Podcast appearances and mentions of Tim Kasher

Steve Berg is an actor and improviser who just finished work on Tim Kasher's film Who's Watching, and is currently working on the film The Dink, produced by Ben Stiller. Recently, Steve can also be seen in Olivia Wilde's new film Don't Worry Darling, and the feature film Snack Shack.He's also been obsessed with UFOs, the paranormal, the occult and all things weird his entire life. He hosts a podcast called Hi, Strangeness, that covers these topics he's so passionate about.You can find Steve's fantastic HI, STRANGENESS show on most podcast platforms, and the video version is available on Youtube, here:https://www.youtube.com/@histrangeness77Whenever he has the opportunity Steve lectures about Weird Nebraska at conferences and events. He can also be seen in New Line's comedy feature Tag starring Jon Hamm and Rashida Jones.His credits also include recurring roles on NBC's The Good Place, ABC's The Goldbergs, Comedy Central's Idiotsitter, and BET's The Comedy Get Down. He has appeared in two features for director Joe Swanberg -- the Netflix Original Win It All and the indie Digging For Fire which premiered at the 2015 Sundance Film Festival. Other credits include Mike White's directorial debut Year of the Dog, Jared Hess' Gentlemen Broncos, and Joss Whedon's digital series Dr. Horrible's Sing Along-Along Blog.Berg has been a drunk narrator multiple times on Comedy Central's Drunk History and was a series regular in the Fox Television pilot WTF America produced by Ron Howard and Brian Grazer. He is originally from Omaha, Nebraska.Steve visits with Talking Weird to chat about UFOs and high strangeness, regale us with tales about Weird Nebraska, as well as to fill us in on a 1970s flying saucer case that he has been investigating.Anyine familiar with Steve knows this is going to be fun, fast-moving, blast of a show.

On this week's episode of Artist Friendly, Joel Madden is joined by Tim Kasher of Cursive. Kasher has fronted Cursive since the mid-'90s, leading the band through emo, post-hardcore, and dissonant experimentation. Having just released their 10th studio album, Devourer, which represents “personal imperialism and the imperialism of relationships,” the band will support their Omaha peers Bright Eyes on tour in April. In a conversation with Madden, the Nebraska-born indie rocker delves into his love of directing, the steady growth of the band's near 30-year career, and Devourer. Listen to their conversation on Artist Friendly wherever you listen to podcasts. You can also watch the episode over at Veeps.  ------- Host: Joel Madden, @joelmadden Executive Producers: Joel Madden, Benji Madden, Jillian King Producers: Josh Madden, Joey Simmrin, Janice Leary Visual Producer/Editor: Ryan Schaefer Audio Producer/Composer: Nick Gray Music/Theme Composer: Nick Gray Cover Art/Design: Ryan Schaefer Additional Contributors: Anna Zanes, Neville Hardman Learn more about your ad choices. Visit megaphone.fm/adchoices

EVERY OTHER KREATIVE KONTROL EPISODE IS ONLY ACCESSIBLE TO MONTHLY $6 USD PATREON SUPPORTERS. This one is fine, but please subscribe now on Patreon so you never miss full episodes. Thanks!Tim Kasher from Cursive is here to discuss their new album, Devourer, its lyrical themes and why imperialism was on his mind, why the “you” in Cursive songs is often actually addressing himself, how people are navigating a golden age and glut of information, maintaining the status quo and denying reality, loving and hating oneself, being on a new label to expand your music community, touring with Cursive, other future plans, and much more. Support vish on Patreon! Thanks to Blackbyrd Myoozik, the Bookshelf, Planet Bean Coffee, and Grandad's Donuts. Support Y.E.S.S., Pride Centre of Edmonton, and Letters to Santa. Follow vish online.Related episodes/links:Ep. #914: American FootballEp. #905: Duane Denison from The Jesus LizardEp. #900: Fugazi and Jem CohenEp. #847: RosaliEp. #738: SuperchunkEp. #726: Archers of LoafEp. #377: Land of TalkSupport this show http://supporter.acast.com/kreative-kontrol. Hosted on Acast. See acast.com/privacy for more information.

Interview by Angela CroudaceTim Kasher, the visionary frontman of Omaha-based band Cursive, delved into the creative journey behind their tenth album, Devourer. "We're pretty stoked on it," Kasher remarked, reflecting on the extensive work that went into this release following a four-year hiatus since their last album in 2019.Kasher described the album as a significant departure from the band's previous two releases, Vitriola and Get Fixed, which he labelled as "more angsty" and "less melodic." He elaborated, "We took a moment during the pandemic to reassess our catalogue. I wanted Devourer to be a more eclectic record." This desire for variety is evident in the album, which captures the essence of Cursive's roots while pushing new boundaries.One of the standout tracks from the album, Bloodbath, has been brought to life through a unique music video featuring Shannon Purser from Stranger Things and Aurora Perrineau from Westworld. Kasher explained the collaborative nature of the project: "We didn't give the directors any parameters. We said, 'This is the budget, and we want to see your vision.'" This approach resulted in an imaginative interpretation that blends elements of a "female fight club" with the emotional depth typical of Cursive's work.Drawing on his influences, Kasher cited authors like Cormac McCarthy and Stephen King, whose dark themes resonate with the band's music. "Cormac McCarthy has this extremely realistic take on humanity," he shared. "I think Stephen King is influential for everyone in some way. He's like the Edgar Allan Poe of our generation."As the band gears up for their upcoming tour, Kasher expressed enthusiasm for performing live, especially with the added challenge of recreating complex arrangements from the album. "We have two drummers on Devourer, and we're attempting to bring that energy to the stage," he noted.Kasher's passion for music and connection with fans was palpable as he reflected on the live experience. "It's important to remember that for the audience, this may be the first time they're hearing these songs. We owe it to them to give our all," he emphasized. This dedication has earned Cursive a reputation for electrifying performances, with fans often remarking that each show feels unique.Finally, he touched on the legacy of the 2003 album, The Ugly Organ, acknowledging its profound impact on listeners. "We didn't expect anything from that record," he said, "The further out on a limb we went, the more people connected with it. It's a lesson in authenticity that I hope resonates with other artists."As Cursive embarks on this new chapter with Devourer, Kasher's reflections on the past and present underscore the band's commitment to exploring new musical landscapes while remaining true to their roots.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

Episode 368 – Tim Kasher of Cursive joins the show today! Between his bands, his solo career, and also his work in film, he is definitely one of the most prolific artists around. We get deep into his creative process for songwriting, music production, & more. The new Cursive album "Devourer" is out now, go give it a spin! Shampoo sucks! It dries out and strips your hair of essential oils. I quit Shampoo and I now use products from Modern Mammals instead! You should too. Get 10% off at modernmammals.com/pages/lss when you use code LSS! How are those New Years Resolutions coming? FACTOR can help! With delicious and nutritious meals sent directly to your door and ready in just 2 mins, you'll be reaching your goals in no time. Get an amazing deal right now Visit FACTOR MEALS dot com slash lss50 and use code lss50 to get 50% off. NEED SOME GREAT NEW MUSIC!? Open Your Ears has you once again with the new split release from House & Home and Suntitle ! If you're a fan of 2000's Emo and 90's Punk Rock, you're going to love this. Head over to OYErecs.com for more info! It's out now wherever you stream your music! Learn more about your ad choices. Visit megaphone.fm/adchoices

I had Tim Kasher on to discuss the 1984 movie 'Body Double'. Hell yeah.

As Cursive gear up to release their new album Devourer, lead singer Tim Kasher joins us us on the BrooklynVegan Podcast. Throughout our hour-long conversation, Tim talks about classic Cursive records, the Omaha/Saddle Creek scene he came up in, his thoughts on being associated with emo (and covering At the Drive-In at Bonnaroo's Emo SuperJam), continuing to discover new music and art at middle age (he just turned 50 on August 19, happy belated!), the new album, and more. He unpacks some of the hopeless, apocalyptic, state-of-the-world themes on Devourer, talks about bringing cello back into the fold on the past few Cursive albums after abandoning it for many post-Ugly Organ years, and he talks about why Cursive were excited to team up with Run For Cover Records for this new album, following several albums for Saddle Creek and two on their own 15 Passenger label.   -   The BrooklynVegan Show is brought to you in part by DistroKid, a service for musicians that allows you to easily upload your music to all major streaming platforms. You can get 30% off of your first year's membership by signing up at distrokid.com/vip/brooklynvegan.   -   Theme music by Michael Silverstein.

During the early 2000s, the garage rock revival was dominating the airwaves when I first heard Cursive's 'The Ugly Organ' with a sound I'd never heard before with its blending post-hardcore punk and cello. Two decades later and Cursive, led by prolific musician/songwriter Tim Kasher, continues to churn out albums with catchy hooks and infectious energy, so I felt fortunate to catch up with Tim about what inspires him, what are some of his foundations in music, and why it's important to love what you create. Learn more about your ad choices. Visit megaphone.fm/adchoices

Singer/songwriter/frontman Tim Kasher has been such a prolic maker of music over the past 25+ years with his bands Cursive and The Good Life and his solo records as his vehicles and conduits of creativity, so busy in fact that he has released a new album almost every year since 2000. Tim traveled from Los Angles to Chicago on Wednesday January 31st 2024 to spill about all of the "hows, why's and what in the world are we doing here" questions in front of great and responsive crowd at historic Fitzgeralds Nightclub in forever sunny Berwyn, just south of Chicago. We talk at good length about growing up in Omaha, The Saddle Creek Records era, which bunk is best on the tour bus (he likes the top), Taco Bell or Del Taco, which is his favorite record he's ever made, God, sportsball, some of his influences and what goes through his mind in the middle of the night. It was a fantastic evening all around for audience and performer and interviewer. One for the ages indeed. 

In celebration of the deluxe edition of Cursive's DOMESTICA, we take an in-depth look at how the record was made. Following the breakup of the Omaha band, Slowdown Virginia, Tim Kasher reunited with his former bandmates, Matt Maginn and Stephen Pedersen, to start a new project called Cursive. They brought in drummer Clint Schnase and released their first 7 inch on their friends' label, Lumberjack Records, which later became Saddle Creek. Two full-length records followed, but when THE STORMS OF EARLY SUMMER was released in 1998, the band had already called it quits. Kasher had gotten married and moved to Portland, Oregon for a fresh start. As his marriage fell apart, he returned to Omaha and decided to reform Cursive. Pedersen had left for college at this point so Ted Stevens of Lullaby for the Working Class took over on guitar. Feeling like they had to make up for lost time, Cursive quickly put together an album's worth of songs and entered the home studio of A.J. and Mike Mogis to record the album over nine days. In this episode, Tim Kasher describes his vision of a concept album about a failed relationship that took inspiration from his recent divorce. With songs written from the perspective of both the male and female characters in the relationship, Kasher was writing in a fictional style but couldn't help but include elements from his own life. When the album was released in 2000, Saddle Creek wrote a bio mentioning Kasher's divorce that impacted the overall perception of the album, which Kasher still maintains is not a “divorce record.” From an attempt at being evenhanded in the storytelling to the Mogis brothers production skills to taking inspiration from the films, Eraserhead and Rosemary's Baby, to a lifelong journey of understanding metal to fans asking Kasher for relationship advice, we'll hear the stories around how the album came together.

Join our PATREON for bonus episodes.  This week we have Tim Kasher of Cursive and The Good Life on to talk about the debut self titled album by the Violent Femmes. We also talk about: the writers strike, the Good Life tour announcement, catching up from the covid era, lightning in a bottle bands, the Cure scene report, Tim Kinsella, Starland Ballroom, saddle creek rd, touring as an adult. Domestica reissue, Novena on a Nocturn, Dan describes a meme (posted on our Instagram), writing sad songs, “the safest sex”, html as a lyric, First Ave, The Violent Femmes origin story, busking, selling out to Wendy's, and so much more.  // Follow us at @danbassini, @mysprocalledlife, @timkasher and @runintotheground.  Listen to our RITG Mixtape Vol. 12 Best of 2022 here.

Tim Kasher returns for a special episode about The Good Life's Album of the Year. We talk about Zooming with Conor Oberst on bad wifi, his upcoming tour, his high school band March Hares opening for 311, Tim's Red Hot Chili Peppers horoscope theory, Inmates, early 2000s Saddle Creek albums about substances, Cursive, debauchery and heartache, Tim loves musicals, I get a little emo about the seasons, Vanessa Carlton, Ryan Fox's slide guitar, creating albums in a world made for songs, The Good Life's website SEO, and what next? JOIN: patreon.com/afterthedeluge -- Tim: https://www.instagram.com/timkasher The Good Life: https://thegoodlifemusic.com/ Me: ⁠https://twitter.com/routinelayup⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/afterthedeluge/message Support this podcast: https://podcasters.spotify.com/pod/show/afterthedeluge/support

The next season of After the Deluge is in the works, I went on a podcast to defend Lifted, I read a book called At the Bottom of Everything, our friend Tim Kasher is returning, and I made some more Bright Eyes zines and you can get one now! - Run into the Ground podcast: https://podcasts.apple.com/us/podcast/run-into-the-ground/id1611220387 - After the Deluge Zine: https://afterthedeluge.bigcartel.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/afterthedeluge/message Support this podcast: https://podcasters.spotify.com/pod/show/afterthedeluge/support

Join our PATREON for bonus episodes.  This week we have the host of the After The Deluge podcast Justin Cox on to talk about the divisive Bright Eyes record "Lifted or The Story is in the Soil so Keep Your Ear to the Ground". In this episode we also discuss: can I get a goddamn timpani roll?, Jackson Browne is not Van Morrison, podcast origins, anti-vaxxers, Paul Simon, The Offspring discography, Orcas Island, Killer Whales against capitalism, facebook fan groups, your art saved my life, Tim Kasher, The Hard Times, Todd Fink, skipping opening tracks, one sided 7”s, Dead Oceans and the Saddle Creek split, Ted Stevens, the kissy bitch drama (again), Evan Dando, Jawbreaker, Flea, W, and so much more. // Follow us at @danbassini, @mysprocalledlife, @routinelayup and @runintotheground.  Listen to our RITG Mixtape Vol. 12 Best of 2022 here.

I talk to Conor Oberst of Bright Eyes about Jackson Browne, emo, being a child among the Saddle Creek teens, showing ambition in a slacker scene, Pitchfork reviews, a wild story behind “Soul Singer in a Session Band," his songs making sense to him but maybe not to you, Conor's media diet, listening to audiobooks about feathers, do people pay too much attention to politics now?, AI and Chat GPT, The Faint being ahead of their time, could he write “First Day of My Life” on command?, long songs and “Let's Not Shit Ourselves,” using SAT words in lyrics, that perfect Waxahatchee record, the next batch of companion EPs, opening for Paramore at the Emo Fest, that cancelled Houston show, writing songs to impress Tim Kasher, Todd Fink and Ted Stevens, leaving Saddle Creek, how to get into the band Superchunk, what does Conor Oberst think of 311?, Rage Against the Machine vs. Limp Bizkit, Down in the Weeds, feeling like The Beatles on the Wide Awake tour... not so much on the Digital Ash tour… and then we meet his dog Petra and say goodbye! Support the pod/get the zine: www.patreon.com/afterthedeluge Follow Justin: twitter.com/routinelayup Follow Bright Eyes: twitter.com/brighteyesband --- Send in a voice message: https://podcasters.spotify.com/pod/show/afterthedeluge/message Support this podcast: https://podcasters.spotify.com/pod/show/afterthedeluge/support

I love Cursive and saw them 4 times last year!

Podcast #634 hopes you like songs from Juniper, The Chisel, Boogie Hammer, Margo Price, Tim Kasher, Field School, Belle & Sebastian, & The Roseline.

!!! - Here's What I Need To Know !!! (Chk Chk Chk) - Panama Canal (ft. Meah Pace) !!! (Chk Chk Chk) - Storm Around The World (ft. Maria Uzor) Protoje - Family ft. Jesse Royal Protoje - Late at Night (feat. Lila Iké) Protoje - Ten Cane Row (feat. Jorja Smith) Slang - Cockroach In A Ghost Town Slang - Wilder Slang - Wrong Wrong Wrong David Knudson – ＂No Ways No Means (feat. Tim Kasher of Cursive David Knudson - Rewind It (feat. Sam Bell) David Knudson - Medalle (feat. Bayonne) FaltyDL - Berlin FaltyDL - God Light (feat. Joe Goddard) FaltyDL - One Way or Another (feat. Mykki Blanco) Soccer Mommy - Shotgun (slowed + reverb) Soccer Mommy - Darkness Forever (Sophie's Version) SocceTRAAMS - SleeperTRAAMS - Breathe featuring Softlizard TRAAM Comedown Drugdealer - Someone to Love Drugdealer - Madison Drugdealer - Pictures of You (feat. Kate Bollinger)

George Michael - Faith Nation of Language - Across That Fine Line (Working Men's Club Remix) Gemini Parks - Animals Ron Gallo - FOREGROUND MUSIC Remi wolf last Xmas David Knudson – ＂No Ways No Means (feat. Tim Kasher of Cursive) ††† (Crosses) - SENSATION Tanukichan - ＂Don't Give Up＂ LIES - Camera Chimera Weyes Blood - God Turn Me Into a Flower (feat. Oneohtrix Point Never) PVA - 'Not (BBC Radio 1 Session)' White Lotus Renaissance (Main Title Theme) (from ＂The White Lotus： Season 2＂).mp3 Cristobal Tapia de Veer Quasi - Doomscrollers Blitz Vega - Strong Forever Röyksopp - 'Stay Awhile (feat. Susanne Sundfør)' DAGR & Cherry Glazerr - Texas Fake names delete myself Weird Nightmare - So Far Gone shame - Fingers of Steel Bodywash - Kind of Light David Brewis - The Last Day Yo La Tengo - ＂Fallout＂ LANNDS - ＂Overseas⧸BACK 2 U＂.mp3

Taylor Swift - Anti-Hero (Girl Talk Remix)SG Lewis - Lifetime Hemlocke Springs — gimme all ur luv Cheekface – If I Catch on Fire Please Put Me Out Noel Gallagher's High Flying Birds - Pretty Boy. Samory I - Blood in the Streets DAGR & Cherry Glazerr - Texas Yves Tumor - God Is a Circle David Knudson – ＂No Ways No Means (feat. Tim Kasher of Cursive) Hatchie - Nosedive THE PRIMITIVES - DON'T KNOW WHERE TO START weird al Now You Know Chilli Jesson - Carolina Reaper Sunrise HWY Kinky Afro (Radio Edit) JW Francis - Dream House Nicole Dollangang Gold Satin Dreamer   Sharon von etten when I die   Andrew Bird - I felt a Funeral, in my Brain ft. Phoebe Bridgers.Squeeze Food for Thought Taken By Trees - Say You Don't Mind FaltyDL - One Way or Another (feat. Mykki Blanco) the blaze dreamer

David Knudson's been having a busy year. He put out his first solo album, The Only Thing You Have to Change is Everything (including a song with his former Minus the Bear bandmate Jake Snider on vocals), his beloved '90s mathcore band Botch put out their first new song in over 20 years alongside Sargent House's new reissue of We Are The Romans, he's been posting tons of guitar playthrough videos of old Minus The Bear and Botch songs, and he's got another new solo EP that'll be out before the end of the year (which will feature Cursive's Tim Kasher). With all of that, plus the upcoming 20th anniversary of Minus The Bear's classic debut album Highly Refined Pirates, we decided to catch up with Dave for the latest episode of the BrooklynVegan podcast.   Music featured in episode - "Varv" by David Knudson

Today we welcome Tim Kasher, again! He's been on prior as a guest talking about his entire career and also was included in volume 2 of the Anthology of Emo book series, now we dive even deeper. This time we dive into the absolute classic “Domestica.” Released in June way back in 2000, this album released posthumously, really was an evolution of their last two records and started to almost restart the band out of chaos and unrest. The album, rumored to be about a divorce, as you will hear, is close but also far away as well. Tim was generous was his time to dive really deep into the album, cover, and every single track. Including some about Braces, a short lived band that was a 3 piece that you'll hear on the reissue. Enough of me talking, this album is a shade over 30 minutes but we'll spend the next hour to let Tim tell us all about “Domestica.” I hope you enjoy. Reissue is available via 15 Passenger.

Todd Fink is the lead singer of The Faint, a vital and important band that grew up alongside Bright Eyes in those early Saddle Creek years in Omaha. We talk about touring with Bright Eyes on the Digital Ash tour, life in Joshua Tree, the Desert Oracle, creative Saddle Creek bands, going electronic, masterful Mogis production, keeping imperfections, me having Covid, Todd's parents didn't love young-kid squealing Conor but Todd saw his talent, the Fevers & Mirrors radio interview and Pitchfork review, Conor's and Bright Eyes' writing and recording process, what's next for The Faint, Recapitate Headwear, and Tim Kasher's early encouragement. At 53:00, I'm joined by a few of the After the Deluge Patreon supporters to talk about this record and some select tracks. The voices you'll hear are Reed, Per, Jon, Lyzi and myself. We dig into specific Digital Ash tracks, moments, and lyrics. Extra shit and a Bright Eyes zine! patreon.com/afterthedeluge Todd Fink: instagram.com/toddthefink Justin Cox: twitter.com/routinelayup --- Send in a voice message: https://anchor.fm/afterthedeluge/message Support this podcast: https://anchor.fm/afterthedeluge/support

Full episode is live at patreon.com/afterthedeluge -- Todd Fink is the lead singer of The Faint, a vital and important band that grew up alongside Bright Eyes in those early Saddle Creek years in Omaha. We talk about touring with Bright Eyes on the Digital Ash tour, life in Joshua Tree, the Desert Oracle, creative Saddle Creek bands, going electronic, masterful Mogis production, keeping imperfections, me having Covid, Todd's parents didn't love young-kid squealing Conor but Todd saw his talent, the Fevers & Mirrors radio interview and Pitchfork review, Conor's and Bright Eyes' writing and recording process, what's next for The Faint, Recapitate Headwear, and Tim Kasher's early encouragement. At 53:00, I'm joined by a few of the After the Deluge Patreon supporters to talk about this record and some select tracks. The voices you'll hear are Reed, Per, Jon, Lyzi and myself. We go dig into specific Digital Ash tracks, moments, and lyrics in that second section. Extra shit and a Bright Eyes zine! patreon.com/afterthedeluge Todd Fink: instagram.com/toddthefink Justin Cox: twitter.com/routinelayup --- Send in a voice message: https://anchor.fm/afterthedeluge/message Support this podcast: https://anchor.fm/afterthedeluge/support

This week's guest is Tim Kasher. In addition to fronting legendary Omaha emo outfit Cursive, Kasher can be heard in The Good Life and on his four solo albums. Over the course of his nearly-30-year career, he's toured extensively, put out some downright incredible records that have reshaped the genre and has influenced countless musicians along the way. Before any of that, Kasher was a high school kid cutting his teeth as the guitarist in a little-known Nebraska band called The March Hares. A few months removed from the release of his fourth solo album, the outstanding Middling Age, Kasher spoke with My First Band host Tyler Maas about the new record and accompanying tour, his approach to songwriting, his Patreon page, and the upcoming vinyl reissue of Domestica on 15 Passenger. Over the course of the conversation, Kasher talked about the musical influence his elder siblings had on him, starting out on a Cascio keyboard before taking up guitar, performing at bonfires and bars with The March Hares and Slowdown Virginia, some of his favorite experiences with Cursive and The Good Life, and much more! My First Band is sponsored by Mystery Room Mastering, Lakefront Brewery and Music Go Round Greenfield. The show is edited by Jared Blohm. You can listen to My First Band on iTunes, Stitcher, Spotify and wherever else you get podcasts. You can also listen to rebroadcasts of previous My First Band episodes on WMSE every Wednesday from noon to 12:30 p.m. CST. Music used in this episode comes courtesy of Devils Teeth ("The Junction Street Eight Tigers") and Tim Kasher ("I Don't Think About You").

I was honored to connect with Tim Kasher, Singer of Cursive and the Good Life. He recently released an album this year called "Middling Age," and he has created over 20 LPs in his life. His music and lyrics were a huge inspiration in my life during my late teenage years. When I was going through Depression and Anxiety, his music would make me want to play music, and I wanted to give him a Rose for assisting me during that time and inspiring me to play music and sing in a few music projects. Tim is a very educated, well-spoken, and thoughtful person, and to talk about his album "THE UGLY ORGAIN" was always a dream of mine to know the artist behind the curtain. I hope you enjoy this podcast! To Follow his work: www.cursivearmy.com Instagram: www.instagram.com/timkasher --- Support this podcast: https://anchor.fm/healingthehealer/support

Episode 87 with Tim Kasher of Cursive, The Good Life, and lots of great solo records like his latest offering "Middling Age"15passenger.comEmperor Cabinets can be found at emperorcabinets.comMusic in the intro ad by Adrian VinoMusic placed in the podcast intro:Frodus: "There Will Be No More Scum" off the record "And We Washed Our Weapons In The Sea"

Cursive's Tim Kasher and I talk about the early days of Saddle Creek and the first two Bright Eyes records, A Collection of Songs Written and Recorded 1995-1997 and Letting Off the Happiness. Also discussed: Antique stores, early Cursive records, 14-year-old Conor, what bound Saddle Creek bands, Emo, the Oberst household, Saddle Creek isn't really a creek, Letting Off the Happiness was monumental, small town music scenes, Tim keeping the Devil away by making art. Extra shit and a Bright Eyes zine for you! patreon.com/afterthedeluge Tim's new record, Middling Age: https://timkasher.bandcamp.com/album/middling-age Justin Cox: twitter.com/routinelayup Tim Kasher: twitter.com/timkasher --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/afterthedeluge/message Support this podcast: https://anchor.fm/afterthedeluge/support

Let's go outside and burn our shirts! Today on the show Cursive's Tim Kasher is here! Listen in as Damian and Tim discuss a lifelong journey in punk. From Grass Records getting Creed-y, to the Dogma '95-esq TRC 112, to the rise of midwest emo: this is not to be missed! Also, don't miss Tim's fantastic new album: Middling Age, out now on 15 Passenger Records and Thirty Something Records in Europe!!! Also, grab a shirt for this podcast at turnedoutapunk.com Also touched on: Digital Sex and midwest weirdness Grass Records The internalized Ian  Wind Up Records and being label mates with Creed Slowdown Virginia  Alan Meltzer: Indie rock label impresario turned professional poker player Brian Wilson… of the Beach Boys TRC-112 Rules Small Brown Bike Cranky Records Are labels still important? AND SO MUCH MORE!!!!

Season two of After the Deluge will go album by album through the Bright Eyes discography, from the basement recordings in Omaha through the pandemic release after a decade-long hiatus, and some real classics in between. I'm Justin Cox and I'll have a conversation with a new guest each episode starting with Tim Kasher on the first two Bright Eyes records, Saddle Creek, and the late '90s in Omaha, Nebraska. For bonus content, ad-free episodes, and a Bright Eyes zine mailed to your home, check out patreon.com/afterthedeluge Follow me here: twitter.com/routinelayup If you came for the Jackson Browne podcast, stick around for this. You might find something new to love. --- Send in a voice message: https://anchor.fm/afterthedeluge/message Support this podcast: https://anchor.fm/afterthedeluge/support

It's time for WASTOIDS With…Laura Jane Grace. She's created some of the most strident punk music of the last couple of decades, both as a solo artist and leader of Against Me! She's currently embarked on the Carousel Tour, playing collaborative sets with Anthony Green of Circa Survive and Tim Kasher of Cursive, along with special guests Mikey Erg, Home Is Where, and Oceanator on select dates. Here in AZ, we're psyched to catch the show at the Crescent Ballroom on May 20.Laura kept real busy during the pandemic, and was a frequent DJ on Vans Channel 66, where she exclusively played music released post-2020. She also put out a killer EP, At War With The Silverfish, and was recently elected as a governor of the Chicago Chapter of the Recording Academy—that's the GRAMMYs. Laura sat down with Brandon Michel to chat about the challenges of touring in 2022, the 15th anniversary of Against Me!'s landmark album New Wave, what she's been listening to, and get into her habits, which include running, drinking absurd amounts of coffee, and dominating foosball tables nationwide. If you liked this chat, please subscribe to the WASTOIDS audio feed wherever you get podcasts—you can leave a rating and a review while you're at it. Visit Laura Jane Grace on Bandsintown for a full list of upcoming shows and ticket links. Wanna share your thoughts on Bloc Party's Silent Alarm, Against Me! or anything else? All you have to do is call 1-877-WASTOIDS to get in touch. 

Podcast #601 wonders if we're winning with tracks from The Rubinoos, Guided By Voices, Cold Years, Hoorsees, Kurt Vile, Tim Kasher, & The Linda Lindas.

I go through the new music and music news of April 2022 plus:- Getting paid to talk to the singer of Third Eye Blind- Why all the good music in 2022 is coming out of the UK- If NY or NJ has produced more amazing musicians- Playing four hours of nothing but Alkaline Trio on the radio show- Getting a new car so I can go to concerts again- Future guests for May and beyond & much more!Support the artists heard on this episode -Heart to Gold - Tomhttps://hearttogold.bandcamp.com/album/tom-2Deaf Lingo - Lingonberryhttps://deaflingo.bandcamp.com/album/lingonberryJoyce Manor - 40 oz to Fresnohttps://joycemanor.bandcamp.com/album/40-oz-to-fresnoCheck out the Power Chord Hour radio show every Friday night at 10 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.powerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg

This week's guest is Laura Jane Grace! In addition to being the singer and founding member of Against Me!, Grace is also an author and an accomplished solo artist. Before setting out on The Carousel Tour — which will take place all around the U.S. throughout the month of May, including a May 2 show at The Rave — she spoke to My First Band host Tyler Maas about the collaborative tour, which also features Anthony Green, Tim Kasher, Mikey Erg, and more; other recent solo shows; and her extensive musical history. Over the course of the conversation, Grace talked about listening to her dad's music collection as a kid, starting bands in middle school, the early years and steady evolution of Against Me!, some of the most memorable artistic experiences she's had over the course of her career, and things she hopes to do in the years to come. Along the way, Grace talked about a song that was at least partially inspired by The Rave swimming pool and Maas showed his lack of Florida geography knowledge. My First Band is sponsored by Mystery Room Mastering, Lakefront Brewery and Music Go Round Greenfield. The show is edited by Jared Blohm. You can listen to My First Band on iTunes, Stitcher, Spotify and wherever else you get podcasts. You can also listen to rebroadcasts of previous My First Band episodes on WMSE every Wednesday from noon to 12:30 p.m. CST. Music used in this episode comes courtesy of Devils Teeth ("The Junction Street Eight Tigers") and Laura Jane Grace ("The Swimming Pool Song").

Despite not setting out to make concept albums 100% of the time, Tim Kasher — leader of influential indie-rock mainstay Cursive — realizes that artwork, connecting songs in post-production, and other methods have made his LP's feel like sweeping, thematic gestures to his fans for twenty-five years. This week, hot off the release of his new solo full-length Middling Age, Tim recalls the days of commercials for albums on television, the importance of beloved Omaha record store The Antiquarium, and his recent stint on the TV game show Chain Reaction. Plus, whether the community aspect of Saddle Creek's heyday could survive today's landscape, and why he's attracted to songs about songwriting.

As broadcast April 21, 2022 with enough proper respect to make even your picky gram proud.  Tonight we pay respects to soul singer Al Wilson, a Northern Soul legend in the UK, and a guy who just seemed to never catch a break after hitting it big in 1973.  Great artist, but never got his due as he was a fantastic singer.  After the opening, tons of new tunes to get through with Monophonics, Rudy De Anda, Allen Stone, and so many more out with fresh cuts this week.  Dan Lloyd joins us for our AMPED second hour of programming, and lots of good biz to get through there, with King Gizzard and Fontaines DC out with new LP's tomorrow!#feelthegravityTracklisting:Part I (00:00)Al Wilson – La La Peace SongMonophonics – Love You BetterRudy De Anda – CascadingOtis Kane – Freesir Was – Wish I Could StayStefan Mahendra feat fika & James Beckwith – Honest Part II (31:02)Kate Bollinger – No Other Like YouKate Bollinger – I Don't Wanna LoseAllen Stone – A Bit of BothHaiva Ru feat Devon Gilfillian – Don't Want Your LoveRobohands – String FeelingsOrgone – SamsonThe Rugged Nuggets – Eleventh Hour Part III (59:15)Citizen – Bash OutKing Gizzard and the Lizard Wizard – Kepler-22bFontaines DC – Roman HolidayMomma – Speeding 72Dance Gavin Dance – Synergy ft Rob DamianiTim Kasher – What Are We Doing Part IV (91:04)High Vis - Talk For HoursBruce Lee Band – I Hate ThisNervus – Drop OutKirk Hammett – High Plains DrifterRaw Plastic – Crying on a SurfboardBelle and Sebastian – Young and Stupid 

Tim Kasher's latest solo album is called MIDDLING AGE. The Cursive frontman explains why he's a "militant reader" and why he doesn't subscribe to the Hemingway credo of "write first, read later." But does he believe that you should always write when you're hungry? Listen for the answer to that, and hear why he thinks songwriters always sing about "walkin' down the street."

Tim Kasher of Cursive joins Dwyer to talk about the time he randomly moved to a small town in Montana, the best way to visit Omaha, his approach to filmmaking and the greatness of The Violent Femmes. Opening Song, Forever Of The Living Dead (feat. Laura Jane Grace, Jeff Rosenstock) from the Album Middling Age by Tim KasherTim Kasher's Bandcamp Tim's WebsiteTim's Instagram Tim's Twitter themattdwyer.comGet A website from Kelly R. Dwyer See acast.com/privacy for privacy and opt-out information.

Media Monarchy plays Johnny Marr, Tim Kasher, Belle & Sebastian and more on #PumpUpThaVolume for March 4, 2022. ♬

I bring Tim Kasher from Cursive and The Good Life In The Spotlight to ask him such questions as what are his favorite active bands, what would he say to God if he met it/him/her, and what's worse living in Omaha, Nebraska or Los Angeles California! Make sure to listen to the full podcast episode we did as well: https://youtu.be/BKdZTQYLf54 Cursive's Website: https://cursivetheband.com/ Cursive's LinkTree: https://linktr.ee/cursivetheband Cursive Tour Dates: https://bnds.us/cwuyjq?utm_medium=social&utm_source=linktree&utm_campaign=cursive+tour+dates The Good Life's Website: http://www.thegoodlifemusic.com/ Tim Kasher's Solo Work: https://www.timkasher.com/ Tim Kasher's Home Phone Patreon Page: https://www.patreon.com/timkasher?utm_medium=social&utm_source=linktree&utm_campaign=tim+kasher%27s+home+phone+%28patreon%29 --- Support this podcast: https://anchor.fm/poweredbyrock/support

Hello and welcome to the Powered By Rock podcast where we are going to be speaking with an absolute musical legend in my opinion. He is one of the four musicians I would put on my personal Mount Rushmore of greatest musicians of all time. A man who should really not even need an introduction, but he is not only a demigod of indie rock, but also a TV trivia game champion! That's right, I will be speaking with Tim Kasher from Cursive and The Good Life. I have to pinch myself a little bit, because I get to speak with one of my literal all-time favorite artists. Tim Kasher is on the show, and between Cursive, The Good Life, and his solo work, he has put out literally hundreds of songs that can take you on incredible emotional journeys. The god among men himself is here. Intro: "Colorado" by Birds Love Filters Cursive's Website: https://cursivetheband.com/ Cursive's LinkTree: https://linktr.ee/cursivetheband Cursive Tour Dates: https://bnds.us/cwuyjq?utm_medium=social&utm_source=linktree&utm_campaign=cursive+tour+dates The Good Life's Website: http://www.thegoodlifemusic.com/ Tim Kasher's Solo Work: https://www.timkasher.com/ Tim Kasher's Home Phone Patreon Page: https://www.patreon.com/timkasher?utm_medium=social&utm_source=linktree&utm_campaign=tim+kasher%27s+home+phone+%28patreon%29 --- Support this podcast: https://anchor.fm/poweredbyrock/support

[CONNECTION SUCCESSFUL] There will come a time, in the not-too-distant future, when robots will overtake most of the jobs that we humans presently perform. This includes content creation. Machine learning technologies and AI capabilities are growing by the second. AI-generated content will certainly soon be proliferating on the Internet, with consumers less likely to be capable of differentiating between robot content and genuine products of the creative human brain. In the spirit of embracing the near-limitless potential of AI technology, a very special bonus episode of Lightnin' Licks Radio has been "created" in collaboration with the "good" people at Umbrella Laboratories. Welcome to the future, Lickers. An AI application (Diltrizatron 20000) was tasked to analyze every second of content released by Lightnin' Licks Radio from its inception to present day. The application was then programmed to create a new bonus episode reviewing the podcast's past episodes, including generating host personalities (JAKE and DEONDRA) to interact with each other as well as the listening audience in Podcast America. This audio upload contains the resulting episode. Sonic contributors to this bonus episode of Lightning Licks Radio include: Lee Moses. Holland Dozier Holland. Brothers Johnson. James Todd Smith. Radiohead. Kraftwerk. The Nonce. Klapex. Shalamar. Mister Shadow. Shoes. Busta Rhymes. Timbaland. Eazy E. Slick Rick. Jam Master Jay. The Bomb Squad. Adam Horovitz. Missy Elliot. Todd Rundgren and Utopia. Jenny Lewis. Jonathon Rice. Boudleaux and Felice Bryant. Bernard Herrmann. Grateful Dead. DJ Jazzy Jeff & the Fresh Prince. Kool & the Gang. Biz Markie. Michael Diamond. Herbie Hancock. Alan Merrill. Jake Hooker. Joan Jett and the Blackhearts. Bruce Springsteen. The Apache Relay. Boombox Hearts. Candlebox. CODA Curl. Can. Javon. Talking Heads. The Clash. Peaches. Daft Punk. L. L. Cool J. Joe Esposito. Chris Tucker. Electric Light Orchestra. The Cure. Method Man. Queen. Grimes. John Cougar Mellencamp. Tom McGovern. Ampersand Castles. Blowfly. Rick Moranis. Dave Thomas. Donald Byrd. Henry Winkler. Tom Bosely. Flying Lotus. Bon Iver. Three Dog Night. Phoebe Bridgers. Beastie Boys. John Cusack. Iben Hjejle. Charles Bradley. Daptone Players. Count Von Count. Jerry Nelson. The insect puppet parody group The Beetles, not the Fab Four but the Sesame Street band. Janelle Monae. Pharrell Williams. Tim Kasher. The Good Life. Height Keech. The Clockers. The human Lickers return for episode twenty, which drops on Valentine's Weekend, Twenty Twenty-two. Your listening is greatly appreciated. Goodbye. [END TRANSMISSION] --- Send in a voice message: https://anchor.fm/llradio/message

My guest on this week’s podcast is singer-songwriter and [checks notes] king of Halloween Nick Lutsko. I’m really excited for this episode, and I highly recommend checking out the audio version if you can, as there are a few song clips in there (as well as a live/acoustic version of one of Nick’s songs at the very end).You can follow Nick on Twitter at @NickLutsko. His Patreon can be found here, his Bandcamp here, and his YouTube channel here.As always, if you enjoy the podcast and/or the newsletter, please consider subscribing and sharing my work on social media. There are free and paid subscriptions available. The Present Age is a reader-supported newsletter, and I appreciate your support!Parker Molloy: Nick Lutsko! Thank you for joining me today. I appreciate it.Nick Lutsko: Yeah, thanks for having me.So you just released the third installment of your Spirit Halloween trilogy, I guess.Yes.So how'd that come into existence for people who are familiar with the first two, but not the third?So, I did the first one mid-September of last year, unsolicited. This is the Spark Notes version. And the whole, I guess, kind of joke about that song was it's a theme for Spirit Halloween, but really it was more just a ploy for them to pay me for writing. The song was about my payment for the theme.Right.So, they reach out and they actually did pay me some money and they were really cool about it. And then they got in touch, said they wanted to do another one. So then after the unsolicited first entry, I did a sequel that they paid for. I guess technically they own it. And then they reached out early this year and made it pretty clear they wanted to do something again this year and they wanted to up the stakes. I think the language they used was, "How do we top last year?"Yeah.And my response initially was like, "If we're going to top last year, I think we need to get a significantly bigger crew." And when I say significantly bigger, that's more than me and my little brother who shot it. The first one was just me on my cell phone. The second one was me and my little brother in my house. And then for this one, I was proposing like, let's get a crew and a production team that can actually work on this thing and make it legit and cinematic and all that.And their response was sort of, "We don't want to lose the weird guy in his basement vibe." Which is fair. It might have also been a, "We don't want to spend way more money on this." So it just kind of forced me to get creative. At that point, I think I'd already kind of had the idea that I wanted to set the song as like, "We're coming out of the apocalypse," and like, "Things will return to normalcy," or not even that, "It'll be a utopia because Spirit Halloween is back."Yeah.And that was kind of the gist of what I was pitching to them. And I really didn't know how I was going to be able to shoot an apocalyptic wasteland in my basement, or I really dug myself into a hole because I wrote the song and I was happy with the song and then I had no idea how to shoot it. And I reached out to Brielle Garcia, who has been a follower of mine on Twitter.And it's kind of funny because she pulled my own card of me making stuff for Spirit Halloween unsolicited and she started doing unsolicited Snapchat filters for this dumb, fake gremlins movie that I made. And so I knew that she was way more technically savvy than I am. So I reached out to her and said, "Could you help me out with some of these visuals?" And I had no clue what I was getting myself into because she was able to do things that I could have never done in a million years.Sounds cool.So, yeah, yeah.How long did that take you guys to film and because it definitely seems like a larger production than anything else you've put out.For sure. Yeah. Well, I shot it all in my garage. My wife shot me in my garage as our baby was like chilling in a playpen in the corner. It felt very silly because I'm supposed to be interacting with this apocalyptic world, but I'm actually in my garage.And I have no idea if she's going to be able to do the things she says she's going to do because usually that stuff's done on a green screen.Yeah.But yeah, I think it was all done in about a month. I shot the footage in my garage. I sent it to her and yeah, it was insane, the amount of work that she did and how quickly she did it.That's cool.The way she explained it to me is, I think she uses video game engines maybe.Technology has just really advanced to where people are capable of doing things out of their bedrooms. It would've cost millions of dollars and tons of time, just a few short years ago. And I guess a lot of people haven't even figured out how to do some of these things and she's just on the cutting edge and yeah, it's pretty crazy that it was only her and I working on it and opposite sides of the country. She's in Seattle, I believe. And I'm in Chattanooga, Tennessee. So it was a cool project.Yeah, definitely. And I think that, because I was going to say, the first time I heard your music was all the Super Deluxe stuff that you did.Yeah.I guess, one of, sort of the benefits of Super Deluxe kind of disappearing or going away or whatever is the fact that then you kind of like, you were not just hidden behind the sort of the curtain there.Right.It was like, "Oh, hey, this is the dude who did the emo Trump songs or the Alex Jones thing."Yeah. Exactly.Because that was the thing. And I think it, that stuff resonated with me because it's like, so I'm 35, so the early-mid 2000s were high school. And at the time I was really into bands like Taking Back Sunday and Thrice and Thursday and all that. And there was this sort of holy s**t moment for me, where it clicked for me that Trump's tweets and sort of self-pitying statements were about being unfairly attacked and whatnot really read the type of the bands that were trying to make music like that, not them but the weird knockoff where it's like, "Oh man, you're trying too hard." You know?Right. Exactly.And from that moment on, anytime I'd see something stupid he said, I'd be like, "Oh man, this is like some kid with Hawthorne Heights lyrics as their AOL instant messenger way thing." You know? So I'm glad that that made it into my timeline because then that sent me down a bit of a rabbit hole where-Nice.Then I was checking out your other music that is not comedy and-Cool.... so I was kind of, can you kind of tell me what are some of the differences between Nick Lutsko serious singer-songwriter and Nick Lutsko, weird guy in his basement singing about Spirit Halloween?Yeah. Yeah. It's a great question that I feel like the lines become a little more blurry all the time. Especially as we're planning live shows and it's like it's a smaller set of people, but there are definitely people who were into my stuff before I started doing these sweaty frantic songs on Twitter. And there's a subset of people who are going to come to the show expecting to hear that. And there's going to be people who are coming essentially only expecting a comedy show. And then there's a lot of people who've reached out a bit similar to you that said, "I really enjoyed your comedy stuff and I dove deeper into your other albums and I really enjoy that as well." So it's like trying to figure out how to frame both of these things and I wish I had a better answer. I think once we start playing shows, I'll get a better feel for how those two worlds can kind of coexist.I did this Vulture article. They did the premier of the Spirit 3 song and I said something like, "The shiny sheen of sweat on my face is like my Spiderman suit to my Peter Parker." And it's obviously just a dumb joke, but it's interesting in that, like even though I've done albums that are not comedic whatsoever. And even this goes for my Super Deluxe stuff as well, I think it all kind of comes from the same place. And it always comes from my frustrations with the absurdity of the world. And especially the last album I did Swords before I started doing these Songs on the Computer. All of those songs were just a direct, almost involuntary response to the Trump administration and the Trump campaign.And it was all written 2015 to 2019. And the whole album just kind of has a sense of like, "Am I the only person that is seeing what is happening? And is this a weird fever dream nightmare, or is this reality?" And I finished doing that album and I really was anxious to create something that was fun and happy. And I just wanted to do a 180. It's like, "Okay, I've spent the last few years just really hyper-focusing on all these things that just really distressed me and bummed me out." And it's like, I want to write some fun music. And then 2020 happened, we went into a global pandemic and George Floyd happened. And it was just all, it was like all these gut punches over and over.And it became abundantly clear that I wasn't capable of sitting down and writing fun, happy, quirky music. And the one song I did that was non-comedic was called Spineless. And it was just even darker and than all the stuff from Swords. And it's funny because it wasn't until I retroactively looked back and realized that through the Songs on the Computer project, I was able to do what I wanted to do, but it's not like I sat down and I'm like, "I'm going to take all these dark, angry feelings and just do the most absurd, silly version of these things." It was just something that I just instinctively started doing, and I never really analyzed too much whatever I'm doing in the moment, it's usually other people telling me what they like about it.And then I'm like, "Oh yeah, that's what I did there." There's not a lot of, I don't know, analyzation happening as I'm... Because I moved so quickly when I do them, which initially just started out of necessity between juggling multiple jobs, it would be like, "Okay, I have a free day this week so I know I need to put something out on this day." And yeah, that essentially became like waking up, seeing what was driving me crazy in that moment or what was going on in the news of that day and writing a song as quickly as I could, recording it as quickly as I could, shooting a video as quickly as I could, and trying to get a video out that evening. So that was sort of how this whole thing started and it's something that I've tried to keep in the spirit of the project as I've moved forward because the Swords album was like, I would spend months and some of them even years on rewriting lyrics and re-tracking different instrumentals and mixing things differently. And I'm really happy with how that album came out but I do think there's been a real benefit to realizing that I can kind of go with my first instinct and still elicit a response from people.Yeah, definitely. The interesting thing about like, for instance, because you've made some really cool videos for some of the, I hate to say serious songs, but the non-comedies because-Yeah, that's kind of-But not necessarily serious-Yeah.... but it's just like-Right.It's not making a joke, you know?For sure. Yeah.But the music video for the song, I think it's Sometimes where it's like, it's just this gigantic production of, it's like a concert and you have and your band is wearing all sorts of costumes.Yeah.It's an experience in itself. And it's like, I'd love to see that live. There's a band here in Chicago. Oh God… Ah! Mucca Pazza, that's their name.Cool.They're a marching band.Oh, wow.They're a marching band that plays regular concerts.Cool.And it's just weird and over the top.Yeah.And that music video reminds me of their live shows, which were always so fun and everything like that. So I'm a fan.Awesome. Yeah. Thank you.Yeah. It's cool. It's kind of funny because yeah, we did that album Swords and we had the big album release party in Chattanooga in 2019, October of 2019. That's where we shot all of that video for some time. That basically was just like a highlight from the album release party, like a highlight reel. And the plan was to get that video, get our EPK, and then 2020 really try to get a booking agent and try to tour and obviously, 2020 happened and then none of that happened.Yeah.And then Songs on the Computers stuff happened and now it's in this weird place of like, as you mentioned my band before, when they were called the Gimmix and it started as like... I feel like anytime I try to explain one thing, I have to explain 10 other things. Basically, when I first started making albums under my name, I didn't have a band but I did have these hand puppets. So I used the hand puppets as the backing band for my music video Predator. And then when I finally did get a band, it was like, "Hey, what if we tried to recreate that vibe of having a puppet band?"So then we started making puppet costumes for the bandmates and those kind of just evolved into creatures over time. But anyway, when we started talking about doing Songs on the Computer live, I've kind of built this world and this mythology, and it was like having my band in these weird puppet costumes on top of all the Songs on the Computer stuff kind of felt like wearing a hat on top of a hat. So we're kind of resetting and approaching the shows from a totally different place, which is just cosmically hilarious, because we spent years and years and years trying to build to this place where we were ready to go off into the world and see what we could do with it. And then all of it just kind of got knocked down on and now we're kind of starting this new thing. So-Yeah. Well, I mean that's kind of the general idea behind this newsletter that, because in June I quit my job and I was like, "I'm going to go start doing a newsletter." And that was, I don't know if that'll be a good decision in the long run we'll see. And then decided, "Oh, I should turn this into a podcast because..." One of the things I've been thinking a lot about has just been the way that people had to adapt because of the pandemic and everything that changed, that all their plans had to shift. And the first interview I did for my newsletter, was with Will Butler from the band Arcade Fire.Oh, wow.And he was telling me about how he had all these plans because he was releasing a solo album in 2020 and so he was planning on touring in swing states right before the election. It was a whole idea for him and then he just couldn't do any of it because COVID and other bands have tried to figure out different ways to communicate with their audiences or approach things from a different sort of direction and that's why I'm just really interested in just how people are communicating with each other. I mean, because as it is, I mean the music industry's kind of chaos as it is. I mean, I went to school for, well at first I went to school music performance, classical and jazz guitar.Oh wow.But that lasted a semester before I switched to commercial music, but then I switched to music business.Oh, right.So the business side, talent management, and then after college, I was like, "Okay, cool. Now to get into the music industry." It was like 2009 and suddenly it's like, "Oh, everything is just streaming now and everything has changed."I had a teacher who was convinced that the future of the music industry was ring tones and I'm just like, "I don't know, man. I really, really do not know."Right. That's hilarious. Where did you go to school?So at first, I went to Millikin University in Decatur, Illinois. Which is just kind of a small school with a decent acting program, which has nothing to do with music. And then I dropped out and then went to Columbia College here in Chicago and finished my degree, so it was interesting. And I still like making weird little songs and I've got Logic Pro and a bunch of weird plugins that do all sorts of crazy things.Nice.It's like that stuff is a fun hobby for me. But the more I think about it, the more I'm like, "Oh man, I should have gotten a degree in something, anything else."Oh my gosh. Well, it's really funny because just by... I have a degree in commercial songwriting from Middle Tennessee State University and it's really funny because a lot of people, I just see people in the comments, and this is really kind, I'm not saying that this is true, but people will be like, "Man, you can tell that this guy went to school for songwriting." And it's like, I learned nothing. And not to knock the school that much, it was the first year of the program when I went there and my major was recording industry and they had three emphases, music business, which it sounds like you ended up getting yours in.And then audio fundamentals, which is engineering and producing and all that. And then commercial songwriting. Commercial songwriting was a new one and it just had songwriting in the name so I'm like, "Oh cool. I want to write songs, I'll do that." But it really was a very underdeveloped program at the time and it basically was how to make it as a songwriter in Nashville.So how to write for pop country, which I had no interest in. And basically what they taught was like, "Listen to the radio, find what's hot and repeat. And repeat enough without getting sued."And they teach you how not to get sued and how to still take those. It seemed like they just like juiced all the creativity out of songwriting and it really made me very bitter. And I really, I had to take a lot of secondary classes in music, business and audio fundamentals. And I gained a ton more from those than I did from the songwriting aspect and I wish I would've explored more of those things because I think that those, the songwriting part always kind of came naturally to me.But I do think just learning how to use social media as a way to connect with your fans was huge. And the few classes I took on Pro Tools opened a lot of doors for... I do everything in my home studio. So I knock my degree a little bit just because it's not something that I can hold up this piece of paper and be like, "Hey, hire me for my songwriting degree."Yeah.It's like, "No, people want to hear your songs and they'll judge whether they should hire you based on the work you've done." It's a whole lot of complaining for nothing because things worked out pretty well. I'm pretty happy where I'm at, but I don't know how much of it attributes to my education.Yeah. Well, I mean, same.Yeah, yeah.It's like all things considered, I think I'm okay. But in hindsight, it's like, "Man, maybe I should have taken more writing classes because that's what I'm going to end up doing and..." Here I am like, I don't know, does a comma belong there?Yeah.My writing mistakes are just really stupid, fundamental things that I should have learned in eighth grade.Right. Yeah.But yeah, with guitar performance, the first major I had, it was like, "Cool, all right. What do I do with this when I graduate?" It's like, "You can work on a cruise ship. That's a job." And I'm like, "Wait, wait, no, no, no. That?"That's funny. I actually explored that for a minute. And I was like, I looked up what you needed to be able to do that. And they were like, "You need to be able to play 500 songs." And I was like trying to count all the songs I knew and it's like, "Damn!"Yeah. Yeah.In another world, I could have been sweating on a cruise ship somewhere singing my heart out day after day.Yeah. My brother has a degree in musical theater and he had a job for a while on a Disney cruise ship where he played Peter Pan and Aladdin and all of that. It sounds cool but then he's like, “Yeah, and then they put us in these like tiny rooms with a bunch of us together. I was like, "Oh good. So it's like Titanic." You're in like the boiler room. No windows. Oh, great. Sweet.Yeah. The more you think about it, the less fun it seems.Yeah. I'm like, "Wait, this is the best-case scenario for this degree? I don't think so." So, I'd rather just not.Right.My first pivot away from doing music business stuff to doing more writing stuff was an internship at Pitchfork, which was kind of hilarious because it was transcribing interviews with bands that sometimes just… they were bad interviews.Yeah.One thing wanted to ask you about is just the thing that sort of holds, I think Songs on the Computer altogether is just the lore of it all that kind of all connects. You have your cast of characters that all, they all kind of work together. Where did some of this stuff come from? So it's like, you're like grandma, Mel, Dan Bongino, Jeff Bezos, man in the stairs, you know?Yeah. It's funny. I was thinking about this the other day and I think the RNC song, it was kind of the big bang of all of this. It's the first mention of grandma and her basement and man in the stairs. And I think back to writing that song, and it was one of the first times, I remember very specifically, I had one day to make it, I started that morning, I posted it that night and it was like, okay, the RNC is starting today, I got to do something. I remember, my studio's here in my basement and behind this wall is an unfinished nightmare world of a basement and it has a toilet with the messed up American flag hanging behind it. It has the creepy stairs. I remember thinking like, "Here's what I have to work with. Okay. I can work in that." You know what I mean?It's like almost using my surroundings as characters in this song. And as far as working Dan Bongino in, it could have been anybody, but his name just was the funniest to sing.And it was really funny too because I remember my buddy and bandmate, John, who, I kind of bounce all my ideas off of, I pitched him the idea and he was like, "I have no idea who Dan Bongino is." And I was like, "I think the only reason I know who he is because Vic Berger was fighting with him at some point. And maybe a lot of people won't know who he is, but it obviously was the right choice because it's by far the most popular thing I've done. And he just continues sadly to be a rising star in the GOP.Yeah. Well, and on the topic of Dan Bongino, I mean, so I was working at Media Matters, which is this progressive media watchdog group, so we had people there who would do nothing except watch NRA TV all day. Which, awful. I mean, and Dan Bongino came from NRA TV before he went to Fox News and the whole... We just mocked him mercilessly and he blocked a bunch of us on Twitter but then he would be like, "Oh, so and so blocked me." It's like no, you blocked us.Yeah.But yeah, there's always been something that's funny about his character because he's kind of dumb. There was one time where he was talking about making lemonade, but he had these lemons-Whole lemons, yeah.... weren't peeled.Yeah.He put it in a blender. It's like, "What the f*ck are you doing, man?”Yeah. Yeah.But yeah. So I thought that was a hilarious sort of addition. Yeah. It's kind of a very sort of niche reference, which kind of makes it better, you know?Right. Yeah. I think that's how it was received. And sadly, it's becoming less niche just because he's climbing the ranks at Fox News now it seems, but yeah. So I kind of started with that and I think the next, I don't know if it was the next one, but one of the next popular ones I did was the Spirit Halloween theme and again, that was just something like I had noticed Spirit Halloween was opening up as everything else was shutting down. And it was just something that was kind of stuck in my brain. And I made that theme really quickly again. And I did that turn towards the end with Jeff Bezos and it wasn't until I was editing it, I realized like, "Oh, I have this picture of this bald, creepy mannequin that kind of looks like Jeff Bezos."And oh, the man in the stairs also kind of looks like Jeff Bezos. And it's like, I'm connecting all these dots on the fly and I'm not thinking it through whatsoever. And luckily it's kind of unfolded in a way that's captivated people up until this point and I just continue to build on it. The really tricky part is not writing something that becomes so convoluted that it's just total nonsense to anyone who's listening for the first time. I really try to find something that is like... I think Joe Biden's inauguration was a good example of like, "Okay, if you've been following me on Twitter, you know why I look like I've been badly beaten, but you don't need to know that to enjoy this song."Right.Like that and I'll squeeze in a couple of lines to keep the story going, but I don't want to make it a full song about how Mel beat my ass and I'm running from a mobster called Big Pizza and whatever else. I like to just kind of sneak those things in when I can. But yeah, it becomes challenging as the story gets deeper and more complicated.Have to start mapping it out.Yeah, yeah, yeah, exactly.So what are you working on these days? Any projects or anything?Well, I am actually, I don't know how long this will last, but my wife just went back to work, we have a four-month-old daughter and three days a week, I am staying at home with her and I'm having to squeeze all productivity into Tuesday-Thursday while my mom and her mom watch the baby. And so far, it's kind of worked out. I had three weeks in a row where I was able to write a full song and post it on Thursday. I think I did the School Board Meeting song and then the Brendan Fraser song and then the Ernest P. Worrell song. I had a three-week run, I think. And it's funny because I think having these consolidated amounts of time forces me to be super productive. Whereas, over the span of a week, I just kind of twiddle my thumbs and wait for inspiration. But I work so much better under pressure and under deadlines and all of those things.But anyways, on Tuesdays and Thursdays, I'm trying to keep developing the Songs on the Computer saga. I think I'll have another collection of songs I'm going to release in a couple of months. I have some freelance work that I've been doing for Netflix that should be coming out pretty soon for their socials, like promotional work. My producer at Super Deluxe, when they shut down, he moved to Netflix and that's kind of how I formed that relationship there which was... Yeah, it's been awesome. Which by the way, I just wanted to say this quickly, since you mentioned it, my producer, Jason, who is also @Seinfeld2000 on Twitter.Oh, okay. Yeah.Yeah. He was my producer at Super Deluxe. I've told this story in pretty much every interview I've done, so not to bore you if you've heard it, but basically, I did an unsolicited theme song for Tim Heidecker and Vic Berger's election specials that Super Deluxe was producing and then that kind of got the relationship started at Super Deluxe. And I basically told them like, "Hey, I'm attempting to make some kind of a career in music and if you guys ever need music, let me know." And that got a conversation going with me and Jason and he eventually pitched the emo Trump concept.So I do got to give him credit in that department and that he was like, "Hey, Trump's tweets have been, especially emo this afternoon. Do you think you could make it like an early 2000s emo pop-punk song?" And I had a Tom Delonge Fender Stratocaster, that was like one of my first guitars and like-Same.Yeah. Nice. Yeah. Yeah. I hadn't touched it in like 15 years probably and I dusted it off and recorded that song so fast. I remember it just felt like this is my calling. Like everything has been building to this moment and that's what set off that whole path in Super Deluxe.Yeah. It's like, "Bring me the seafoam green guitar-”Yeah. Yeah. Exactly.“... with one pickup."Yeah. Yeah. No, it's so funny. I thought that was so punk rock at the time and now it's like-Really it's just like, "Oh man, you can't do a lot with this, can you?"You can't do anything! Yeah.But cool. Yeah. Is there anything I've missed? Anything you'd like to make sure I put here or tell people? Or-Yeah, I don't know. I'm sure there are things that I'm forgetting about. Obviously I'll be in Chicago and April.We're going to be in there October 8th and 9th, which is this weekend. I don't know when this comes out, but yeah, we had to reschedule due to COVID for the 22nd and 23rd, the 23rd I believe is sold out. But the 22nd has a lot of tickets left.I mean, that's pretty... Because it's at Lincoln Hall now, right?Yeah, yeah. It is. Yeah.I mean, that's like a decent-sized venue too, if you're selling out that's good.It's really exciting. Yeah. I mean, we had two nights at Schubas and we sold out both, which was just amazing because before the pandemic we couldn't even sell out our hometown.Yeah.And it's like to go to another city and sell out two nights in a row was just mind-blowing and then they move us to the bigger venue and we sell out there and then they want to add a second show and it's like, we kind of feel like we could be flying a little too close to the sun here, but we're definitely down to give it a try. And we've definitely, we've sold a decent amount of tickets for that Friday night and we have months until it's-Yeah.We haven't even really promoted it that much. The first two shows sold out within hours of announcing them. So we're hoping to do more shows next year. I did just launch a Patreon, which has been fun. It's just a place for me to dump all the stuff where people are interested in not just the character of sweaty Nick Lutsko and they want to know how I do what I do. And so that's been a cool little community I started growing. I think I posted it or yeah, like less than a week ago and it's had a pretty good start. I'm enjoying that.Yeah. That's how I really like seeing Patreon being used. Like, "Oh, here's this, you want cool behind the scenes? You want cool, raw? This is just me and my process kind of thing.'.Yeah.Or, "Just writing things, straightforward." Tim Kasher, who's in the band Cursive and The Good Life — he has a Patreon where he's just like, "Here's an alternate take of a song I recorded 15 years ago." And it's just like-Oh, cool. Yeah. I love that stuff.... this is the best.Yeah. Yeah. Yeah. I feel like there's a lot of different ways to use Patreon, some people just use it as a virtual tip jar for people that appreciate the work that they do continuously and then other people turn it into an enterprise where it's like, "Okay, if you want to see anything I do, you got to come in both." I'm trying to figure out like where this thing is going to to live. But I think it's going to be more behind-the-scenes stuff and we're actually doing... I hope I'm technologically competent enough to pull this off, but we're just going to do a Zoom hangout where I play some songs because the, like I said, the Chicago songs shows would've been this weekend. So it's just a way to, I don't know, give those fans who were looking forward to come to see us this weekend to hang out and hear some songs.Cool. Well, that's great. Thanks so much for coming by, Nick.Yeah, definitely. It was a lot of fun. Get full access to The Present Age at www.readthepresentage.com/subscribe

For our debut episode we sit down with Tim Kasher of the band Cursive to talk about 2009's "Mama, I'm Swollen" and what that album meant for a band more than a decade into their career. We talk about the recording and writing process, the mis-steps they learned from the recording of Happy Hollow and how the album became Tim Kasher's personal favourite from the Cursive discography. --- Send in a voice message: https://anchor.fm/kyle-krische/message

Welcome to the Present Age podcast. I’m your host Parker Molloy.Joining me on today’s show is animator and crypto art creator Bryan Brinkman. His work has appeared at places like The Tonight Show, Saturday Night Life, and even Sesame Street. Today, he’s going to teach me a bit about NFTs.Parker Molloy: So, joining me today on the podcast is Bryan Brinkman. Hello.Bryan Brinkman: Hello, Hey Parker.How's it going?It's going very well.So, I wanted to have you on the podcast to talk to you about your art and your work, which I really like and enjoy. And also the one thing that I don't understand, but I want to understand, NFTs. Can you help me understand what an NFT is and how that applies to the art world, basically?I can do my best to try.All right.Because it's an ever-growing description because every week there's something new happening in the space. But just to start out, I would say an NFT stands for Non-Fungible Token. Kind of the idea behind it is that you can authenticate digital assets through the blockchain. And so, as a way of storing imagery or content. It's a way of saying, "Hey, I possess this digital asset," and that gives you the ability to trade it and resell it or do whatever you want with it. And so that's kind of the basic idea around what an NFT is, but then what that asset can be is exploding into a million possibilities.Yeah, I was reading something the other day about how people have other applications of the same blockchain technologies. Someone was saying, "Oh yeah, one day we could have contracts and deeds to houses and stuff like that on there". And that's really interesting. And I think that part of the issue is that a lot of people just struggle to understand the concept, because for instance, like in NFT might be something like a video or a GIF, or just a still image. Right?And people might think, okay, well, why would I buy this when I can just look at it anytime I want, I can make my own copy of it. I could just pull up a website that has this on it and look at it. For people who are thinking about trying to kind of explore that space as either a creator or someone who just wants to get involved and support artists. I guess that's another big thing, which I understand that that is definitely one of the reasons someone would want to pay for something as opposed to just looking at it on the internet.I think that's a good question. The first thing that comes to people's minds, when they say it is, why would I pay for JPEG when I can just download it or screenshot it? And I think that same idea can be applied to a lot of art. Why does any art have value? It's because there's a group of people that all agree it has value, and that gives it value.I think you can kind of look at the NFT collectible art market as being similar to what baseball cards were in the 90s. Those cards are printed for probably a penny on a piece of cardboard paper, but the value is whether a lot of people altogether go, "Hey, this Michael Jordan rookie card is worth more than this other card."And so I think it kind of falls into the same thing as that the NFT is just a medium and a canvas for people to create on. And the idea of I could just screenshot that, well, you can't go and sell a screenshot, but you can authenticate that you own the original copy of an NFT and someone will want to buy that.And that's really interesting. And that's a good point. I mean, the only real differences, the fact that there's a physical object to hold onto with, for instance, with baseball cards, which funnily enough, I was recently thinking about maybe getting back into collecting baseball cards because every once in a while, when the world gets too chaotic, I try to pick up a new hobby. So I don't just explode on Twitter or something like that.And a few years back it was comic books. I was like, I'm going to just get really into comic books and that's been helpful. And then it was video games, and it's all these like going back to my childhood kind of things. And so I think baseball cards is the next kind of going down and just looking into the state of that industry right now is really interesting as well. I don't know, I remember growing up and it'd be like, here's this one card, this is the card for this player for this year.And now it's like, “Well this one, if it has a blue border, it's worth more than if it has a multicolored.” And I'm just like, man, it's so complicated now.Well, the sports card, yeah. The sports card industry's kind of changed a lot recently too. I've been looking at like, they have like column like penny cards. When you buy these boxes and they have pieces of jerseys and autographs and all these amazing hand drawn pieces of cards and stuff, they've really upped the trading card game to keep up with kind of the collector mentality in recent years. Which is something I wasn't very aware of until like the past year.Yeah. And just the day I was looking at Topps, the trading card company. They have a section on their website that's now just Topps and NFTs. And it's kind of that same idea of trying to be like, yeah, you can own this rare whatever. And then there are some people who sell like a penguin or something. And I'm trying to understand that. And I don't know, I feel like I'm just like a million years old.No, I think there's, in my mind there's kind of two worlds of NFT collecting right now. There's the art side. And then there's the kind of the collectible side and the collectible side falls into that kind of sports card mentality where there's high volume and there are big communities backing it. And with the penguins, there's 10,000 of those penguins. And so having a feature in the New York Times will give all these people excited and the prices fluctuate, and it falls into more of like kind of a stock market mentality where there's kind of this liquidity to these collectibles. Whereas the art side falls into a slightly different category where it's more of like artists building communities around their work and their style. And that falls into kind of like the auction house world and the New York gallery world versus kind of like the sports card collectors.So there's all these different entry points. And I would say like a lot of the space grew because of a website called NBA Top Shot that came out about a year ago and kind of brought that sports card, collecting mentality into the space. And then all these people did it. They kind of got a sense and they started to wrap their minds around, "Hey, these digital assets hold value". And then they started looking elsewhere. And so that they kind of branch off into what else there is, because I think it was [inaudible] who's an artist in the space. He made a tweet the other day. That was like, "When you used to meet a celebrity, you'd ask for an autograph, but now you ask for a selfie," and that mentality of what has more value to people these days? Is it the digital experience or is it this physical thing you hold? I think that's changing rapidly, especially with video game skins, and how you manage your digital content and video game worlds. For instance, I think translates very one-to-one with NFT world.That's yeah. That's a good point.Kids, these days. They care more about digital assets than putting paintings on their wall. They, they want to show paintings on their phone that they can show their friends.Yeah. And that's really interesting. And I mean, one way I have been trying to wrap my head around that over the past several months. And one thing that I've seen as a criticism of NFTs and just things that involve crypto generally is like the energy consumption of that. But it, everything seems so unclear when it comes to the environmental effect of any of this. Do you have any thoughts on that? I mean, I'm sure you have thoughts on that.Yeah. I mean I think it was around January, after I'd been in the space for a year, that article kind of came out written by this guy named Memo and it was kind of this jarring account of how much energy could be consumed at a maximum amount, if everything travels all these places and burns all this energy. And there's certainly different blockchains that consume different types of energies. And there's these arguments of kind of proof of work versus proof of stake. Ethereum is not the best at it. And they are actively trying to move to this new Ethereum 2.0, that will reduce this all by like 99%, but it's a slow process. So in the meantime, there's a lot of these kinds of like, they call them side chains where people can kind of mint on these layers, two solutions that take up less energy.But after that article came out, a lot of the NFT websites made commitments to offset their carbon emissions. So, I mean I've seen in the six months or so I guess it's been maybe eight months since that article came out, that has been a key point of almost every project is to offset that as artists. I did my calculations and offset it and I've done charities to raise money for that. And so there's a lot of ways you can kind of work towards that in the short term while they're kind of finding solutions in the long-term.And then a lot of artists that really feel strongly about it have moved to other blockchains, like Tezos, there's a website called hic et nunc, which is a very silly name, but I consider it to be kind of like the Brooklyn indie comic NFT site. So there's a lot of really cool art there, that's a lot more affordable and they call it clean NFTs. And so there's a lot of different ways people are kind of working to get around that in the short term, but there is certainly a lot of criticisms that are, I think are valid about Bitcoin and other blockchains that aren't working towards solutions in the longterm.Yeah, that's it, it's one of those things where I feel like the backlash to it was so swift where it was, if you buy an NFT, you're destroying the planet and you'd be like, whoa, I don't think that that is necessarily fair. Just saying that to people. I feel like that kind of scared a lot of people away from like really participating in this as either a consumer or an artist. And hopefully, that kind of over time will-I think the math and the calculations were all based on worst-case scenarios. Looking at it, the idea that miners are only going to consume pure energy isn't necessarily true because they're going to want to be using renewable energy just for their own profits’ sake. And a lot of mining happens on kind of solar power and renewable energy consumption. So I think there was a swift backlash and then people started to kind of understand that minting one NFT isn't the equivalent of an entire day of London's energy consumption. Yeah. So I think people started to kind of look into it, figure out what the accurate amount was. I mean, I had places reaching out to me asking me to help them like figure out calculations. Like I'm not a math scientist, but I can do my best to help, but yeah-“Please animate this and also do a bunch of very complicated math equations for it.”But yeah, I think in the end, I think it's somewhere in between the two, it's not, it's not urgent issue and it's also not a non-issue it's somewhere in between and you have to kind of work towards doing your best to address it as you can.Yeah, definitely. And so one of the things I wanted to kind of ask you about was just all of your other work that you've done over the years. I mean, just looking at your website, you have Tonight Show, Saturday Night Live, Sesame Street, a music video for The Good Life, one of my favorite bands, which is-We're both big Tim Kasher fans.Yeah. That's very, very cool. Cause I totally forgot you did that one, which it's a good video it's for "The Troubadour's Green Room", right?Yeah, yeah, yeah, no, that was such a fun one to do because they basically reached out to me and they were like, do you want to do this video? Here's three songs from the new album. And I just kind of sat and closed my eyes and listened to the songs until imagery came about. And they just let me kind of dream up visuals and kind of make something on my own. And so they were very hands-off and they just let me have fun with it. It was a blast cause I'm such a huge fan. I'm originally from Omaha, Nebraska, so I grew up a big Saddle Creek Records fan.I mean, I'm from Illinois, so it's not too far away, but also grew up a big fan of Saddle Creek. Every band that was on there, I would go out and buy their albums as soon as it came out. Any of the bands that Tim Kasher would be in or Connor Oberst or any of the guys from The Faint, all of those bands are so good.I love The Faint, that they were my entry point to Saddle Creek when I was young, seeing those concerts were such a blast. I mean, they still are, anytime they come around town, I try to see them. But yeah, I think that kind of career path I took, I kind of went to school for animation. And then I found work kind of working in advertising and TV. I worked on some animated series, like the Life and Times of Tim, which was this very small, HBO cartoon, but it was a lot of fun to work on. So I kind of did all these paths before eventually kind of working. I worked at The Tonight Show for like eight years, but in my free time, I would try to do music videos. I would try to do posters for concerts. I would do these pop culture, art gallery shows in LA.And I was always trying to kind of like find ways to be creative because it was just like, that's my hobby. That's what I love doing. And then once kind of NFTs came around, it was like, oh, I no longer have to worry about turning my digital work into physical work to sell. This is a perfect platform for me to create animations. And I don't have to make short films for film festivals anymore. I can just make little short things that tell stories. And I found it to be just like the perfect amalgamation of all these things I've been trying to do for years. Cause I mean, I'm going to date myself, but when I was in high school, I was creating little flash cartoons for newgrounds.com, uploading them and then getting excited when people would be like, I like this one or I get upset when they say I hate this one, but it was that same concept where it's been years later I'm still doing the same thing where I'm just kind of making whatever I want to make and then I put it out there and I see what people think.Yeah. And it's really cool. And I love your style just generally speaking. The colors that you use, the really weird-ass kind of... I mean, just on your website under on the crypto page, there's one of the animations is like a person being ripped in half, but it's weird because it's not in this really gruesome way. It's just sort of like, Hey... unzip, zip back up kind of thing. And I just really enjoy that. How would you describe your art style? Also, just anyone listening to this, you can go over to my website, readthepresentage.com and I'll be sure to include some of your Tweets that have your images and stuff in there, so they can see what on earth we're talking about.Giselle Flores recently said I was a conceptual cartoonist, which I thought was very funny and kind of fitting, but I think the concept behind when I joined the NFTs was I had been doing these kinds of gallery shows and a lot of curators and people in the scene kept telling me "If you want to be a successful artist, you have to do the same style over and over because that's what galleries expect you to do when they put you in a show, they want you to do the work that you're famous for, because that's what sells". And I was kind of hated that mentality of like putting yourself into a corner, especially early on in your artistic career. I mean, I was living out in LA shortly after college and I just thought that's the worst way to get stuck in a style like so early.And so when I started doing NFTs, I kind of wanted to break away from that. I saw it as an experimental area to do whatever in. And so my thesis behind my art was I'm just going to stick with a color scheme and then I can do whatever style I want. I can do 3D, I can do 2D cartoons, I can do paintings. As long as they have those colors in it, it all ties together into this overarching style that I can claim to have. And so that's been kind of my through-line, but then that allows me to do dark neon animations or colorful, bright poppy animations.And that was kind of my way of breaking out of that trap of getting stuck, doing the same thing over and over. Even though a lot of artists do that and they make a great living off doing the same thing over and over, I just found it to be a little... I didn't want to get trapped in that too early. But now a year and a half into it, I'm starting to revisit the same themes and visuals and stuff, because now I've kind of developed a style through this experimental journey.Yeah. The colors that you use are just some of my favorites basically, they all work so well together, it is a really neat throughline for so much of your work. And even though, as you were saying, the style kind of shifts around and whatnot. It's always so interesting to learn about something that I just am so totally clueless about. And that's what this is kind of been, which is great.Yeah. And that's kind of the fun of like NFTs is like, I started doing it as just kind of making GIFs, because back when I started the NFT space, you couldn't even upload videos to the blockchain, the technology wasn't ready yet. And so everyone was kind of making these short looping GIFs, because that's how you could get a lot of mileage out of like a 50 megabyte file size limit. And so that's like kind of where I started. It was like, how can I make things? How can you make it loop nicely so that it keeps going, and it doesn't feel like you're only making three seconds of animation kind of stuff, but then over time, you start to get comfortable with that. And then you find new platforms, whether it's, I did a release on a website called art blocks, which is a generative art where you create art entirely with code.And then when people create it, they get a randomly generated piece of art. And so I did that in January and now that's becoming one of the most sought after platforms and styles of art, because it allows an artist to make an unlimited supply of art, but each one's unique. And I think that's a really cool thing that NFTs can do that can't be replicated outside the space very easily. And then also I did a piece for a platform called like async music, which allows you to sell music in a way that the album art changes and the audio changes based on who owns different layers of the track. And so for instance, you could have a band and you, as an owner of the guitar stem, you could change how the guitar sounds in the song. And when people listen to it, they have to listen to the version you choose as the owner of that guitar track. And then that also changes the visuals of the album. And so there's so many cool ways that like, the technology is creating new mediums altogether for like how music and stuff is released.Yeah. That last thing just sounds so interesting to me, it sounds like a total nightmare for artists to have to be like "Here you go, good luck. Let's be what happens with my work", like that sort of thing. But it's really just cool and different. And I don't know I'm always excited to just see new ways to... I hate saying consume, but enjoy, appreciate work and that's so, yeah. Is there, is there anything else that you want to make sure that people hear or anything you want to plug or talk about, or you know, whatnot.Yeah, well, I think as much as I don't necessarily care to talk about the money of the space. There is a lot of pluses for artists and creators to join the space. And one of those is that with the blockchain technology, as a creator, you can use the smart contracts of NFTs to benefit yourself longterm. And by that, I mean, when I sell a piece of art, you sell it for X amount of money, but through the contract, when it resells down the road, you get 10% royalty in perpetuity. And so something I sold for $200 a year ago could resell for thousands and I'll make more on the secondary royalty than I did on the primary sale. And so that incentivizes this kind of ecosystem of collectors and artists to both want each other to succeed because if someone buys my stuff, I want to grow the value for them, and they want to grow the value for me on the secondary.And so this is kind of symbiosis of support. And so the connection with artists and collectors is a lot deeper in this space than it was in the traditional art world where someone would buy my work. I would have no idea where it went. If they sold it on eBay or something, that's their thing and I've no part in that. But in this, I'm very hyper aware of every transaction, because a little bit will funnel back to me at some point. And I want to see the people that support me early on to succeed later on. And so it's a really a wonderful community of people that are kind of supporting each other.Interesting. I had no clue that that was the thing, because that's how I was looking at it with anything art related or related to collecting things. Once it's out of the original artist's possession, it's kind of like "If I pay for this, I'm not supporting the artist, I'm supporting the person who bought this from the artist", but that's different. And that I did not know. So that's interesting.Yeah. It creates a fun, passive income over time as you continue to grow. And it also incentivizes you to sell things at a cheaper rate early on and build up your community of people, because if it grows, then you benefit from that growing longterm. And so it's really kind of a wonderful solution that they figured out with the space. And a lot of the platforms are really good about including that, but it took years. I mean, I joined the space in January 2020, but space has been building for many, many years before that. And the efforts of all those artists pushing for those royalties and the collectors also that supported the artists early on, I've kind of like helped build this platform now that, in the past year has kind of exploded. And so it's been really awesome to see some of these artists that were making stuff three years ago, sold it for $5 seeing itself for hundreds of thousands of dollars. And then they get tens of thousands of dollars on that. Yeah, Absolutely. Now, if someone wants to, I guess I'm kind of both ends of this, if someone is like, okay, I listened to this and I'm interested in NFTs as a creator, how do you get started with like, if someone is a total beginner in this space, total novice, where do you go? Because there's so much out there that is just so I don't know. It's just seems it's very, if the crypto feels complicated and that's been kind of my experience in trying to like move things back and forth between wallets and stuff. And I'm just like, I don't even know what the hell I'm doing.Yeah, no, it's definitely tricky. There's a lot more resources now than there was when I started, when I started, I kind of got intrigued because an artist I collected named Killer Acid was putting stuff out. And I was like, what is this? I don't understand what this etherium symbol is. And I kind of spent a couple of weeks kind of Googling and looking at Twitter and kind of figuring out what this all was. Now there's a lot more resources on YouTube and Google, School of Motion has some great articles on how to get started and set up a wallet. The thing I would say is, there is an entry fee barrier now that wasn't there when I started because of etherium and the currency of the space is worth a lot more than when I started. It cost me like $40 to like get started.Now, I think it would cost a lot more. So I would say when I mentioned earlier, like hic et nunc, Tazos, that's a much cheaper way to get started, build a community before you then branch over to like etherium, which is more expensive right now. So I would recommend new artists kind of look at that. Join Discords, start following people on Twitter. Really spend some time looking at the space, seeing what people are buying, because I think the problem we see right now is everyone kind of sees these headlines about NFTs are worth so much money. And then they kind of dive in, they try to sell something that they haven't been able to sell elsewhere. And they're not really creating for the space necessarily. They're just kind of shoehorning in something they've been trying to sell in another form, whether it's like physical or something else. That is tough.New artists, you have to build trust with collectors that you aren't going to just sell something to make a bunch of money and then leave. And that takes time, you have to continue to put out work. So if, if you're a new artist, I would say like create four or five pieces of art that you feel good about selling and then start to see if people like it, see if it's connecting with people, share it. And then you don't even have to mint and pay the money to make it first. You can just put it out there, see if people want to buy it. And then once you have people that are willing to kind of help fund your initial output or... is that the word? Your initial launch, it's a lot more helpful. And there's also some organizations that will help artists with their first mint. I think it's called Mint Pass. I'll send you the link later, but there's a bunch of these kinds of organizations that help artists that can't afford to get started kind of put out their first pieces of art, which are very wonderful resources.Cool, Cool. This has been so interesting to me and just thank you so much for coming out. I'm so glad we were able to finally get this scheduled cause I reached out two weeks ago and then you said yes. And then my world became crazy for a little bit. So I'm glad we were able to make this work.I really appreciate you having me on here. And yeah, if anybody has questions about NFTs or whatever, feel free to reach out to me. I'm pretty available and I'm happy to help some people understand the space because it is confusing. Get full access to The Present Age at www.readthepresentage.com/subscribe

There's a bad moon rising on the Cinematic Void Podcast as Jim and Nick have a howling good time discussing the werewolves of 1981 with Tim Kasher from the band Cursive. We rip into four ferocious films on their joint 40th year anniversary including AN AMERICAN WEREWOLF IN LONDON, THE HOWLING, WOLFEN & FULL MOON HIGH.

We had the pleasure of interviewing Tim Kasher of Cursive from The Casbah in San Diego CA ** This interview was recorded prior to the COVID-19 pandemic ** Get Fixed ripples with the visceral intensity and keen, unexpected melodicism for which Cursive has long been celebrated, as illustrated in searing first single “Barricades;” the alternately pummeling and anthemic “Black Hole Town;” and the more atmospheric, moody “Marigolds.” While the album was largely born out of the same sessions as Vitriola with founding drummer Clint Schnase, “Stranded Satellite” and “Black Hole Town” were recorded this year and feature touring drummer Pat Oakes. “We’re quite proud of the work we’ve done on both Vitriola and Get Fixed,” explains singer/guitarist Tim Kasher in a letter describing the genesis of the new album. “In certain ways, they may forever be considered companion pieces, but Get Fixed feels as though it’s been emancipated from the Vitriola session: the extra care and attention it received has helped it develop an identity very much its own. These songs of anger, frustration, helplessness and loss feel more poignant to us now than even a year ago — we’re thrilled to finally introduce them to our world.” The follow-up to the band's acclaimed Vitriola—which earned high praise from NPR Music, Noisey, Stereogum, Pitchfork, SPIN, Paste, NYLON, FLOOD, The Talkhouse, and Under the Radar, among many others—Get Fixed is now available via 15 Passenger. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support

SET 1: But Mike Was So Much Younger Then (He's Older Than That Now)Witch – “The Only Way” from In The Past [Self-Released/Now Again, 1974/2013]Curt Newbury – “S & C See Me” from Half A Month Of Maydays [Verve Forecast, 1970]Buffy Sainte-Marie – “He's A Keeper Of The Fire” from Illuminations [Vanguard, 1969]Barry Walker Jr. – “Easy, As The Phainopepla” from Shoulda Zenith [Holy Mountain, 2020]The Flatlanders – “One Day At A Time” from More A Legend Than A Band [Rounder, 1990](mic break)Jefferson Airplane – “We Can Be Together” from Volunteers [RCA Victor, 1969]Los Llamarada – “Break The Silence” from The Exploding Now! [S-S, 2007]Cecil Taylor, Buell Neidlinger – “Cindy's Main Mood” from New York City R&B [Barnaby, 1972]Van Dyke Parks – “Clang Of The Yankee Reaper” from Clang Of The Yankee Reaper [Warner Bros., 1975]Bill Fox – “My Baby Crying” from Tranzit Byzantium [spinART, Cherry Pop/Scat, 1998/2021]Ernie K. Doe – “Here Come The Girls” from Self-Titled [Janus, 1971](mic break)Mary Catherine Lunsford – “Care Care Care” from Self-Titled [Polydor, 1971]Bill Fay Group – “Man” from Tomorrow Tomorrow And Tomorrow [Durtro/Jnana/Drag City, 2006]Yasmin Williams – “Juvenescence” from Urban Driftwood [Spinster, 2021]Television Personalities – “A Sense Of Belonging” from The Painted Word [Illuminated/Fire, 1984/2017]Jerry Moore – “Life Is A Constant Journey Home” from Life Is A Constant Journey Home [ESP Disk, 1967]SET 2: Inherent Vibes – A Brief History of Brian's Amplifiers (Part 2 of Our Interview w/The Renderers)1. Interview2. “Garden Of Darkness” live performance3. “Seduced By The Fall” live performance4. Interview continuedThis is the second half of our interview with The Renderers. Check out Episode 3 for Part 1.SET 3: You Be Me For Awhile and I'll Be LouTrash – “On And On With Lou Reed” from On And On With Lou Reed 7” [New World Of Sound, 1992]Andrew Graham & the Swarming Branch – “Take It Easy On Kathy, At Least She Can Dance” from Andrew Graham's Good Word [Mexican Summer, 2010]Debris' – “Real Cool Time” from Self-Titled/Static Disposal [Static Disposal/Anopheles, 1976/2008]Pelt – “Will You Pray For Me?” from Ayahuasca [VHF, 2001]Jack Name – “Kick-around Johnny” from Magic Touch [Mexican Summer, 2020]The Mirrors – “How Could I?” from Those Were Different Times [Scat, 1997](mic break)England's Glory – “It's Been A Long Time” from Self-Titled [Self-Released/5 Hours Back, 1973/1987]Half Japanese – “Young Hearts Break” from Our Solar System [Iridescence, 1984]Peter Laughner – “Baudelaire” from Take The Guitar Player For A Ride or the Self-Titled Box Set [Tim/Kerr / Smog Veil, 1993/2019]Dream Syndicate – “Tell Me When It's Over” from The Days Of Wine And Roses [Ruby/Slash, 1982]The Feelies – “The High Road” from The Good Earth [Coyote/TwinTone, 1986](mic break)Entlang – “Walking Into Bars” from The Four Sisters [Rose Hobart, 2019]Rakta – “Life Comes From Death” from Self-Titled [Dama Da Noite, Nada Dada Discos/540, 2013/2014)]Brian McMahon – “Men Who Write Of You” from An Inch Equals A Thousand Miles [Crabpot, 1997]The Mantles – “Don't Lie” from Self-Titled [Siltbreeze, 2009]Lewsberg – “At Lunch” from In This House [Self-Released/12XU, 2020](mic break)Gary Heffern & Blood On Fire – “Lou Reed” from a live clip on youtube [WhoKnows, ????]  *the song is from a 1997 CD called Askew  We would like to thank James Schroeder for providing our theme song, Megan Siebe for our segue music, and Todd Fink and Jason Meyer for the outro echo chant from Joshua Tree. Thanks also to Allyson Gibbs for allowing us to use her artwork for our FTS logo. Thanks to our spiritual guru, keeper of The Archive (and therefore the flame), Herr Christopher D. Deden.Additional thanks to all of our friends far and wide who shared their voices for our FTS introduction, including: Noah Sterba, Sean Pratt, Megan Siebe, Frances Joyner, Liz Huffman, Donovan Quinn, Jeffrey Lewis, Ryan McKeever, Jerry David DeCicca, Robb Nordstrom, David Nance, Adam Ostrar, Sara Adkisson-Joyner, Zach LaGrou, Kevin Donahue, Brad Smith, George Peek, James Schroeder, William Thornton, Gillian Welch, Bill MacKay, Michael Krassner, Tim Kasher, David Rawlings and Ryan Jewell.

Jeremy talks to Tim Kasher, frontman of the bands Cursive and The Good Life. During this episode they discuss Tim’s recent birthday, how Tim’s family exposed him to lots of different music throughout childhood, forming a cover band and playing homecoming gigs to save up cash, Tim’s “magical” first recording experience at a brilliant home studio, learning how to play The Boxer by Simon and Garfunkel on his sister’s old guitar, the difficulties of playing as a band in Omaha without a strong connection to the local music scene, how Cursive got signed to Crank!, going to college and taking time off from music, trying to figure out a plan B if music didn’t work out, rehearsing with the house band before performing on Letterman, and more.  Discuss this episode with Jeremy and other listeners:  Instagram: https://www.instagram.com/thefirsteverpodcast/ Twitter: https://twitter.com/JeremyXBolm

Tim Kasher is the leader of several really cool music projects like The Good Life and Cursive. I was really excited to meet him. And he brought cookies!Make sure to follow my playlist on Spotify which we'll be updating with new music as we go!My Caffeine Withdrawal PlaylistHere's everything we talked about in this episodeSimon and Garfunkel The Go Go’sBeauty and the Beat Bruce Springsteen Nebraska The Violent Femmes 

“It was this really healthy competition where every time one of us did a record, everyone else would go, ‘holy shit, is that what we’re doing now? So the bar would be raised.” — Tim Kasher, discussing the growth and evolution of the Omaha music scene, during its early heyday.Episode 41 traces the creative journey of Cursive and The Good Life’s Tim Kasher, who helped his hometown build its own cottage record industry, in partnership with bands such as Bright Eyes and The Faint. The conversation also finds Kasher reflecting on the ebbs and flows of songwriting, his relationship with his singing voice, his screenwriting hobby, and more. Plus, some important Kasher news: The Good Life are touring again this spring! Dates below.6/5 - Philadelphia, PA Johnny Brenda's6/6 - New York, NY Rough Trade6/7 - Boston, MA ONCE6/12 - Seattle, WA Tractor Tavern6/13 - Portland, OR Mississippi Studios6/26 - San Diego, CA The Casbah6/27 - Los Angeles, CA Bootleg Theater6/28 - San Francisco, CA The Chapel7/3 - Omaha, NE Waiting Room7/4 - Maquoketa, IA Codfish Hollow Barn7/5 - Chicago, IL Sleeping Village

Tyler chats with Tim Kasher from Cursive about their 9th album, "Get Fixed", on this episode of Full Album Fridays.

Whip out those peacemakers, because this week on the show we've got Tim Kasher of indie/post hardcore legends Cursive and The Good Life to dive into the underrated Stephen King adaptation SILVER BULLET. They dig deep into the film, as well as being an early adopter of VHS, falling deeper in love with horror later in life, the tragic brilliance of Gary Busey and Corey Haim, the PHANTATSM-SILVER BULLET connection, the film's gloriously obscured werewolf costume, Stephen King's signature dialogue, just how deep Tim's connection with the film gets, CHRISTMAS EVIL, the most promising rising filmmakers, and much more! Catch the dates for Cursive's upcoming western American tour at: https://cursivearmy.com/tour-dates/

Tim Kasher, frontman of Cursive, joins Matt and Bill today talk Tom Petty, screenwriting and then we bully Tim for going on Jonah Ray’s podcast. Catch Cursive on tour starting next week https://cursivetheband.com/shows

Podcast New Year! This week Jonah Neil and Cash are joined by Cursive and The Good Life frontman, solo artist and Cindi Lauper interpreter par excellence Tim Kasher. Tim guested on the You Can’t Call Me Al show, but we had him back to talk Cursive, music and dumb dumb jokes What would a J-Ray-dio be without Music Neüs? It’d be a damn shame that’s what. Which is why we discuss the Who rapping, a John Frusciante solo album, boobs on album covers and the dead man who put them there, and an Orange County Dennys Punk Rock show. Finally we wrap up with a game that never should have made it to air. When I came up with the name, it seemed great. When I put it together, it seemed bad. Listen to the confounding chaos of Emo Quote, Yelled Over A Moat, or a Third Thing. Check out Jonah Ray LIVE at Permanaent Records Roadhouse and SF Sketchfest SONGS THIS WEEK Tim Kasher- No Secret Floral Tattoo- She Norma Tenga- Youre Dead The Gung Hos-See Thomas Howl Lucia Fasano- Lose A Friend  Learn more about your ad choices. Visit megaphone.fm/adchoices

Cursive frontman Tim Kasher calls in to talk with Kyle Meredith about their new record, Get Fixed, which comes only a year after 2018's Vitriola. Kasher discusses the differences between the two albums, especially its themes of dark times, nationalism, and politics. Kasher also goes on to talk about how his songwriting process has changed throughout the years, finding answers from songs rooted in questions, and being known as the guy you turn to when you're going through a breakup. For information regarding your data privacy, visit acast.com/privacy

This week! Live from the Hi Hat! It’s the You Can’t Call Me Al Mahonaraydio Special. Featuring JR Slayer! Phils Pills!  Allie Goertz! Tom Lennon! Mike O Brien! Tim Kasher! Toys That Kill!, and Karate the Band! Musical Guest Jonah Ray! And here’s your host, Neeeeeeeeeil Mahoney! Learn more about your ad choices. Visit megaphone.fm/adchoices

Andreas Hjertholm er sangskriver og frontfigur i bandet Mørtel (https://www.facebook.com/moertelmusik/), der udgiver albummet Vagusnerven d. 15. juni. Før og under indspilningen lyttede Andreas intensivt til amerikanske Tim Kasher og særligt nummeret "An Answer for Everything". Det gav ham inspiration til Mørtel-albummets lydbillede, stemning og instrumentering, men det satte også tanker igang om, hvordan man kan inspirere børn og sende dem ud på musikalske eventyr. Mørtel holder releasekoncert for Vagusnerven på udgivelsesdagen lørdag d. 15. juni på Christianshavns Beboerhus. Læs mere her (https://www.facebook.com/events/411465369405717/). Varighed: 6:11

This week it's more dumb boys acting terrible.  Joey isn't sure he wants to stay with Sidney while Caitlin is wondering what she should do with all her feelings.  Meanwhile, Craig is trying to keep Ashley and Manny from finding out about one another.  Uh oh!  Helping us through this mess is Pierce and some cat wrangling from Kirsten.  Intro is the Degrassi theme song.  Outro is Just Don't Get Caught by Tim Kasher.   E-mail: ihopepod@gmail.com  Facebook: https://www.facebook.com/groups/170951926883998/ Twitter: @ihopepod Tumblr: ihopepod.tumblr.com  Buy us a coffee: www.ko-fi.com/ihopepod  Please rate, review and subscribe to the show on iTunes.  It helps other people find it and helps us out.  Also, if you would like to share you feelings with a particular episode, you can send us an audio file or if you don't want to speak, you can send us a statement that Donnie and I will read on the podcast.  Finally, if you a particular issue of the week pertains to you, hit us up about cohosting the show with Donnie and Frank.  

Tim Kasher's (@timkasher) work is deeply embedded in my creative DNA. When I was a young 20-something sitting in a cubicle in Omaha, Nebraska, Tim's work and his success was there to inspire me to find my own creative voice. Tim is one of the pioneers of indie music. He's the frontman of Cursive. Of all of the Cursive songs out there, you're most likely to have heard "The Recluse." https://www.youtube.com/watch?v=9JcFgL2qO9Y The Recluse is on Cursive's most successful album. The Ugly Organ recently passed its 15-year anniversary, and has sold an amazing 170,000 copies. Before Cursive, Tim was in a band with Conor Oberst, of the band Bright Eyes, called Commander Venus. After leaving Commander Venus to focus on Cursive, Tim also started a folk band, The Good Life. Omaha in the mid 90's and early 2000's was an indie-rock fan's paradise. Artists like Kasher and Oberst cross-pollinated. They started producing their own cassettes, and eventually formed the label Saddle Creek Records, featuring bands like Bright Eyes and The Faint. The success of Saddle Creek records was a sign of the times. The Internet was allowing great music to spread. They could use lower-cost production and distribution, and communication for spreading their music and booking shows, and a cluster of kids from Nebraska could build a fanbase around the world. I personally always found the story of Saddle Creek records and Tim Kasher inspiring. When the world was telling me to live one way, it seemed like the band members of the various Saddle Creek bands were always underfoot in any bar I stepped into. They were there to remind me you could do things your way, no matter where you're from. I guess that message was still with me when I left Silicon Valley, and as I moved to Colombia to double down on writing and making this podcast. The message that you can "make it" anywhere. You can get by on the power of your ideas. I also love that Tim isn't afraid to follow what interests him. He was brave to split genres between Cursive and The Good Life, and now he's branching off into other crafts. He recently wrote, directed, and produced his first feature film, No Resolution. Following the theme of dysfunctional relationships you'll often hear in Tim's lyrics, No Resolution is about a rift between an engaged couple on a particular New Year's Eve. https://www.youtube.com/watch?v=3f6Uzn6LgOI Since Tim is multi-talented, he couldn't stop at writing and making an entire film, he even made a soundtrack to go along with it. I'm thrilled to have Tim Kasher on the show. This is a great conversation for anyone looking to find their creative voice, and the courage to follow their unique path. Learn: How does Tim think about genre? Fitting the confines of a genre can water your creative work down, but it can also help it find an audience. How did Tim avoid the "sophomore slump?" He had to push himself to find his creative truth. How does Tim follow his many interests? You can worry that you're spreading yourself thin, but Tim wanted to pave the way for other artists to do what's interesting to them. Clips you'll hear during the interview are The Martyr, and Art Is Hard. Free Creative Productivity Toolbox I quadrupled my creative productivity. Sign up and I'll send you the tools I count on: kadavy.net/tools Donate on Patreon Supporters are currently covering more than half of production costs for Love Your Work. Support the show, get early access to episodes, as well as bonus masterclasses and office hours with me. Sign up at kadavy.net/donate. Feedback? Questions? Comments? I love to hear anything and everything from you. Leave a review on Apple Podcasts, Tweet at me @kadavy, or email me david@kadavy.net.     Sponsors http://skillshare.com/loveyourwork http://weebly.com/loveyourwork Show notes: http://kadavy.net/blog/posts/tim-kasher-podcast-interview/

On today's subpodcast, Little & Little discuss Titus Andronicus's new sound, Justin Timberlake in the woods, the use of punctuation in lyrics, times they've done a bad job encouraging the light within other artists, Tim Kasher, Marc Maron's revelatory performance in GLOW, and of course, the Bright Eyes album FEVERS & MIRRORS. House band: ZL, ML, SC New regular episode of The Last Podcast coming soon! Thanks for listening.

Tim Kasher is probably best known as the singer of indie-punk mainstays, Cursive & The Good Life - things that the FM3 hardly talk about in our lengthy conversation with this modern rock legend! Also barely mentioned: Tim’s directorial film debut, ‘No Resolution’, screening in most major US cities this September with a Q&A and musical performance by TK (09/11th at the Alamo Drafthouse in San Francisco, for local listeners). What we DO talk about is Tim Kasher’s love of horror films old & new, being a movie lover living in Hollywood, being a fan-fiction screenwriter, and of course, a little food talk.

No Resolution is an album about heartbreak. It’s raw and real, delving into break ups and fears of settling down, topics that Tim Kasher is set to explore even more deeply in his upcoming film of the same name. His directorial debut (soundtracked by the accompanying album) tells the story of an engaged couple breaking up over the course of a New Year’s Eve. For his part, however, the sometime Cursive/The Good Life frontman seems pretty content — at least over the course of our hour-long conversation. He’s newly married, living in Los Angeles and generally drinking less than he did in his indie rock glory days (though we are speaking over a couple of beers — he’s not made of stone). But as he is on record, Kasher is open and honest about the ups and downs of his existence as a professional indie rocker in his early 40s. Over the course of our talk (next to the highway in the backyard of a Williamsburg bar), Kasher discusses creative roadblocks, drinking in Omaha and the looming terror of children.

And So I Followed an Alternative Religion's latest episode sees us sit with Cursive frontman Tim Kasher, and it's the first face to face interview so it's a goodie! Tim was a pioneer of the post-hardcore scene from the late 90s onwards. The release of The Ugly Organist pushing him to the forefront and his storytelling cements him as a genuine diamond in the scene. We chatted the rules Cursive have with each release, his journey into screenwriting and his love for horror and Rosemary's Baby in specific. A very kind and gentle soul that I had an immense amount of fun with. Enjoy!

On today's episode I talk to musician Tim Kasher. Originally from Omaha, Nebraska, Tim has been playing music since he was young. One of Tim's first bands, Slowdown Virginia was shortlived though they inspired other bands to form like The Faint and Bright Eyes, and Lumberjack Records, the record label that put out their one album, became Saddle Creek, one of the biggest indie labels around. In 1995, Tim formed Cursive, which in their 20 years together have released numerous EPs and seven albums, including their 2003 breakthrough LP The Ugly Organ. In 2000, Tim started a solo project called The Good Life, though this quickly grew into a full fledged band, leaving Tim to record albums on his own. Those solo works include The Game of Monogamy in 2010 and his latest No Resolutions, which was released earlier this year on 15 Passenger Records, a label Tim formed with some of his Cursive bandmates. This is the website for Beginnings, subscribe on iTunes, follow me on Twitter.

On episode 97 we welcome Tim Kasher from Cursive, The Good Life and a very successful solo career to boot with a just released album entitled “No Resolution” on 15 Passenger Records. Tim and I chat about his early bands, one that opened up for 311 in high school, his desperation to be on Caulfield Records, the influence of Fugazi on him and what he’d love to be doing in the future and at 70 years old. I couldn’t be happier to check Cursive off the list of bands for the podcast and after speaking with Tim, it was worth the wait. Support the show (https://www.patreon.com/washedupemo)

We have a tech-cursed talk with Tim Kasher of Cursive and The Good Life who just released a solo album / movie soundtrack. We play clips from all his bands and are huge nerds with him.

Tim Kasher of The Good Life and Cursive has a new solo album out this March (No Resolution) on a new label (15 Passenger). We talk to him about the why he decided now was the time to start the new label away from Saddle Creek and the plans for reissuing late 90s Cursive material later this year. We discuss the transition in the mid-00s from writing as a band to writing alone at home and how that changed not only his writing style, but the way he sings. We chat about his current move out to Los Angeles, as well as his previous relocation out west a decade ago to work on films and his experience writing screenplays, and the independent film he recently completed. All this and much more, including how Tim identifies with Steve Harris of Iron Maiden and which trip-hop band is a major influence. Also, make sure to visit 15 Passenger and pre-order the new album before the release date of 3/3/17 and be entered into contest to win all the releases from the label forever. Songs in this Episode: Intro - An Answer for Everything Outro - Break Me Open Request a 2017 Review / Subscribe at Patreon   Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

Tim Kasher of The Good Life and Cursive has a new solo album out this March (No Resolution) on a new label (15 Passenger). We talk to him about the why he decided now was the time to start the new label away from Saddle Creek and the plans for reissuing late 90s Cursive material later this year. We discuss the transition in the mid-00s from writing as a band to writing alone at home and how that changed not only his writing style, but the way he sings. We chat about his current move out to Los Angeles, as well as his previous relocation out west a decade ago to work on films and his experience writing screenplays, and the independent film he recently completed. All this and much more, including how Tim identifies with Steve Harris of Iron Maiden and which trip-hop band is a major influence. Also, make sure to visit 15 Passenger and pre-order the new album before the release date of 3/3/17 and be entered into contest to win all the releases from the label forever. Songs in this Episode: Intro - An Answer for Everything Outro - Break Me Open Request a 2017 Review / Subscribe at Patreon   Facebook / Twitter / Instagram   Zazzle Merch Store   http://www.digmeoutpodcast.com

This week we bring you a mix of music curated by Jonah Bayer, who currently plays guitar for the band United Nations, co-hosts the podcasts Going Off Track and Drifter's Sympathy, and works as a freelance music journalist--writing for Playboy, Noisey, The AV Club, and more. In addition to all of this, Jonah also co-created the web series Sound Advice with his sister and Saturday Night Live cast member Vanessa Bayer. His Sad Punks mix includes songs by Silkworm, Tim Kasher, The Jealous Sound, GG Allin, Golden Smog, and Pedro the Lion! As an addendum, we also include a song by United Nations. Support each of these bands and check out Jonah's work online! Click here to find us on Facebook, or here to find us on iTunes. As always, thank you to Rubee True Fegan for the artwork for this episode!

This week we bring you a mix of music curated by Tim Kasher of Cursive and The Good Life! His Sad Punks mix includes songs by Lullaby for the Working Class, Bright Eyes, McCarthy Trenching, Simon Joyner, Orenda Fink, and Anna McClellan. As an addendum, we also include songs by Cursive and The Good Life! Be sure to support each of these bands and musicians, and pick up The Good Life's latest album, EVERYBODY'S COMING DOWN, which is out now on Saddle Creek Records! As always, thank you to Rubee True Fegan for the artwork for this episode. Like Sad Punks on Facebook!

This is the latest from Show de Vie, Jonathan Wingo is the brilliant Balvenie brand ambassador for William Grant and Sons. His passion for music and ruckus steered his life in very exciting directions. A conservative Christian upbringing became the impetus for a deep interest in something else, something wilder: punk rock. This musical foundation inspired creativity and ultimately coincided with the perfect Jack&Coke to unleash a deep interest in whiskey. Erudite, fun-loving, and resident Saddle Creek fan, Wingo loves to learn. As a Forbes 30 under 30 nominee, Jonathan only started to see his career in the whiskey industry emerging. He nows travels the world sharing the wonderful line up of Balvenie whiskey. We talk Tim Kasher, Connor, ethics, having beards, and the lovely label mates at William Grant and Sons.

Tim Kasher started the Good Life as a softer, more bare-bones approach compared to the work he was doing in Cursive, but the band came to be more than a mere side-project.  Mid-2000s Albums like Black Out and Album of the Year showed melodic and thematic adventurousness, but the Good Life had been dormant since 2007. This year's Everybody's Coming Down finds the core quartet back in fine, rangy form. Songs performed as "Everybody," "The Troubadour's Green Room" and "So Let Go." Recorded on September 5, 2015 at KDHX in St. Louis, Missouri. Engineered by Andy Coco.

The Dark Stuff Podcast #107 features music and an interview with a brilliant, new band called See Through Dresses. STD are a new band from Omaha that has just released its debut, full length album, and is about to embark on its first national tour. The band's music has drawn comparisons to groups like Joy Division, The Cure, Lush, My Bloody Valentine, and many other greats from the late 80s/early 90s. I sat down with band members Sara Bertuldo and Matt Carroll to discuss how the band formed, the making of the album, and the band's goals for the future. Both Bertuldo and Carroll have played in bands in Omaha for years, and both feel that See Through Dresses is the band that best represents what they have been trying to achieve for many years.  In addition to working in their own bands, both Sara and Matt have done touring stints with other bands, with the most notable example being Sara's time as the bass player for Tim Kasher's (Cursive, The Good Life) solo band. The following songs were used with permission: "When Summer Ends" "Glass" "Happy" and "Johnny." All music ©See Through Dresses, and all songs appear on the band's self-titled debut LP. The album can be purchased from the band's Bandcamp page: seethroughdresses.bandcamp.com. Thanks for listening. Enjoy. ©2014 The Dark Stuff Podcast

Suckers, Tim Kasher, Arden Myrin, and Joe Mande join the Radio Happy Hour crew as they get snowed in at an office holiday party. Only the person who invited them might be a ghost. And Tim Kasher slept with her. Gross.