Podcasts about sufjan

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.

durée : 00:55:39 - Very Good Trip - par : Michka Assayas - Pour cette émission, Michka Assayas nous emmène dans une exploration particulière, celle d'une œuvre à part, due à un musicien qui a porté un regard singulier sur l'Amérique d'aujourd'hui, à la fois celui d'un poète et d'un explorateur. - réalisation : Stéphane Ronxin Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:05:23 - Le 13/14 - par : Frédéric Pommier - Elle vient de faire paraître "Solaire", son 7e album, qu'elle présente en ce moment en tournée. Elle jouera notamment le 5 mai à Abbeville puis le 20 à Béthune. Au micro de Frédéric Pommier, Yaël Naïm évoque "Fourth of July" de Sufjan Stevens, chanson qui a accompagné un moment charnière de sa vie. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

As the twelve days of Christmas come to a close once again, we're celebrating Epiphany with two songs about three men. By listener request, we check out "We Three Slow Kings" by Electric Santa, a song that may or may not be a joke, and "If I Were a Wise Man" by Flannel Graph, an undoubtedly sincere song with a familiar Sufjan-esque flavor. The ranking music in this episode is "Pocketful of Sunshine" by Natasha Bedingfield, which is the song Ian couldn't remember the name of. Thank you to Matt for these requests!

The year of Sufjan continues as we tackle our third Sufjan record of the year. I am joined by Rob from the ⁠mewithoutYou Archive⁠ and ⁠⁠⁠⁠Tony⁠⁠⁠⁠ to breakdown a unique and often misunderstood record.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CalebTheSpy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Caleb_The _Spy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Instagram⁠⁠⁠⁠⁠⁠⁠⁠The Album Anniversary Podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Patreon⁠⁠⁠⁠⁠⁠⁠The Album Anniversary Podcast⁠⁠⁠⁠⁠⁠⁠ on YouTube⁠⁠⁠⁠⁠⁠⁠CalebTheSpypodcasts@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Brock⁠ takes over the show again and we are all better for it. This time he is joined by his friend, the biggest Sufjan fan he knows, Scott from Oregon as they talk (in person!) about Illinois by Sufjan Stevens.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CalebTheSpy⁠⁠⁠⁠⁠⁠⁠⁠ on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Caleb_The _Spy⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on Instagram⁠⁠⁠The Album Anniversary Podcast⁠⁠⁠⁠ on Patreon⁠⁠The Album Anniversary Podcast⁠⁠ on YouTube⁠⁠CalebTheSpypodcasts@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

durée : 00:55:40 - Very Good Trip - par : Michka Assayas - Pour cette émission, Michka Assayas nous emmène dans une exploration particulière, celle d'une œuvre à part, due à un musicien qui a porté un regard singulier sur l'Amérique d'aujourd'hui, à la fois celui d'un poète et d'un explorateur. - réalisé par : Stéphane Ronxin

durée : 00:05:13 - C'est une chanson - par : Frédéric Pommier - Il vient de sortir "Radio Paradise", son nouvel album, et sera en concert le 16 mai à Paris dans le cadre du festival "Jazz à Saint-Germain-des-Prés". Au micro de Frédéric Pommier, le pianiste de jazz israélien Yaron Herman évoque le morceau "No Shade in the Shadow of the Cross" de Sufjan Stevens.

En este episodio de La Teoría de la Mente, nos adentramos en un tema profundamente humano: la relación con nuestros padres, o con su ausencia, y cómo esto moldea quiénes somos. Hoy, a través de la música de Sufjan Stevens y su conmovedora canción Death with Dignity, exploramos las complejidades de una vida marcada por la presencia y la falta de los padres. La canción abre el álbum Carrie and Lowell, una obra dedicada a la memoria de su madre, Carrie, que sufría de esquizofrenia y depresión. Tras su partida de la vida de Sufjan siendo él solo un niño, y su eventual fallecimiento en 2012, el artista reflexiona sobre el dolor, los recuerdos y el cierre que nunca llegó de manera perfecta. Pero como veremos, incluso en la ausencia, los padres siguen presentes de una manera única, transformando el tejido emocional de nuestras vidas. También profundizamos en el trabajo del psicoanalista Donald Winnicott y su concepto de "objetos transicionales", como los peluches de la infancia que ayudan a calmar la ansiedad ante la separación parental. Esos objetos que dejamos atrás, ¿cómo son reemplazados en nuestra adultez? ¿Por qué a veces elegimos relaciones que nos dañan? Todo esto tiene una raíz que proviene de nuestro pasado familiar y la manera en que intentamos "reparar" lo que una vez nos hizo falta. Pero no todo es pérdida y dolor. Incluso en medio de las historias más complicadas, a veces permanecen destellos de amor, buenos recuerdos y momentos de conexión que, aunque escasos, nos ayudan a sanar. Sufjan Stevens nos recuerda que ser hijo o hija no es algo que desaparezca, incluso cuando los padres ya no están, y que la vida está llena de oportunidades para crear nuevas narrativas que no siempre se ajustan a los dramas familiares que nos precedieron. ¿Y tú? ¿Recuerdas a tu peluche favorito? ¿Qué historias y emociones te traen los recuerdos de tu infancia y cómo han influido en tus relaciones actuales? Hoy, nos proponemos reflexionar sobre nuestras propias historias y sobre la importancia de construir nuevas relaciones que no estén atrapadas en las sombras del pasado. No te pierdas este episodio lleno de introspección, música y sanación. Sugerencia de Títulos: Palabras clave: relación con los padres, ausencia de los padres, Sufjan Stevens, Death with Dignity, Carrie and Lowell, peluches objetos transicionales, Donald Winnicott, vínculos familiares, relaciones rotas, infancia y padres, recuerdos familiares, sanación emocional, esquizofrenia y depresión, crecimiento personal, sanar el pasado, vínculos afectivos, trauma familiar, abandono parental, música folk, canciones sobre pérdida, nostalgia infantil, superar la ausencia, vínculos con los padres, relaciones tóxicas, cierre emocional, madurez emocional Hashtags sugeridos: #RelacionesFamiliares #SanarElPasado #SufjanStevens #CarrieAndLowell #ObjetosTransicionales #TeoríaDeLaMente Enlaces Formateados con Emojis: Nuestra escuela de ansiedad: www.escuelaansiedad.com Nuestro nuevo libro: www.elmapadelaansiedad.com Visita nuestra página web: www.amadag.com Síguenos en Facebook: Asociación Agorafobia Síguenos en Instagram: @amadag.psico Canal de YouTube: AMADAG TV

In the first True New Ep of 202X, we interview the first man on the pod who has ever been to Buffalo, New York (Chris famously has never been) Murty, about his experiences moving from Beautiful Buff to Illinois Enuf. Also the beautiful album by Sufjan (we are on a first name basis) that kind of shares the name with the state if you ignore the album art and most listings, which do misspell it. I tell people I'm from Warshington doing a Goofy voice, so I get it. Also up for discussion: The computer legitimately almost crashed rendering the 3D text that says "W/ MURTY" so we must launch a patreon, a candle from down south is smelled up north and to the west of where it ought, and Murty is shouted over so apologies to him we're so sorry. Hosted on Acast. See acast.com/privacy for more information.

En este episodio de La Teoría de la Mente, nos adentramos en un tema profundamente humano: la relación con nuestros padres, o con su ausencia, y cómo esto moldea quiénes somos. Hoy, a través de la música de Sufjan Stevens y su conmovedora canción Death with Dignity, exploramos las complejidades de una vida marcada por la presencia y la falta de los padres. La canción abre el álbum Carrie and Lowell, una obra dedicada a la memoria de su madre, Carrie, que sufría de esquizofrenia y depresión. Tras su partida de la vida de Sufjan siendo él solo un niño, y su eventual fallecimiento en 2012, el artista reflexiona sobre el dolor, los recuerdos y el cierre que nunca llegó de manera perfecta. Pero como veremos, incluso en la ausencia, los padres siguen presentes de una manera única, transformando el tejido emocional de nuestras vidas. También profundizamos en el trabajo del psicoanalista Donald Winnicott y su concepto de "objetos transicionales", como los peluches de la infancia que ayudan a calmar la ansiedad ante la separación parental. Esos objetos que dejamos atrás, ¿cómo son reemplazados en nuestra adultez? ¿Por qué a veces elegimos relaciones que nos dañan? Todo esto tiene una raíz que proviene de nuestro pasado familiar y la manera en que intentamos "reparar" lo que una vez nos hizo falta. Pero no todo es pérdida y dolor. Incluso en medio de las historias más complicadas, a veces permanecen destellos de amor, buenos recuerdos y momentos de conexión que, aunque escasos, nos ayudan a sanar. Sufjan Stevens nos recuerda que ser hijo o hija no es algo que desaparezca, incluso cuando los padres ya no están, y que la vida está llena de oportunidades para crear nuevas narrativas que no siempre se ajustan a los dramas familiares que nos precedieron. ¿Y tú? ¿Recuerdas a tu peluche favorito? ¿Qué historias y emociones te traen los recuerdos de tu infancia y cómo han influido en tus relaciones actuales? Hoy, nos proponemos reflexionar sobre nuestras propias historias y sobre la importancia de construir nuevas relaciones que no estén atrapadas en las sombras del pasado. No te pierdas este episodio lleno de introspección, música y sanación. Sugerencia de Títulos: "Sufjan Stevens y la Ausencia que Siempre Está Presente" "Cuando los Padres se Van: Reflexiones con Sufjan Stevens" "Objetos Transicionales: Del Peluche a las Relaciones Adultas" "Carrie and Lowell: Sanando las Heridas del Pasado Familiar" "Elegir Buenos Peluches: Lo Que Nos Dejaron Nuestros Padres" Palabras clave: relación con los padres, ausencia de los padres, Sufjan Stevens, Death with Dignity, Carrie and Lowell, peluches objetos transicionales, Donald Winnicott, vínculos familiares, relaciones rotas, infancia y padres, recuerdos familiares, sanación emocional, esquizofrenia y depresión, crecimiento personal, sanar el pasado, vínculos afectivos, trauma familiar, abandono parental, música folk, canciones sobre pérdida, nostalgia infantil, superar la ausencia, vínculos con los padres, relaciones tóxicas, cierre emocional, madurez emocional Hashtags sugeridos: #RelacionesFamiliares #SanarElPasado #SufjanStevens #CarrieAndLowell #ObjetosTransicionales #TeoríaDeLaMente Enlaces Formateados con Emojis: Nuestra escuela de ansiedad: www.escuelaansiedad.com Nuestro nuevo libro: www.elmapadelaansiedad.com Visita nuestra página web: www.amadag.com Síguenos en Facebook: Asociación Agorafobia Síguenos en Instagram: @amadag.psico Canal de YouTube: AMADAG TV

We return from a brief hiatus with the scholarly work you know and love....and then we hit a couple of early Magical Mystery Words.  From there we go heavy banter as we discuss George Clinton, summer vacations, our own review of our own list correction episode, Slane's refusal to be our official whiskey, Tommy visiting Slane Castle to formally request a sponsorship, what we would do if nominated for a Poddy, Becker only listening to songs that give him specific instructions for life, the Blottos pulling a Sufjan, Marvel Villain Ron Richards, and a song where we can only discuss the drummer, "PS I Love You."As always, you can find Team Blotto Beatles on Instagram (@blottobeatles) and Twitter / X (@blottobeatles), by emailing us (blottobeatles@gmail.com), or on the web (blottobeatles.com).  We want to hear from you!Please also take the time to rate and review us on Apple podcasts or wherever you get your podcasts.We have a shop!  Grab some merch.  You can always drunk dial us at 1.857.233.9793 to share your thoughts, feedback, confessions, and concerns to be featured in an upcoming episode. Enjoying the show? Buy us a beer via the tip jar (don't forget to include a message telling us what we should drink with the money).You know we're making a list of it, see the canonical, argument-ending list of Beatles songs we are assembling here: http://www.blottobeatles.com & listen to it on Spotify here.Please remember to always enjoy Blotto Beatles responsibly.Peace and Love.Hosts: Becker and TommyExecutive Producer: Scotty C.Musical Supervisor: RB (@ryanobrooks)Associate Musical Supervision: Tim Clark (@nodisassemble)

"Once Was Gleaming" The California-born Tanner Porter is a composer, arranger, performer, vocalist and songwriter. Her voice is otherwordly and wonderful, and set against her complex orchestral arrangements, it evokes everyone from Kate Bush to Tori Amos. Her debut album The Summer Sinks was a stone cold stunner and her new album Once Was Gleaming picks up where Summer left off, offering a stirring and moving song-cycle that's filled with breathtaking musical finesse, and almost cinematic compositional scope. Tanner's orchestral music has been commissioned by the Louisville Orchestra, Albany Symphony Orchestra, the New York Youth Symphony, and Nu Deco Ensemble, among others. She's collaborated on ballets that were premiered by the Boston Ballet and the San Francisco Ballet, had short operas commisioned by Barnard College and Columbia University's New Opera Workshop and she's been busy on Broadway in ILLINOISE, with music by Sufjan Stevens as a vocal/guitar understudy for two roles. Tanner has been a composer-in-residence with the Louisville Orchestra's 2023-2024 Creators Corps, a fellow of the Aspen Music Festival,and her works have been presented at Carnegie Hall, the New World Symphony's New World Center, and the Prototype Festival. She was a 2019 recipient of the American Academy of Arts and Letters Charles Ives Scholarship. Tanner holds degrees in composition from the University of Michigan and the Yale School of Music. Once Was Gleaming is as sweeping as it is dramatic, punctuated by strings and electronica and a voice that soars through it all with inexplicable beauty. It's revelatory work. www.tannerporter.com (http://www.tannerporter.com) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com) Twitter: @emberseditor IG: @emberspodcast

The wonderful Vic Michaelis joins us this week LIVE (to tape) from... FRANCE?! Now, of course you know Vic as the host of Dropout's Very Important People or from Upload or from their menagerie of characters on Comedy Bang! Bang! Well, now you'll get to know a whole 'nother Vic! Hear them tell tales of teenage rebellion in the modeling world, getting married to a biologist, growing up in - what was that Sufjan? that's right - Illinois! And SO MUCH MORE! PLUS, obvi, we answer YOUR advice questions! If you'd like to ask your own advice questions, call 323-524-7839 and leave a VM or just DM us on IG or Twitter!Fill out the survey so that we don't play awful ads! Support the show on Patreon (two extra exclusive episodes a month!) or get yourself a t-shirt or a discounted Quarantine Crew shirt! And why not leave a 5-star review on Apple Podcasts? Or Spotify? It takes less than a minute! Follow the show on Instagram! Check out CT clips on YouTube!Plus some other stuff! Watch Naomi's Netflix half hour or Mythic Quest! Check out Andy's old casiopop band's lost album or his other podcast Beginnings!Theme song by the great Sammus! Hosted on Acast. See acast.com/privacy for more information.

This week, host Isaac Butler talks to Justin Peck, a dancer and choreographer who helped create the hit Broadway show Illinoise, which is based on a classic album with a similar name by Sufjan Stevens. In the interview, Justin breaks down how he adapted Sufjan's album into a narrative dance piece, with clear characters and storylines. He also talks about his process for feeling out dance moves with his body, teaching those moves to other dancers, and then tweaking them based on the strengths of the performers.  After the interview, Isaac and co-host Ronald Young Jr. talk about the thrill of live performances and what it means to define success for a project.  In the exclusive Slate Plus segment, Justin explains how the show varied in previous iterations before Broadway. Then he talks about his biggest dance influences.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Justin Peck, a dancer and choreographer who helped create the hit Broadway show Illinoise, which is based on a classic album with a similar name by Sufjan Stevens. In the interview, Justin breaks down how he adapted Sufjan's album into a narrative dance piece, with clear characters and storylines. He also talks about his process for feeling out dance moves with his body, teaching those moves to other dancers, and then tweaking them based on the strengths of the performers.  After the interview, Isaac and co-host Ronald Young Jr. talk about the thrill of live performances and what it means to define success for a project.  In the exclusive Slate Plus segment, Justin explains how the show varied in previous iterations before Broadway. Then he talks about his biggest dance influences.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Justin Peck, a dancer and choreographer who helped create the hit Broadway show Illinoise, which is based on a classic album with a similar name by Sufjan Stevens. In the interview, Justin breaks down how he adapted Sufjan's album into a narrative dance piece, with clear characters and storylines. He also talks about his process for feeling out dance moves with his body, teaching those moves to other dancers, and then tweaking them based on the strengths of the performers.  After the interview, Isaac and co-host Ronald Young Jr. talk about the thrill of live performances and what it means to define success for a project.  In the exclusive Slate Plus segment, Justin explains how the show varied in previous iterations before Broadway. Then he talks about his biggest dance influences.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Justin Peck, a dancer and choreographer who helped create the hit Broadway show Illinoise, which is based on a classic album with a similar name by Sufjan Stevens. In the interview, Justin breaks down how he adapted Sufjan's album into a narrative dance piece, with clear characters and storylines. He also talks about his process for feeling out dance moves with his body, teaching those moves to other dancers, and then tweaking them based on the strengths of the performers.  After the interview, Isaac and co-host Ronald Young Jr. talk about the thrill of live performances and what it means to define success for a project.  In the exclusive Slate Plus segment, Justin explains how the show varied in previous iterations before Broadway. Then he talks about his biggest dance influences.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, host Isaac Butler talks to Justin Peck, a dancer and choreographer who helped create the hit Broadway show Illinoise, which is based on a classic album with a similar name by Sufjan Stevens. In the interview, Justin breaks down how he adapted Sufjan's album into a narrative dance piece, with clear characters and storylines. He also talks about his process for feeling out dance moves with his body, teaching those moves to other dancers, and then tweaking them based on the strengths of the performers.  After the interview, Isaac and co-host Ronald Young Jr. talk about the thrill of live performances and what it means to define success for a project.  In the exclusive Slate Plus segment, Justin explains how the show varied in previous iterations before Broadway. Then he talks about his biggest dance influences.  Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get an ad-free experience across the network and exclusive content on many shows—you'll also be supporting the work we do here on Working. Sign up now at slate.com/workingplus to help support our work.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Justin Peck is a celebrated choreographer who loves Sufjan Stevens's music. He loves it so much that he's collaborated with the musician twice. Their latest project is a Broadway dance musical called “Illinoise,” which is based on Sufjan's seminal album “Illinois.” Justin joins guest host Talia Schlanger to tell us what the album means to him and how he transformed it into a theatre-dance production.

We're back with our thoughts on Sufjan's latest album: Javelin!    twtwpe@gmail.com 

durée : 00:55:23 - Very Good Trip - par : Michka Assayas - Ce soir, c'est simple : vous allez entendre des musiques qui vont vous faire chaud au cœur, tout en douceur. À commencer par cette voix, idéale pour ça.

Ringy dingy ding! That's the sound of a new year being rung. Which of course means Andrew and Dan are going to spend an hour plus talking about LAST year and all their favorite albums. Specifically ten of them. A Top Ten, if you will. 

Episode 234 is the latest in the occasional series of the podcast - Andrea's favourite weird little guy.Nialler and Andrea Cleary take a big overview of the main discography of one of our favourite songwriters.Sufjan Stevens is a Detroit Michigan artist, songwriter, composer and multi-instrumentalist who has a deep catalogue of studio albums drawing on orchestral conceptual releases about US States, electronic hymnals, secular-friendly Christian music, Christmas albums, ambitious cosmic electronic long players and devastating folk and singer-songwriter music informed by grief, love and life.Andrea leads us through his main thoroughfare, stopping at Enjoy Your Rabbit (2001) to Michigan (2003), Seven Swans (2004), Illinois (2005), The Avalanche (2006), The Age of Adz (2010), Carrie & Lowell (2015), The Ascension (2020), Convocations (20201) and stopping at his most recent rejuvenating album Javelin, released in the wake of the rare peek into Sufjan's private life - his coming out after speaking about the passing of his partner, and the autoimmune disease he has been rehabilitating from recently.Special thanks to Georgia Hallion for editing this podcast episode.* Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord communityListen to the episode below or subscribe in your favourite podcast app:Listen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS FeedShow notesSongs played on the Nialler9 Podcast Spotify PlaylistSFollow Nialler9 on Insta | Twitter | Youtube | Spotify Hosted on Acast. See acast.com/privacy for more information.

It's the Nialler9 Podcast's monthly episode where Niall and Andrea talk about the albums and songs they loved in the last four weeks.Episode 232 has an exoskeleton theme of accidental spooky picks as we feature new albums from Kojaque, OXN, CMAT, Sufjan, Earl Sweatshirt & The Alchemist and new songs from The Last Dinner Party, I Dreamed I Dream, John Francis Flynn, Rachael Lavelle and Tandem Felix.And a couple of oldie picks to round things out from William Onyeabor and Echo & The Bunnymen, along with the What's Consuming You corner with TV, books and films we are vibing with.* Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord communityListen to the episode below or subscribe in your favourite podcast app: Hosted on Acast. See acast.com/privacy for more information.

This month we're back in our current millenium with our favourite songs of 2005 including generous helpings of indie-rock, chamberpop, industrial, synthpop, prog-metal & hiphop. We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year. Bands featured in this episode include (In alphabetical order, no spoilers here!) -And You Will Know Us By The Trail Of Dead, Brendan Benson, The Bravery, Bright Eyes, Broken Social Scene, Clutch, Death Cab For Cutie, Editors, The Fall, Ben Folds, Gogol Bordello, Gojira, Imogen Heap, Malcolm Middleton, Nine Black Alps, Nine Inch Nails, Jim Noir, Opeth, Pernice Brothers, Porcupine Tree, Robyn, Shady Bard, The Spinto Band, Sufjan Stevens, Strapping Young Lad, Matt Sweeney & Bonny Prince Billy, Teenage Fanclub, VNV Nation, The Wedding Present, & Kanye West Ft Jay-Z. Find all songs in alphabetical order here - https://open.spotify.com/playlist/4X2NdJpqAODDHvaQgCRhJ5?si=dd0541fefa4d4f31Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes, you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdg Ian's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqA and Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9Nw The playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Say hello at www.facebook.com/wedigmusicpcast or tweet us at http://twitter.com/wedigmusicpcast or look at shiny pictures on Instagram at http://instagram.com/wedigmusicpcast Part of the We Made This podcast network. https://twitter.com/wmt_network You can also find all the We Dig Music & Free With This Months Issue episodes at www.wedigpodcasts.com

A flowery Blind Shovel, this one with LA-based musician Alex Pfender. We discuss his recent project Pfred, the dynamics of collaboration, music production, Sufjan, and much more.Listen to some of Alex's solo work and collaborations:Pfred's "Alice"Yoya's "Fireworks" Lauren O'Connell's "Horsefly" Header image: Laura Kody, "Pfred", 2023

This time, we recommend our favorite albums from 2023's third quarter, but first, we discuss the latest from indie legend Sufjan Stevens.   Sufjan Stevens - Javelin (02:23)   Burna Boy - I Told Them... (41:51)   Genesis Owusu - STRUGGLER (51:31)   Tomb Mold - The Enduring Spirit (64:50)   grouptherapy. - i was mature for my age, but i was still a child (75:04)

We're driving deep into introspective sad boy territory this week as we review Sufjan Stevens' latest album, "Javelin" with special guest Brady Schnieder! What'll the boys think of Sufjan? Only one way to find out!

durée : 00:53:52 - Very Good Trip - par : Michka Assayas - Ce soir, dans Very Good Trip, de belles voix folk, automnales, c'est la saison. - réalisé par : Stéphane Ronxin

Will and David discuss the latest releases by Slow Pulp, Grrrl Gang, and Seablite, plus a live report, music news, and bonus songs.

Malachi and Nick talk to Robert about his experience playing Star of Providence for the first time.Also discussed: Pumpkins, Loop Changes, and Sufjan StevensNote: This episode still features the mic stand causing Malachi's bad audio. Sorry! It will be destroyed soon.Sufjan's Will Anybody Ever Love Me?: https://youtu.be/OLeCIRC4taY?si=RC83XXR5QIKYL9J9Questions? Comments? Join our Discord server and let us know!discord.com/invite/gyY5ystZPGGarowslaw's Music Available on Bandcamp:https://arcofdream.bandcamp.com/Thank you for listening! Hosted on Acast. See acast.com/privacy for more information.

Loyal listeners are aware that Steven is currently wiping the floor with Ian in their Fantasy Fall Albums draft (3:24). But Ian has a shot this week to make up some ground with the release of Javelin, the new critically acclaimed album by Sufjan Stevens (9:58). While Steven respects Sufjan's talent and stature in the indie world, he's never quite warmed up to the singer-songwriter, due to his undeniable "theater kid/youth pastor" vibes. Ian meanwhile is a big fan and considered Javelin a return to form. Hear the guys hash it out over one of indie's most beloved legacy acts.From there the conversation shifts to Steven's recent trip to Las Vegas to see U2 play at the new state-of-the-art venue Sphere (24:55). We have all seen video clips of this thing by now, but what was it like to be there in person? And what other acts can possibly play this thing? Changing gears dramatically, the guys get down to talking about the amazing popularity of Duster, the '90s-era slowcore band that was mostly ignored in their time and now ranks as one of the most streamed bands of the era. What's it like to see your own musical past re-written by future generations? (37:19)In Recommendation Corner (55:31), Ian talk about the emo revival band Bewilder while Steven recommends the emerging Minneapolis alt-rock outfit Prize Horse.New episodes of Indiecast drop every Friday. Listen to Episode 158 and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at indiecastmailbag@gmail.com, and make sure to follow us on Instagram and Twitter for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

durée : 00:53:34 - Very Good Trip - par : Michka Assayas - Dans Very Good Trip, voici le retour d'une voix qui va en mettre plus d'une, plus d'un, comme sur un nuage.

It's the Nialler9 Podcast's monthly episode where Niall and Andrea talk about the albums and songs they loved in the last four weeks.On Episode 225 we have album recommendations from The Hives, Citrus Fresh and Noname along with song inclusions from Sufjan, Diners, BadBadNotGood, Cartin, Barry Can't Swim and Olivia Rodrigo.Plus what's consuming you, chat about live gigs from The Walkmen, Boygenius, Another Love Story Festival, and the Roisín Murphy thing.* Support Nialler9 on Patreon, get ad-free episodes and join our Discord communityListen to the episode below or subscribe in your favourite podcast app:Listen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS FeedShow notesSongs played on the Nialler9 Podcast Spotify Playlist Hosted on Acast. See acast.com/privacy for more information.

Jordan and I discuss Luca Guadagnino's Call Me By Your Name.  But most importantly, the 3 Sufjan songs featured heavily in the film!  Is this a Song of Songs style love story? Or is it an older guy creeping on someone underage? For some reason we delve into it?     

EMAIL us: kitschforkpodcast@gmail.com folks, it's time to get twee. for the first of our two twitter poll winners, we start season 2 of Kitschfork off with perennially beloved indie artist Sufjan Stevens and his 2003 breakout album "Michigan" which Pitchfork helped break with its brand new (circa 2003) "Best New Music" category. because of this, Liz talks about the history of Pitchfork's Best New Music and also the disputed history of this album's review. Max and Liz also have a very spirited disagreement about Sufjan. Much discussion about Sufjan's strengths (and failures) as an artist and this era's musical tropes in general ensues.

On this episode of your favourite Sufjan Stevens podcast, we don't talk about Sufjan at all! Are you surprised? Instead, I sit down with the "Canadian Sufjan", our very own Jordan Klassen!  We're talking Jordan's 2022 release "Glossolalia".  Oh! And Jordan reveals he's a mentalist for some reason. 

In our last episode we featured many of our Critics' Panel picks of the best albums from the first half of this year. Now we feature some of the tracks that made our Critics' picks for best individual songs of 2022 so far. -------- TRACK LIST FOR EP.78 --------- * Born Again - Jess Ray * More of Thee - Russ Mohr * Meant for Good - Brandon Lake & JUDAH * How Many Songs Does it Take To Save the World - Elias Dummer * Peace - Melanie Penn * Supernatural - Ben Rector (ft. Dave Koz) * I See A King - The Wood Drake Sessions (ft. Liz Vice) * There Will Be Surprises - Drew Miller * Talk of the Town - Needtobreathe * Fly - Carly Taich * Forever Again - Kings Kaleidoscope * The Kingdom is Coming - The Porter's Gate (ft. Josh Garrels & Terrian) * The Lord is on My Side - Karin Simmons * How Long - Weston Skaggs ------- CREDITS -------- * Host/Producer - Dave Trout * Full list of Best Albums & Songs of 2022(A) - https://utrmedia.org/2022a * SPONSOR1: Winter Woods KS Campaign - https://bit.ly/winterwoodsks * SPONSOR2: Judson University - https://is.gd/jutour * Contest for Beats Solo3 Headphones - https://utrmedia.org/winsolo3 * Email: gourmetmusicpodcast@gmail.com (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org - info at https://utrmedia.org

Garret has your good patron challenge, the latest crowdfunding campaigns, and TWO exclusive artist interviews. -------- SPOTLIGHT CAMPAIGN -------- * Kevin Max - Winter Woods [FOUR distinct projects!] (Kickstarter) closes Sept 30th  * https://www.kickstarter.com/projects/kevinmax/winter-woods  --------- OTHER CAMPAIGNS -------- * Bill Mallonee/Vigilantes of Love - Welcome to Struggleville (30th anniv vinyl re-issue) [Alternative/College/Rock] closes Oct 3rd - https://www.kickstarter.com/projects/billmallonee/welcome-to-struggleville-30th-anniversary-180gm-double-lp  * The Trinity Project - 60 hymns exploring the Trinity [Hymns/ModernWorship] (Kickstarter) closes Sept 16th - https://www.kickstarter.com/projects/afrankvoice/the-trinity-project  * The Open End - The Cliff [Indie/Folk] (Kickstarter) closes Sept 8th - https://www.kickstarter.com/projects/theopenendmusic/the-cliff-full-length-album-by-the-open-end  * Les Carlsen (from Bloodgood) - Solo Project [Metal] (Kickstarter) closes Sept 15th -  https://www.kickstarter.com/projects/lescarlsen/bloodgood-singer-les-carlsens-solo-project  * Ericka Corban - debut album [CCM/Pop/Country] (Kickstarter) closes Sept 15th - https://www.kickstarter.com/projects/erickacorban/new-ericka-corban-album  * Casey Kleeman - History EP [Worship Music] (Kickstarter) closes Sept 17th - https://www.kickstarter.com/projects/caseykleeman/casey-kleeman-history  * City Collective - With Us EP [Worship Music] (Kickstarter) closes Sept 18th -- https://www.kickstarter.com/projects/citycollective/city-collective-with-us  * Royal Ruckus - Mr Rogers of Rap 3 EP project - https://royalruckus.wordpress.com/2022/07/28/mrrogers/   -   https://www.buymeacoffee.com/royalruckus/posts  * Camden Cunningham - Awaken the Dawn EP [indie/singer-songwriter] (Kickstarter) pre-save the campaign - https://www.kickstarter.com/projects/awakenthedawn/awaken-the-dawn-ep  * Mark Heard - Second Hand & Satellite Sky reissues heads-up. Coming later this year.  --------- CREDITS ---------  * Host/Producer - Garret Godfrey * Executive Producer - Dave Trout * SPONSOR1: Rich Mullins Tribute Concerts - https://utrmedia.org/rmsept9 * SPONSOR2: Amazon Smile - https://smile.amazon.com * Win Beats Solo3 Headphones - https://utrmedia.org/winsolo3 * Twitter - https://twitter.com/goodpatron   * Facebook Group -  https://www.facebook.com/crowdfundingchristianmusic * Email: goodpatronpodcast@gmail.com (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org - info at https://utrmedia.org

Garret has your good patron challenge, the latest crowdfunding campaigns, and TWO exclusive artist interviews. -------- SPOTLIGHT CAMPAIGN -------- * Kevin Max - Winter Woods [FOUR distinct projects!] (Kickstarter) closes Sept 30th  * https://www.kickstarter.com/projects/kevinmax/winter-woods  --------- OTHER CAMPAIGNS -------- * Bill Mallonee/Vigilantes of Love - Welcome to Struggleville (30th anniv vinyl re-issue) [Alternative/College/Rock] closes Oct 3rd - https://www.kickstarter.com/projects/billmallonee/welcome-to-struggleville-30th-anniversary-180gm-double-lp  * The Trinity Project - 60 hymns exploring the Trinity [Hymns/ModernWorship] (Kickstarter) closes Sept 16th - https://www.kickstarter.com/projects/afrankvoice/the-trinity-project  * The Open End - The Cliff [Indie/Folk] (Kickstarter) closes Sept 8th - https://www.kickstarter.com/projects/theopenendmusic/the-cliff-full-length-album-by-the-open-end  * Les Carlsen (from Bloodgood) - Solo Project [Metal] (Kickstarter) closes Sept 15th -  https://www.kickstarter.com/projects/lescarlsen/bloodgood-singer-les-carlsens-solo-project  * Ericka Corban - debut album [CCM/Pop/Country] (Kickstarter) closes Sept 15th - https://www.kickstarter.com/projects/erickacorban/new-ericka-corban-album  * Casey Kleeman - History EP [Worship Music] (Kickstarter) closes Sept 17th - https://www.kickstarter.com/projects/caseykleeman/casey-kleeman-history  * City Collective - With Us EP [Worship Music] (Kickstarter) closes Sept 18th -- https://www.kickstarter.com/projects/citycollective/city-collective-with-us  * Royal Ruckus - Mr Rogers of Rap 3 EP project - https://royalruckus.wordpress.com/2022/07/28/mrrogers/   -   https://www.buymeacoffee.com/royalruckus/posts  * Camden Cunningham - Awaken the Dawn EP [indie/singer-songwriter] (Kickstarter) pre-save the campaign - https://www.kickstarter.com/projects/awakenthedawn/awaken-the-dawn-ep  * Mark Heard - Second Hand & Satellite Sky reissues heads-up. Coming later this year.  --------- CREDITS ---------  * Host/Producer - Garret Godfrey * Executive Producer - Dave Trout * SPONSOR1: Rich Mullins Tribute Concerts - https://utrmedia.org/rmsept9 * SPONSOR2: Amazon Smile - https://smile.amazon.com * Win Beats Solo3 Headphones - https://utrmedia.org/winsolo3 * Twitter - https://twitter.com/goodpatron   * Facebook Group -  https://www.facebook.com/crowdfundingchristianmusic * Email: goodpatronpodcast@gmail.com (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org - info at https://utrmedia.org

Have some excellent new releases maybe fallen through the cracks for you? We've got your back! The UTR Critics Panel has helped to curate the best faith-based albums released in the first half of 2022, and we share a bunch of those selections on this episode. ------- TRACK LIST FOR EP. 77 ------- * Faint - Colorvault (ft. A.Bishai & Young Oceans) * Clarity - DOE * Things Are Looking Up - Judah & the Lion * Hosanna (Will You Rise) - The Porter's Gate (ft. Matt Maher & Terrian) * Dream + Fades (Vanity) - Hannah Hubin & Wild Harbors * Dream On - Ben Rector * God Caughed and Woke Me Up - Andy Zipf * Be My Defender - Jordan St. Cyr * Time Machine - John Elefante * Uninspired; Blowing Smoke - John Van Deusen * This House - Anne Wilson * The Devil Don't Like It - Dedicated Men of Zion * Autumn Hymn - Ash & Eric -------- CREDITS --------- * Host/Producer - Dave Trout * SPONSOR: Allie Murphy - https://is.gd/amwysp * Full UTR Critics' List of Best Albums/Songs of 2022(A) - https://utrmedia.org/2022a * All Aboard 2022 (UTR's Summer Fundraising Campaign) - https://utrmedia.org/aa22 * Ticket Info for Rich Mullins tribute concerts - https://utrmedia.org/rmsept9 * Email: gourmetmusicpodcast@gmail.com (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org - info at https://utrmedia.org

Even the best creative projects might not ever see the light of day due the lack of one crucial ingredient... funding. On 5/31/22, the 'Bellsburg' Kickstarter campaign went live, and the results were somewhat astonishing. --------- TRACKS USED ON EP.10 --------- * Sparrow Watcher - Amy Grant, Cindy Morgan, Andrew Greer (ft. Tommy Sims) * Doubly Good [LIVE] - Rich Mullins ----------- CREDITS ----------- * Host/Producer - Dave Trout * Interview Guests - Andrew Greer, Anthony Hoisington, & Steve Taylor * SPONSOR: Allie Murphy - https://is.gd/amwysp * UTR Summer of Vinyl contest - https://utrmedia.org/winvinyl2022 * UTR's All Aboard Campaign - https://utrmedia.org/aa22 * Tickets info for "Hello Old Friends (RM Event)" 9/9/22 in Elgin, IL - https://utrmedia.org/rmsept9 (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org - info at https://utrmedia.org

We remember and honor the 25th anniversary of the homegoing of Rich Mullins with some songs, reflections, and 2 world premiere songs from the upcoming tribute album 'Bellsburg' ----------- TRACK LIST FOR EP.76 ------------ * Waiting - Rich Mullins * Hold Me Jesus - Kim Hill * Whitewater - Rich Mullins * Here in America - Sarah Hart * The Color Green - Rich Mullins * Heaven is Waiting - Brothers McClurg * Boy Like Me/ Man Like You - Rich Mullins * Jacob and 2 Women - Carolyn Arends * The Breaks - Rich Mullins * Calling Out Your Name - Andrew Peterson * The Other Side of the World - Rich Mullins * Both Feet On the Ground - Ashley Cleveland * Hard - Rich Mullins * Steal at Any Price - Andrew Haines * Who is God Gonna Use - Rich Mullins * If I Stand - Jess Ray * Peace - Rich Mullins --------- CREDITS ----------- * Host/Producer - Dave Trout * Bellsburg Kickstarter (thru 6/30/22) - https://is.gd/bellsburgks * Rich Mullins 25 website - https://richmullins25.com * UTR's Heart Soul & Mind Playlist - https://utrmedia.org/hsm18 * Summer of Vinyl contest - https://utrmedia.org/winvinyl2022 * Email: gourmetmusicpodcast@gmail.com (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org, info at https://utrmedia.org

You (our listeners) are in charge of the music, and we play your picks commercial break free. ------- TRACK LIST FOR EP.75 ------- * Oh Sweetest Name - John Van Deusen * Into the Harbor - Sandra McCracken * Love Light A Way - Mutemath * Everything and More - Citizens * Survive These Seas - Lovkn * The Gospel is Rest - Elias Dummer (ft. Land of Color) * It's Okay You're Not Okay - Copperlily * Spring: Wake - The Arcadian Wild * Brave - Eden Wilhelm * Broken Places - Jars of Clay * Mount Up - Mitch McVicker * Lighter from Here - Christa Wells -------- CREDITS --------- * Host/Producer - Dave Trout * Big thank you to all those who requested songs! * UTR's Summer of Vinyl contest - https://utrmedia.org/winvinyl2022 * Email: gourmetmusicpodcast@gmail.com (c) 2022 UTR Media. All Rights Reserved. A 501(c)(3) non-profit org - info at https://utrmedia.org