stars, 2026Peaches, "Be Love," No Lube So Rude, Kill Rock Stars, 2026Peaches, "Not In Your Mouth None Of Your Business," No Lube So Rude, Kill Rock Stars, 2026Danny Brown, "Copycats," Stardust, Warp, 2025Danny Brown, "Whatever The Case," Stardust, Warp, 2025Danny Brown, "Book of Daniel," Stardust, Warp, 2025Danny Brown, "All4u," Stardust, Warp, 2025Danny Brown, "Lift You Up," Stardust, Warp, 2025Roxy Music, "Virginia Plain," Roxy Music, Island and Reprise, 1972Soft Machine, "Hope For Happiness," The Soft Machine, ABC and Probe, 1968Spoon, "Let Me Be Mine," They Want My Soul, Loma Vista and ANTI, 2014Rolling Stones, "Emotional Rescue," Emotional Rescue, Rolling Stones, 1980Jeff Tweedy, "Lou Reed Was My Babysitter," Twilight Override, dBpm, 2025Tyrannosaurus Rex, "A Beard of Stars," A Beard of Stars, Regal Zonophone, 1970Tyrannosaurus Rex, "By the Light of the Magical Moon," A Beard of Stars, Regal Zonophone, 1970Afrika Bambaataa and Soulsonic Force, "Planet Rock," Planet Rock (Single), Tommy Boy, 1982The Spinners, "Mighty Love," Mighty Love, Atlantic, 1973The Delfonics, "La-La Means I Love You," La-La Means I Love You, Philly Groove, 1968Kate Bush, "Running Up That Hill (A Deal With God)," Hounds of Love, EMI, 1985Local H, "How's The Weather Down There?," Whatever Happened To P.J. Soles?, Studio.E, 2004Mark Lannigan, "Solitaire," Imitations, Vagrant, 2013Mark Lannigan, "Ugly Sunday," The Winding Sheet, Sub Pop, 1990Nirvana, "Lithium," Nevermind, DGC, 1992Tsunami, "In a Name," Deep End, Simple Machines, 1993The Lemon Twigs, "Any Time Of Day," Everything Harmony, Captured Tracks, 2023Nicholas Krgovich, "Rosemary," Rosemary (Single), Tin Angel, 2018The Butterfield Blues Band, "East-West," East-West, Elektra, 1966The Third Mind, "East West (Live)," Live Mind, Yep Roc, 2025Beach Bunny, "Dream Boy," Honeymoon, Mom + Pop, 2020Redd Kross, "Candy Coloured Catastrophe," Redd Kross, In The Red, 2024See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Danny Goldberg shares insider stories from his 50-year career as Led Zeppelin's publicist and Nirvana's manager, revealing Kurt Cobain's creative genius and the first-hand dynamics behind rock's biggest bands. Order Danny's book "Bumping Into Geniuses" here Topics Include: Danny discusses the 2026 reissue of "Bumping into Genius" Admits his turntables are mostly for show, prefers streaming now Kept about 100 vinyls including The Fugs on ESP Records Answered a Billboard ad not knowing music business existed Found his calling through enthusiasm and sensitivity to artists Became Led Zeppelin's US publicist in 1973 for Houses of the Holy The biggest band in the world had never gotten positive press Peter Grant described them as "just mild barbarians" Bonzo would arrive early to tune drums for each room's acoustics Jimmy Page avoided TV—felt it couldn't deliver Zeppelin's true sound Physical Graffiti era: Danny became Swan Song Records vice president His blues tribute pitch rejected—later repurposed for Foghat Robert Plant was eloquent and handled most press duties willingly Jimmy's Crowley interest rarely came up in day-to-day interactions Met Ringo, never John or George—All Things Must Pass is essential Nirvana's 92 Australian tour produced the Rolling Stone cover shoot Kurt's "Corporate magazines still suck" shirt was pure tightrope genius He storyboarded every Nirvana video shot by shot himself Appeared on Headbangers Ball in a dress to subvert metal culture Nevermind hit five radio formats simultaneously—unprecedented crossover success Kurt agreed to edit In Utero packaging for Walmart-only kids Fame invaded his privacy—tabloid coverage of Courtney infuriated him Depression and heroin predated fame—confirmed by Chris Novoselic Danny dismisses conspiracy theories—Seattle PD had no coverup motive Sub Pop planned "Cash Cow"—Kurt licensed it back as Incesticide Incesticide liner notes rank among Kurt's most remarkable creative statements Danny calls In Utero Kurt's best songwriting, his personal favorite Bonnie Raitt's Nick of Time gave Danny credibility to expand management John Silva brought Redd Kross, leading to Sonic Youth, then Nirvana Born Innocent documentary on Redd Kross earns Danny's recommendation High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

We are joined by music supervisor, LA punk scenester, singer, songwriter and all around music lover, Tiffany Anders. Most recently you may have heard some tunes Tiffany likes on the soundtracks of hit shows like "The Lowdown" and "Reservation Dogs", but today she helps us trace the histories of American Indie Rock from SST to Sub Pop to...wherever we are now. 

Chief Creative Officer of Bruce Mau Design, Laura Stein grew up on Nun's Island outside of Montreal, a near utopia where kids never had to cross the street. Her psychiatrist father and museum-involved mother cultivated curiosity about emotions, critical thinking, and the arts. A move to Texas in her teens resulted in quite a culture shock. Laura found an innate knack for peer reviews and analysis, which became a strength throughout the rest of her academic and professional career. Originally graduating with a degree in English, she returned to school to study art, where she found not only her community, but her band mates. From there, it was a wild ride - record signing (Sub Pop,) touring, and navigating all the ups and downs of being in a girl band in the ‘90s – the ultimate creative boot camp. Now in leadership at Bruce Mau Design, she's deploying the wisdom garnered from all these experiences to build a culture focused on keeping possibility alive. Images and more from Laura Stein on our website!Special thanks to our sponsor! Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale.Clever is hosted & produced by Amy Devers, with editing by Mark Zurawinski, production assistance from Ilana Nevins and Anouchka Stephan, and music by El Ten Eleven.SUBSCRIBE - listen to Clever on any podcast app!SIGN UP - for our Substack for news, bonus content, new episode alertsVISIT - cleverpodcast.com for transcripts, images, and 200+ more episodesSAY HI! - on Instagram & LinkedIn @cleverpodcast @amydeversSpecial thanks to our sponsors!Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale.Sub-Zero, Wolf, and Cove's Kitchen Design Contest is a global design competition celebrating outstanding kitchen design projects. Apply now! Hosted on Acast. See acast.com/privacy for more information.

Hosts Jim DeRogatis and Greg Kot close the book on 2025 by doing a final round of obituaries, playing favorite singles and sharing a mixtape that documents the ups and downs of the year that was. Greg's MixtapeJoin our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:SPRINTS, "Something's Gonna Happen," All That Is Over, City Slang and Sub Pop, 2025The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Redwalls, "It's Alright," Universal Blues, Undertow, 2003Joe Ely, "Boxcars," Honkey Tonk Masquerade, MCA, 1978The Mavericks, "There Goes My Heart," What a Crying Shame, MCA Nashville, 1994The Band, "Chest Fever," Music from Big Pink, Capitol, 1968Chappell Roan, "The Subway," (Single), Amusement, 2025Annabelle Dinda, "The Hand," (Single), Self-Released, 2025Huntrix, "Golden," KPop Demon Hunters, Republic, 2025Hayley Williams, "True Believer (Live on Tonight Show)," Ego Death at a Bachelorette Party, Post Atlantic, 2025Bad Bunny, "BAILE INoLVIDABLE," DeBÍ TiRAR MáS FOToS, Rimas, 2025MSPAINT, "Angel," No Separation, Convulse, 2025Cardi B, "Outside," Am I the Drama?, Atlantic, 2025Taylor Swift, "The Fate Of Ophelia," The Life of a Showgirl, Republic, 2025Sharon Van Etten, "Somethin' Ain't Right," Sharon Van Etten and The Attachement Theory, Jagjaguwar, 2025The Penrose Web, "I Dreamt I Woke Up Dead," It's...The Penrose Web, Fools Paradise and Gare Du Nord, 2025Peter Peter Hughes, "The End of Your Empire," Half-Staff Blues, Tired Media, 2025Mavis Staples, "Chicago," Sad and Beautiful World, Anti, 2025The Belair Lip Bombs, "Again and Again," Again, Third Man, 2025The Bug Club, "How to Be a Confidante," Very Human Features, Sub Pop, 2025Perfume Genius, "It's a Mirror," Glory, Matador, 2025Ed Kuepper and Jim White, "The 16 Days," After The Flood, Remote Control, 2025Mekons, "You're Not Singing Anymore," Horror, Fire, 2025Spinal Tap, "Tonight I'm Gonna Rock You Tonight," This Is Spinal Tap, Polydor, 1984See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On today's episode, I talk to musician Kassie Carlson. Originally from Cape Cod, Kassie began performing in an early incarnation of Guerilla Toss after her hardcore band Western Syndrome played a show with them in 2012. They released their first EP Jeffrey Johnson later that year on Feeding Tube Records, and since then, they've released over a dozen more albums and EPs on labels like Tzadik, DFA and Sub Pop. Just last September, they released their sixth album, You're Weird Now, on Sub Pop, and folks, it's a delight! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here! Theme song by the fantastic Savoir Adore! Second theme by the brilliant Mike Pace! Closing theme by the delightful Gregory Brothers! Podcast art by the inimitable Beano Gee!  

Hosts Jim DeRogatis and Greg Kot explore the music and legacy of the Raincoats, a post-punk band beloved by musicians and critics alike. Though they never found mainstream success, the Raincoats' sound left a deep mark on alternative music—including on one of their most famous fans, Kurt Cobain of Nirvana.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundopsFeatured Songs:the Raincoats, "Fairytale In The Supermarket," The Raincoats, Rough Trade, 1979The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Gina Birch, "Feminist Song," I Play My Bass Loud, Third Man, 2023Gina Birch, "Causing Trouble Again," Trouble, Third Man, 2025Gina Birch, "I Play My Bass Loud," I Play My Bass Loud, Third Man, 2023the Raincoats, "The Void," The Raincoats, Rough Trade, 1979the Raincoats, "In Love," The Raincoats, Rough Trade, 1979the Raincoats, "Shouting Out Loud," Odyshape, Rough Trade, 1981the Raincoats, "No One's Little Girl," Moving, Rough Trade, 1984the Raincoats, "No Side to Fall In," The Raincoats, Rough Trade, 1979the Raincoats, "Only Loved at Night," Odyshape, Rough Trade, 1981the Raincoats, "Ooh Ooh La La La," Moving, Rough Trade, 1984SPRINTS, "Something's Gonna Happen," All That Is Over, City Slang and Sub Pop, 2025See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"Shine On" Formed in Seattle in the late '80s, Sweet Water got their start under the moniker SGM. Comprised of childhood friends from the private Bush School, which we talk about a lot in this episode, SGM played with Nirvana and The Melvins and their 1988 Aggression album was produced by Jack Endino and was lauded by Sub Pop's Bruce Pavitt. A thrashy blast of American post-punk SGM underwent a few lineup changes, recruited a few new members and re-named themselves Sweet Water. Their 1992 self-titled indie album got them signed to Atlantic where they put out another self-titled album. They moved to EastWest Records, put out the Superfriends record, which was a catchy blast of glam, grunge and hard rock and from there, things get a tad confusing. Legal issues held the band in abeyance, so they played under the name Parc Boys with a C, put out a record, went back to being Sweet Water, recorded an album that was supposed to come out on the Enclave label but didn't and instead was released independently. Sweet Water took a break and didn't put any new music out until their fabulous 2009 effort Clear The Tarmac. Since then, they've put out EPs like Dance Floor Kills and their brand new long player Shine On. An infectious, hook-filled album that's rife with melodic muscle and hooks galore, Shine On is a shimmering effort that proves Sweet Water just keep getting better. Now, I mentioned The Bush School and for good reason--that Seattle school is kind of the secret hero of the Sweet Water story and you'll see why in a second. I'll let the fellas tell you everything, but let me say this: when the foundational education is one that fosters artistic freedom, students feel like they can do anything because they're not self-conscious, they're deeply brave and they're not afraid to make bold strikes out there in the world. And Sweet Water has made a career out of doing that.  www.sweetwaterrocks.com www.bombshellradio.com www.stereoembersmagazine.com www.alexgreenbooks.com IG + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

On this episode of Lipps Service, Scott sits down with the one and only Orville Peck, the masked cowboy who's redefined modern country music. The two talk about Orville's incredible journey, from his early days and musical influences to how the mask came to be and carving out his own lane in country music. Orville opens up about the business side of music, the making of his debut album Pony, and navigating his career. They also get into sobriety, fame, and reading social media comments, plus his collaborations with legends like Willie Nelson, Elton John, Noah Cyrus, and Lady Gaga. They chat about his new EP, Appaloosa, his love for Broadway, his performance in Cabaret, his own festival, and even a little about his appearance in the upcoming live-action film Street Fighter. The episode closes with Orville listing his top 5 Broadway shows of all time. Tune into an amazing chat with the coolest cat in country – Orville Peck! For more incredible rock 'n' roll interviews, hit the subscribe button! Also check out Lipps Service with Scott Lipps podcasts on Spotify, Apple, or your favorite podcast player. #orvillepeck #producing #podcast #music #top5 #interview #rocknroll CREDITS (Instagram handles) Host @scottlipps Production Coordinator and Booking Manager @whitakermarisa Edited by @toastycakes Music by @robbyhoff Intern @kaylah._b Recorded at Fringe Podcasts NYC 00:00 - Start 00:30 - Catching up 02:03 - Upbringing and being friends with legendary artists 05:00 - Musical influences 06:00 - David Bowie 09:00 - Defying the boundaries of country 11:25 - How the mask came about 15:00 - The finances of music 18:00 - Pony 20:00 - Subpop 20:35 - Fake it to you make it 22:01 - “Dead of Night” 23:35 - Journals and manifesting 24:25 - Cabaret 26:25 - “Drive Me Crazy” 27:52 - Sobriety, fame, and reading the comments 29:50 - The country co-sign & Willie Nelson 33:00 - Elton John 35:20 - Noah Cyrus 36:15 - Lady Gaga 37:49 - Appaloosa new EP 40:22 - Street Fighter 41:12 - His festival, “Rodeo” 42:37 - Top 5 most iconic singers 44:30 - Top 5 Broadway shows --------------------------------------------------------------------------------------------------- Remember painful online rehearsal? Lutefish fixed it. Backed by Wenger and built for serious musicians, the Lutefish Stream delivers real-time online collaboration with crystal-clear 48K audio and low latency. Just plug into your router and play like you're in the same room. The Lutefish Stream https://lutefish.com/products/lutefish cuts down audio delay for remote music sessions by directly connecting audio sources, networks, and outputs, making sound travel incredibly fast, up to 30ms or less—like you're just 30 feet apart on a big stage or rehearsing in your garage! No more sitting in traffic on your way to practice. Rehearse more, meet new musicians in our free online community and create music together... all remotely. Real feel. Real time. Real music.

This week I'm joined by author and music critic Keith Cameron (Mudhoney: The Sound and the Fury From Seattle, 168 Songs of Hatred and Failure: A History of Manic Street Preachers), who picked the documentary I'M NOW: THE STORY OF MUDHONEY to dive into.We discuss our relationship with the British musical weeklies and how Keith ended up working for them, the power of Radio One DJ John Peel, Keith trying to get his favorite bands on the cover of the NME, the Mudhoney riot at the School of Oriental & African Studies in 1989 (where Mark Arm invited the entire audience onstage before the first note), cracking Green River, seeing Mudhoney's 2nd show opening for White Zombie, the brilliance and haphazardness of SubPop, Jack Endino asking the band if they really wanted to sound like they did while recording them, Mudoney saving SubPop's label at their lowest point, how Caroline records wanted to polish up Mudhoney, the follies of indie labels & the notion of selling out, Mark Arm as a world class lyricist, Keith visiting Seattle & interviewing Nirvana at the time they were kicking out Dan Peters of Mudhoney and replacing him with Dave Grohl, touring with Nirvana vs. Pearl Jam, the handheld camera tour footage of the band, Keith spending time in Mudhoney's childhood locations, Matt Lukin leaving the band and Guy Maddison replacing him, the obstacles and triumphs of continuing to making music for nearly 40 years and more!So let's collectively make the stage collapse on this week's episode of Revolutions Per Movie!!!Keith Cameron:https://keithcameron.co.uk/about-me/https://www.mojo4music.com/author/keith-cameron/REVOLUTIONS 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.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@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.

Director MARY BRONSTEIN zooms into the Best Show to talk to Tom about her new film If I Had Legs I'd Kick You! They discuss the new film, Mary's next moves, and much else! LAEL NEALE performs a killer set of live music at the Forever Dog Theater, promoting her latest album Altogether Stranger (out now on Sub Pop)! Phones ring on the topic: Worst 20 movies to see in IMAX! Plus, Tom gets a call from DYLAN ALBOM IN SWARMBRIDGE! SUPPORT THE BEST SHOW ON PATREON! WEEKLY BONUS EPISODES & VIDEO EPISODES!https://www.patreon.com/TheBestShowWATCH THE BEST SHOW LIVE EVERY TUESDAY NIGHT 6PM PT ON TWITCHhttps://www.twitch.tv/bestshow4lifeFOLLOW THE BEST SHOW:https://twitter.com/bestshow4lifehttps://instagram.com/bestshow4lifehttps://tiktok.com/@bestshow4lifehttps://www.youtube.com/bestshow4lifeTHE BEST SHOW IS A FOREVER DOG PODCASThttps://thebestshow.nethttps://foreverdogpodcasts.com/podcasts/the-best-showHEARD IT ON THE BEST SHOW PLAYLISThttps://open.spotify.com/playlist/2XIpICdeecaBIC2kBLUpKL?si=07ccc339d9d84267See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hosts Jim DeRogatis and Greg Kot talk about The Cars with Bill Janovitz, the author of a new book on the band. The book makes the case that The Cars are an underrated band. Plus, the hosts review the new album from Irish post-punk band, Sprints.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Cars, "Candy-O," Candy-O, Elektra, 1979The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Sprints, "Descartes," All That Is Over, City Slangs and Sub Pop, 2025Sprints, "Coming Alive," All That Is Over, City Slangs and Sub Pop, 2025Sprints, "Something's Gonna Happen," All That Is Over, City Slangs and Sub Pop, 2025Buffalo Tom, "Late at Night," Big Red Letter Day, Beggars Banquet, 1993The Cars, "Just What I Needed," The Cars, Elektra, 1978The Cars, "Good Times Roll," The Cars, Elektra, 1978The Cars, "My Best Friend's Girl," The Cars, Elektra, 1978The Cars, "Drive," Heartbeat City, Elektra, 1984The Cars, "Heartbeat City," Heartbeat City, Elektra, 1984The Cars, "Dangerous Type," Candy-O, Elektra, 1979The Cars, "Let's Go," Candy-O, Elektra, 1979Fleetwood Mac, "Dreams," Rumours, Warner Bros., 1977See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hosts Jim DeRogatis and Greg Kot talk with author Chris Deville about his new book, "Such Great Heights: The Complete Cultural History of the Indie Rock Explosion." The hosts also review the new album from The Hives.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:The Postal Service, "Such Great Heights," Give Up, Sub Pop, 2003The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Hives, "The Hives Forever Forever The Hives," The Hives Forever Forever The Hives, PIAS, 2025The Hives, "Enough is Enough," The Hives Forever Forever The Hives, PIAS, 2025The Hives, "Hooray Hooray Hooray," The Hives Forever Forever The Hives, PIAS, 2025The Hives, "Path of Most Resistance," The Hives Forever Forever The Hives, PIAS, 2025The Hives, "O.C.D.O.D.," The Hives Forever Forever The Hives, PIAS, 2025The Dismemberment Plan, "The Face of the Earth," Change, Desoto, 2001Sufjan Stevens, "Jacksonville," Illinois, Rough Trade, 2005Best Coast, "California Nights," California Nights, Harvest, 2015Belle and Sebastian, "Asleep on a Sunbeam," Dear Catastrophe Waitress, Rough Trade, 2003Death Cab for Cutie, "We Looked Like Giants," Transatlanticism, Barsuk, 2003The Dismemberment Plan, "The City," Emergency & I, Desoto, 1999The Decemberists, "The Engine Driver," Picaresque, Kill Rock Stars, 2005Vampire Weekend, "M79," Vampire Weekend, XL, 2008Thank, "Control," I Have A Physical Body That Can Be Harmed, Big Scary Monsters Recording Company, 2025See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jacksonville, Florida’s Yuno is DIY-defined. The self-taught musician and producer has been fine-tuning his brand of indie-pop mixed with reggae, hip-hop and skate culture influences to boot for some time, and that perfect mix of luck and talent caught the eye of Shabazz Palace member and Sub Pop rep Ishmael Butler, and the rest is, […] The post Yuno: “Blest” [LIVE IN STUDIO 1A] appeared first on KUT & KUTX Studios -- Podcasts.

J.F. León ha concluido su recorrido por la historia de las discográficas con un repaso a la década de los 90. En ese contexto, destacó el papel de las radios universitarias estadounidenses, que dieron voz a grupos que más tarde alcanzarían fama mundial, como los Pixies, y a otros más vinculados al ámbito de los aficionados a la música, como los sellos Clinton, Rough Trade, Neutral o Sub Pop. Este último, con sede en Seattle, fue gran responsable de la eclosión del grunge y del despegue de bandas icónicas como Nirvana.León también se detuvo en la escena punk de los 90, especialmente en la costa de California, con sellos como SST y grupos como Green Day. Estos últimos protagonizaron cierta polémica al pasar de trabajar con un sello independiente a fichar por Warner Studios, decisión que les costó el veto de muchos de los pequeños locales y bares donde habían iniciado su carrera. Una condena similar sufrieron Bad Religion, que en un concierto en España llegaron incluso a subir a un fan al escenario para que los insultara y los acusase de "vendidos".No faltó un espacio dedicado al blues. J.F. reservó un tramo para hablar del Hill Country Blues, surgido en las zonas más recónditas del estado de Misisipi, un estilo fundamental para entender la evolución de este género.Para cerrar su repaso, J.F. recordó a "la banda más importante de la historia", en sus propias palabras: Metallica. Una formación que, al igual que muchas otras bandas de metal, emergió bajo el amparo de Megaforce Records, el sello dirigido por John Zazula.

J.F. León ha concluido su recorrido por la historia de las discográficas con un repaso a la década de los 90. En ese contexto, destacó el papel de las radios universitarias estadounidenses, que dieron voz a grupos que más tarde alcanzarían fama mundial, como los Pixies, y a otros más vinculados al ámbito de los aficionados a la música, como los sellos Clinton, Rough Trade, Neutral o Sub Pop. Este último, con sede en Seattle, fue gran responsable de la eclosión del grunge y del despegue de bandas icónicas como Nirvana.León también se detuvo en la escena punk de los 90, especialmente en la costa de California, con sellos como SST y grupos como Green Day. Estos últimos protagonizaron cierta polémica al pasar de trabajar con un sello independiente a fichar por Warner Studios, decisión que les costó el veto de muchos de los pequeños locales y bares donde habían iniciado su carrera. Una condena similar sufrieron Bad Religion, que en un concierto en España llegaron incluso a subir a un fan al escenario para que los insultara y los acusase de "vendidos".No faltó un espacio dedicado al blues. J.F. reservó un tramo para hablar del Hill Country Blues, surgido en las zonas más recónditas del estado de Misisipi, un estilo fundamental para entender la evolución de este género.Para cerrar su repaso, J.F. recordó a "la banda más importante de la historia", en sus propias palabras: Metallica. Una formación que, al igual que muchas otras bandas de metal, emergió bajo el amparo de Megaforce Records, el sello dirigido por John Zazula.

Full Rig Info: https://www.premierguitar.com/videos/rig-rundown/deep-sea-diverSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeSeattle indie rockers Deep Sea Diver released their fourth full-length record, Billboard Heart, earlier this year via Sub Pop, and their supporting cross-country tour took them to downtown Nashville's Blue Room at Jack White's Third Man Records.PG's Chris Kies connected with singer and guitarist Jessica Dobson in 2020 for a virtual Rig Rundown, but this time we get a close-up, in-person look at Dobson's tour kit, including her signature Benson stomp box and a custom guitar.Shop Jessica Dobson's Gear:Benson Deep Sea Diver - https://sweetwater.sjv.io/qz60yYBenson Chimera - https://sweetwater.sjv.io/xL6mZ1Benson Germanium Preamp - https://sweetwater.sjv.io/Dydq32JHS Pulp 'N' Peel Compressor Pedal - https://sweetwater.sjv.io/bayxMkBenson Germanium Boost - https://sweetwater.sjv.io/QyxmYAElectro-Harmonix Deluxe Memory Man - https://sweetwater.sjv.io/QyX0rzStrymon blueSky - https://sweetwater.sjv.io/210EBDElectro-Harmonix POG2- https://sweetwater.sjv.io/NkP4x7Voodoo Labs Pedal Power 2 Plus - https://sweetwater.sjv.io/LXm31VBoss ES-8 - https://sweetwater.sjv.io/raXroyTC Electronic PolyTune3 Noir - https://sweetwater.sjv.io/Qy1KGaSubscribe to PG's Channel: http://bit.ly/SubscribePGYouTubeWin Guitar Gear: https://bit.ly/GiveawaysPGDon't Miss a Rundown: http://bit.ly/RIgRundownENLMerch & Magazines: https://shop.premierguitar.comPG's Facebook: https://facebook.com/premierguitarPG's Instagram: https://www.instagram.com/premierguitar/PG's Twitter: https://twitter.com/premierguitarPG's Threads: https://threads.net/@premierguitarPG's TikTok: https://www.tiktok.com/@premierguitar0:00 - Yvette Young & D'Addario0:15 - Jessica Dobson Playing Intro0:38 - Subscribe to Rig Rundowns!0:46 - Chris Kies Intro1:15 - Fender Elvis Costello Artist Signature Jazzmaster2:58 - Strings & Tunings3:42 - "Fighting the Guitar"4:09 - Writing & Recording Billboard Heart Album5:33 - Opening for Pearl Jam7:28 - Bilt Guitars S.S. Zaftig9:50 - Trent Guitars Model 111:52 - Does Gear Inspire Song Ideas?13:14 - Rig Rundown & D'Addario13:37 - "Emergency" Riff & Pedal Formula15:08 - Benson Deep Sea Diver Fuzz-Echo19:21 - Gain Stages20:14 - Electro-Harmonix POG220:54 - Diamond Memory Lane Jr21:46 - Electro-Harmonix Deluxe Memory Man22:35 - Strymon blueSky23:33 - Menatone Pleasure Trem 500024:59 - Old Blood Noise Endeavors Black Fountain26:25 - Line 6 DL4 MkII26:56 - 29 Pedals EUNA28:17 - Boss ES-8 Effects Switching System28:51 - Guitar Solo Box29:42 - Custom Benson Chimera30:23 - How Do You Find New Gear?31:45 - Shure Nexadyne Mics & GLXD16+ Wireless33:47 - Henry the Beagle & Fancy the Pitbull34:44 - Yvette Young & D'Addario[Brought to you by D'Addario: https://ddar.io/wykyk-rr]© Copyright Gearhead Communications LLC, 2025#guitar #rigrundown #guitarist #guitarplayer #guitargear

SPRINTS is a raucous 4-piece post-punk band from Dublin comprised of vocalist and guitarist Karla Chubb, bassist Sam McCann, drummer Jack Callan and new guitarist Zac Stephenson.  Their newest record, All That Is Over, is due out on September 26th via Sub Pop records. The band shares their experience recording at La Frette Studios, why they were more confident making All That is Over Now, and how they built a more robust sonic landscape for this record. They discuss the ideas behind the single Descartes, Karla tells us how writing plays a key role in her life processing and why politeness may need to take a back seat to brashness in out current political climate.   SPRINTS SUB POP RECORDS NEW SINGLE RAGE Tour Stories is now supported by @tandemdrums, maker of Drops drum mutes.  Joe's absolute favorite drummute for live, rehearsal and the studio. visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tandem Drums⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Please visit and support ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Distrokid⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for continued exclusive listener discounts. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the leader in audio repair, mixing and mastering. Ruinous uses ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Izotope⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and you should too. Trust us. The best way to get your music into the worlds ears is ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Distrokid⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Artist keep 100% of their royalties and their mobile app is smartly designed, easy to use and perfectly intuitive.

Today, we’re bringing you the best from another KUOW Podcast - Meet Me Here… If you’re looking to get out and dance in Seattle, you’ve probably stumbled on a themed dance night. “Taylor Swift Night,” “2000s Dance Party,” “Dance Yrself Clean…” the options are endless. You can even let your inner angsty teenager out at emo night. Emo has taken over clubs in the Seattle area, and across the USA, with events like the monthly Emo Nite at Neumos. Meet Me Here’s Dyer Oxley sat down with Emo Nite DJ Danny Vigill to talk about the growing trend of emo dance nights and chatted with Sub Pop's Michelle Fegahli and KUOW's Teo Popescu about their emo favorites. We can only make Seattle Now because listeners support us. Tap here to make a gift and keep Seattle Now in your feed. Got questions about local news or story ideas to share? We want to hear from you! Email us at seattlenow@kuow.org, leave us a voicemail at (206) 616-6746 or leave us feedback online.See omnystudio.com/listener for privacy information.

Brooklyn-based trio Nation of Language has an ardent-and-ever-expanding international audience for their danceable take on new wave, post-punk, and shoegaze. Expect new music from Nation of Language — now signed to Sub Pop(!) — throughout 2025. It begins with the exuberant “Inept Apollo.”  

The 1980s saw an explosion of independent record labels across the US, shaping the sound and spirit of underground music to this day. This week, Daniel House from Skin Yard and C/Z Records joins us as we dive into some of the finest labels whose DIY ethos, fearless experimentation, and raw energy broke away from the corporate music machine. One of the crucial American indie labels of the era was C/Z Records, the Seattle imprint that will forever be remembered as the second most important label in the burgeoning grunge scene. That being said, it was C/Z, not Sub Pop, who released the defining document of the new sound of the Pacific Northwest with 1986's Deep Six compilation - introducing Soundgarden, The Melvins, U-Men, Green River, Malfunkshun, and Skin Yard. Founded in 1985 by Chris Hanzek and Tina Casale, Skin Yard bassist Daniel House took over operation of C/Z in 1987, subsequently releasing music by Nirvana, Henry Rollins, Built To Spill, The Gits, Hammerbox, Presidents of the United States of America, 7 Year B---h, Coffin Break and many more. Skin Yard was a foundational band in the development of the grunge movement, not only due to the groundbreaking music they recorded between 1985 - 1991, but also the band members' other contributions to Seattle music. Aside from the aforementioned impact that House made with C/Z Records, guitarist Jack Endino would go on to produce and engineer some of the most enduring records of the era - including Nirvana's Bleach, and music by Mudhoney, Tad, Soundgarden, L7, and Screaming Trees. Lead singer Ben McMillan would form the band Gruntruck, and sadly passed away in 2008 at the age of 46. Drummer Matt Cameron is a world class musician who has been behind the kit for Soundgarden and, for the past 25 years, with Pearl Jam. Skin Yard Select is the brand new, limited collection of 14 songs loving curated by Daniel House and Jack Endino, culling tracks from their four studio albums, but also featuring enough rarities to please long-time fans. This beautiful package consists of seven individual 7" singles, each in their own sleeve and pressed on limited edition colored vinyl (or good ol' fashioned black). Get your copy now from https://skinyardselect.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the show, something different: an extra-sized Transmission that's been locked in the vault for years, a two-hour talk with singer/songwriter Damien Jurado.  Way back in 2022, host Jason P. Woodbury sat down with Jurado in the recording studio at Gold-Diggers in Los Angeles for a career spanning conversation, exploring the stories behind his oracular visions, his history, and his collaborators, including the late Richard Swift. The idea was that perhaps the talk would be chopped up for a mini-series, but the project never materialized—and instead this revealing talk was locked away on a hard drive, that is until now, as the time has come to share it via Transmissions. Woodbury been listening to Jurado's music for about 25 years; first encountering his 2000 Sub Pop release Ghost of David, a haunted album of lo-fi folk songs. Years later, Jurado's sound bloomed into psychedelia when he began collaborating with the late Richard Swift for 2010's Saint Bartlett, which was followed by the Maraqopa Trilogy, a series of psychedelic epics. Jurado has been on a tear since—sharing a string of self-produced recordings that include 2021's The Monster Who Hated Pennsylvania, 2022's Reggae Film Star, and three albums in 2023, Sometimes You Hurt the Ones You Hate, Motorcycle Madness, and Passing The Giraffes. Recently, he's expanded the view of these albums with a series of demo collections shared also by his own label, Maraqopa Records.   Jurado's songs are worlds meant to be lived in, full of strange characters in dream states, caught between the static on flickering TV channels, and with this episode, the penultimate, which is a fancy word for “second to last” of our 10th season, we explore those worlds with the man himself. You can read a ⁠⁠⁠⁠full transcript⁠⁠⁠⁠ of this conversation at Aquarium Drunkard, where you'll find 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. With your support, here's to another decade. ⁠⁠⁠⁠Subscribe at Aquarium Drunkard. ⁠⁠⁠⁠ Stream a ⁠⁠⁠⁠playlist of bumper music featured on Transmissions⁠⁠⁠⁠, as well as selections from our guests. Transmissions is a part of the ⁠⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠⁠. Visit the Talkhouse for more interviews, fascinating reads, and podcasts.

Hosts Jim DeRogatis and Greg Kot talk with author Cary Baker about the musical tradition of street performance, also known as busking. The hosts also review the solo album from TV On The Radio lead singer Tunde Adebimpe and hear feedback from listeners on recent episodes.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Arvella Gray, "John Henry," I Blueskvarter Chicago 1964, Volume Two, Jefferson, 2000The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Tunde Adebimpe, "Magnetic," Thee Black Boltz, Sub Pop, 2025Tunde Adebimpe, "Ate The Moon," Thee Black Boltz, Sub Pop, 2025Tunde Adebimpe, "Pinstack," Thee Black Boltz, Sub Pop, 2025Tunde Adebimpe, "Drop," Thee Black Boltz, Sub Pop, 2025Tunde Adebimpe, "Blue," Thee Black Boltz, Sub Pop, 2025Tunde Adebimpe, "Somebody New," Thee Black Boltz, Sub Pop, 2025Tunde Adebimpe, "ILY," Thee Black Boltz, Sub Pop, 2025Tracy Chapman, "Stand By Me (Live At The Late Show With David Letterman)," Greatest Hits, Elektra, 2015Moondog, "Nocturne Suite Part 1," On The Streets of New York, Mississippi, 2019Cortelia Clark, "Bye, Bye, Love," Blues in the Street, RCA, 1966George Coleman, "Innocent Little Doggy," Bongo Joe, Arhoolie, 1969Fantastic Negrito, "Nobody Makes Money," Fantastic Negrito EP, Blackball Universe, 2014Violent Femmes, "Blister In The Sun," Violent Femmes, Slash, 1983Ted Hawkins, "Strange Conversation," The Next Hundred Years, Geffen, 1994Mary Lou Lord, "St. Swithin's Day," Real, Deep Music, 1993Lucinda Williams, "Ramblin' On My Mind," Ramblin' on My Mind, Folkways, 1979Dom Flemons, "Charmin Betsy," Black Cowboys, Smithsonian Folkways, 2018Emmylou Harris, "Crescent City," Cowgirl's Prayer, Asylum, 1993Stan Rogers, "Barrett's Privateers," Fogarty's Cove, Barn Swallow, 1977Tsunami, "In A Name," Deep End, Simple Machines, 1992See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

One of the all time great bands, L7 fused laugh out loud humor with a caveman punk aggression that made them stand out like a blistered sore thumb against the L.A. hair metal landscape of the late ‘80s. But they were chicks, man — so rather than be spoken about in the same righteous breath as the Stooges or the Ramones, the members of L7 had to put up with inane questions about Vixen(?!?). No matter. As with most awesome things, L7 are still here and their influence looms larger than ever. On this episode we talk to co-founder Donita Sparks about Matthew Sweet covers, Epitaph records, the siren song of LA surf music, Slash records, Sub Pop, yacht rock, Rock For Choice, Milwaukee book makers, fights at Exit, John Waters, SMELL THE MAGIC, and we play the best round of what's the best ever!

Hosts Jim DeRogatis and Greg Kot welcome Eric Johnson of long-running indie folk band Fruit Bats for an interview and performance. The hosts also review the debut album from punk shock activists, Lambrini Girls.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Fruit Bats, "When U Love Somebody," Mouthfuls, Sub Pop, 2003The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Lambrini Girls, "Bad Apple," Who Let the Dogs Out, City Slang, 2025Lambrini Girls, "Nothing Tastes As Good As It Feels," Who Let the Dogs Out, City Slang, 2025Lambrini Girls, "Scarcity Is Fake (communist propaganda)," Who Let the Dogs Out, City Slang, 2025Fruit Bats, "Rushin River Valley (Live on Sound Opinions)," A River Running To Your Heart, Merge, 2023Fruit Bats, "Today," Siamese Dream, Turntable Kitchen, 2020Califone, "Bottles and Bones (Shades and Sympathy)," Roomsound, Perishable, 2001Fruit Bats, "We Used To Live Here (Live on Sound Opinions)," A River Running To Your Heart, Merge, 2023Fruit Bats, "Humbug Mountain Song (Live on Sound Opinions)," Absolute Loser, Easy Sound, 2016Fruit Bats, "When U Love Somebody (Live on Sound Opinions)," Mouthfuls, Sub Pop, 2003Chumbawamba, "Tubthumping," Tubthumper, EMI, 1997See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.