Podcasts about tiny telephone

There is a long list of accolades for indie legend, producer, engineer, songwriter and musician John Vanderslice. In addition to being the owner of Oakland recording studio Tiny Telephone, he has released sixteen full length albums, five remix albums and EPs and worked with artists such Spoon, St. Vincent, Deerhoof, the Mountain Goats, and Grandaddy. His new project, Google Earth, is a collaboration with James Riotto and their debut album, Street View, leans heavily into the electronic realm. Geoff Stanfield caught up with John to discuss his career, this new release and more. Enjoy!

My guest today is Jacob Winik, the COO, Technical Director, and Sound Designer at Cosmic Standard, an audio production company he co-founded with his wife, Eliza Smith, in January 2020. Jacob has collaborated on projects with TED, Patagonia, Dropbox, KQED, Samantha Crain, Meernaa, Doe Eye, and Steep Ravine. He previously worked as an audio engineer at Tiny Telephone in San Francisco. In this episode, we discuss Bay Area Upbringing Parents' Musical Influence Early Punk Music Divorce Sparks Punk Interest Gillman Street Experiences Technology at Home Early Instruments School Band Reluctance Discovering DIY Punk College Band Experience House Shows in College Obsessed with Music Making Improving Live Sound Early Recording Awareness DIY Recording at Gillman First Demo Recording College Film Studies Pursuit of Music Recording Internship at The Compound Learning Basic Recording Skills Building Client Relationships Internship at Fantasy Studios Analog Tape Recording Challenges Journey Recording Experience Interning with Magic Magic Orchestra John Vanderslice Studio Setup at Tiny Telephone Transition to Professional Engineer Hands-on Learning with Tape Podcast Company Formation Balancing Overhead Costs Scalable Team Structure Remote Work Adaptation Handling Pandemic Challenges Client Training Remotely Improved Quality of Life Building Client Relationships Matt's Rant: Moving Through Your Audio Career with Blinders On Links and Show Notes Cosmic Standard John Vanderslice on WCA Credits Guest: Jacob Winik Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith     

On today's episode, I talk to musicians Maia Sinaiko and Susanna Thomson, the founders and 2/3 of the Bay Area band Sour Widows. Originally meeting and becoming friends at Camp Winnarainbow in their youth, Maia and Susanna formed Sour Widows in 2017, when they found themselves living near one another for the first time. Eventually they invited drummer Max Edelman to join them in the band, and since then, they've released two fantastic EPs, a self-titled one in 2020 and Crossing Over in 2021. In 2023, they recorded their first full-length album Revival of a Friend at Tiny Telephone, and it will be released on Exploding In Sound Records at the end of the month! This is the website for Beginnings, subscribe on Apple Podcasts, follow me on Twitter. Check out my free philosophy Substack where I write essays every couple months here and my old casiopop band's lost album here! And the comedy podcast I do with my wife Naomi Couples Therapy can be found here!  

On the show this time, it's the detail driven divinations of The Mountain Goats. The Mountain Goats are a definitive independent band. John Darnielle has been releasing music under that name since 1991. He started out taping straight onto cassette, with a boombox, and over the years has returned to that medium - lo-fi for sure, but oddly high in emotional fidelity. He's also worked with engineers - in particular with Tiny Telephone's John Vanderslice, and is now equally comfortable with full-studio productions. The band has changed over the years too, but at the moment is a wonderfully cohesive group - Peter Hughes on bass, Matt Douglas on sax/keys and 2nd guitar, and rockin' Jon Wurster on drums. His latest is “Jenny From Thebes” - his 22nd full length album, and it's available on Merge Records. Recorded 08/08/2023. Make You Suffer The Slow Parts on Death Metal Albums Clean Slate Hostages Watch the full Live on KEXP session on YouTube.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

On the show this time, it's the detail driven divinations of The Mountain Goats. The Mountain Goats are a definitive independent band. John Darnielle has been releasing music under that name since 1991. He started out taping straight onto cassette, with a boombox, and over the years has returned to that medium - lo-fi for sure, but oddly high in emotional fidelity. He's also worked with engineers - in particular with Tiny Telephone's John Vanderslice, and is now equally comfortable with full-studio productions. The band has changed over the years too, but at the moment is a wonderfully cohesive group - Peter Hughes on bass, Matt Douglas on sax/keys and 2nd guitar, and rockin' Jon Wurster on drums. His latest is “Jenny From Thebes” - his 22nd full length album, and it's available on Merge Records. Recorded 08/08/2023. Make You Suffer The Slow Parts on Death Metal Albums Clean Slate Hostages Watch the full Live on KEXP session on YouTube.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

Rain welcomes John Vanderslice to LaunchLeft today.  John launches Spacemoth, and together we discuss how getting away from the handbook and taking risks can make a lasting piece of art. John doesn’t hold back on his views of creativity, production, artists' treatment, and more. Spacemoth joins in to discuss recording studios and her music. Stay tuned to the end to hear Spacemoth’s vibey track ‘UFO Bird’.  -----------------  LAUNCHLEFT OFFICIAL WEBSITEhttps://www.launchleft.com  LAUNCHLEFT PATREON https://www.patreon.com/LaunchLeft  TWITTER https://twitter.com/LaunchLeft  INSTAGRAM https://www.instagram.com/launchleft/  FACEBOOK https://www.facebook.com/LaunchLeft  --------------------- LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery. --------------------- IN THIS EPISODE: [01:08]John discusses his journey through what, how and why he writes his music.  [07:28] What two artists inspired John to step out of his comfort zone.  [10:27] John’s examples of ‘whatever it takes to get by’.  [11:55] John talks about his collection of instruments.  [13:57] What would John do if he ever stopped making music?  [17:31] What non-attachment means to John and how grieving informs an artist.  [20:29] How John spends his time in and out of the studio and his views of this creative art.  [27:51] Spacemoth talks about finding Tiny Telephone and the different vibes in studios.  [36:40] Listen to Spacemoth’s song “UFO Bird” from the album, No Past No Future.   KEY TAKEAWAYS:  Artists must always find something inspiring. They are constantly looking for gems in music and others. Sometimes when “accidents” happen in the studio, they can result in fantastic music. Collaboration in music is the key to making lasting records while the artists have fun and find joy in making them.   BIOGRAPHY:  The Reintroduction of John Vanderslice by Grayson Haver Currin Nearly 20 years ago, or just after the start of this century, John Vanderslice made some of his generation’s most masterful singer-songwriter records. Life and Death of an American Four-Tracker, Cellar Door, Pixel Revolt: Every year or so, he’d release another set of engrossing songs set expertly on edge, vulnerable excavations animated by a new dawn of endless-war unrest. Those albums sounded like little else, each blown-out drum line or warped calliope melody or sun-baked synthesizer layer a testament to Vanderslice’s laborious process and tireless ingenuity. (There were rumors, possibly true, he once cut 500 hours of tape for a single album.) This dovetailed, of course, with his emergence as a keen analog revivalist and the proprietor of one of the best studios in the country, San Francisco’s Tiny Telephone. But on a sunny winter day in his gently sloped Los Angeles backyard, feet from the little green cabin where he now makes music, Vanderslice beams as he disavows all of it. “I went from this scrappy dude who wanted to own a studio to someone able to record in a big room with a full orchestra, like fucking Frank Sinatra, the end result of an obsession with songwriting,” he says of his maximalist apogee, 2011’s White Wilderness, brushing hair so blonde it sometimes seems white from his suddenly trenched brow. “I should have wrapped it up right there—no more tape, no more reel-to-reel, no more linear format. Let’s blow it up. It took me a long time to learn how.” Let’s round it, in fact, to a dozen years: Crystals 3.0—the culmination of a span of ecstatic experimentation with harsh noise and hard drugs, curious samples and cascading sequencers—is both a new pinnacle for Vanderslice and the manifestation of a revelatory outlook. A seamless 19-minute sequence of melodies so memorable they belong in an ice cream truck, static bursts so meticulous they belong on a Merzbow tribute and beats so spring-loaded they belong on a trap record, Crystals 3.0 applies the unencumbered enthusiasm of vintage Vanderslice records to his ideas about breaking old molds, about avoiding easy interpretation. “Songwriting is inherently conservative, and I just don’t have the mindset to write something like ‘Exodus Damage’ again,” Vanderslice, now 55, says, grinning broadly in his contagious way. “I want to make music that poses more questions than it answers.” The essential elements here are nothing unprecedented for Vanderslice. He was, after all, the sample guy in his acclaimed band of ’90s weirdos, MK Ultra, and his approach to crosshatching rhythms and hooks in playful patterns betrayed a love of hip-hop and electronica at least since 2004’s Cellar Door. During pandemic lockdowns, though, a budding fascination led him to embrace those elements unabashedly—drugs, from acid and coke to mushrooms and MDMA. After years as the songwriter who didn’t drink on tour for fear of how it might impact his craft, the spoils of a libertine Los Angeles became distinct tools, allowing him to tunnel into his creativity in distinct ways. He would build electronic trances on ecstasy or up the mushrooms on recording days, looking for unimagined connections. During 2022, Vanderslice would often sit in his backyard studio in some pleasant psychedelic state and work while a film—maybe something by the Maysles Brothers or Frederick Wiseman—played in the background. If something caught his ear, he’d often weave it into the music, using the distortion inherent in those decades-old documentaries to counter the rigidly clean tones of digital instruments. No context, just the serendipity of overlapping moments. Those samples populate Crystals 3.0 like reawakened ghosts, maybe guests of honor at one of the drug parties Vanderslice throws in the backyard with his partner, Maria. The whole dense little record feels like a distilled fête, its 13 overlapping tracks functioning as fragments from conversations and encounters. Bits of singing that might have fit on Pixel Revolt about sequences that Chicks on Speed would have loved; celebrations of jungle drums run into sunken-keyboard miasmas, like an old friend pulling you aside to deliver some bad news. Vanderslice spent a year building, sorting, and stitching together these pieces; despite the brevity, you may spend just as long trying to unpack every layer, and decode every secret. It is no mystery that the music Vanderslice made at the start of this century is no longer in supreme vogue, not a source of major cachet. He’s not only OK with that but also invigorated by it, the way it permits him to pursue whatever excites him. When he talks about music, he hopscotches between modern rappers and classical composers, abrasive producers and Charles Mingus, beaming as he goes. He gloats about one day dying broke, about creating with no master plan except what’s right in front of him. “You have to move on to more challenging silos,” he says, “or you’re just going to be a boring fucking artist.” Named for a novel method of synthesizing pure LSD, Crystals 3.0 overflows with youthful vim, the sense that to settle into an old pattern is to be dead already. If you have previously loved John Vanderslice, you will hear him here instantly, whether it’s that familiar warble during “Crystals 26” or the way he cavorts with hooks. If you’ve never known him, you will instead instantly hear a mind on post-modern fire, trying, like always, to make sense of our modern mess. This side of John Vanderslice’s sound hid in plain sight for two decades on records that remain essential because of those very interests; it has never sounded more full, dauntless, or thrilling than on Crystals 3.0.   RESOURCE LINKS Podcast - LaunchLeft John Vanderslice - Website John Vanderslice - Twitter John Vanderslice - Facebook John Vanderslice - Instagram John Vanderslice - Bandcamp - Website John Vanderslice - Wikipedia Spacemoth - Website Spacemoth - Bandcamp - Website Spacemoth - Instagram Spacemoth - Twitter Spacemoth - YouTube

One of our funnier guests in some time, John Vanderslice is an indie musician, producer, and captain of the infamous Tiny Telephone studios in San Francisco. We chat with him from his home in Los Angeles about the gilded failures of fashion's biggest night, Kim K only ate tomatoes for 16 days but didn't eat on the carpet, why John escaped the Bay Area, covid fucking LA restaurants up, buying drugs on the Silk Road, Bitcoin is the new hundred dollar bill, ceremonial drug usage, edging doesn't have to end in the bedroom, going sober on tour, working at Chez Panisse in the 90s, we spitball how covid started, doing fat caterpillar lines of cocaine, which countries to avoid when touring in Europe, all the ways John relates himself to a rat, and we end with a handful of his favorite low-level schemes, scams, and slights of hand. Outro Song: MK Ultra - The Dream Is Over (1999) instagram.com/johnvanderslice twitter.com/donetodeath twitter.com/themjeans --- Support this podcast: https://anchor.fm/howlonggone/support

It's the 92nd episode of the Truth About Vintage Amps! Harvesting capacitors, recommended reading, Fred Astaire and more.  This week's episode is sponsored by Calton Cases, Jupiter Condenser Co., Amplified Parts and Grez Guitars. You can also use the discount code FRET10 to save 10% off your Izotope purchase. Support us on Patreon.com for added content and the occasional surprise. This month, we'll be giving away a handmade pedal to one lucky patron!  Some of the topics discussed this week: 2:19 The great tube shortage on the front page of the Wall Street Journal, Western Electric 300Bs, a million dollar vacuum tube 11:39 Good goo for repairing rotten cabinets 13:59 A Precision Electronics PA amplifier with no model number; the rising prices of vintage PA heads 21:37 Recommended reading: Garrett Hongo's 'The Perfect Sound' (Amazon link) 22:43 Mic pre-amps at Tiny Telephone, RP2s, the Tiny Telephone podcast, Keep the Dream Alive (link) 29:42 Drawing layouts and schematics with DIY-fever.com's app (link); National Geographic's 'The Rescue' 32:29 A 1950 Fender Deluxe signed "Lilly" (Instagram link) 34:40 A bunch of tweed amps at Skip's; a 1953 Fender wide panel Tweed Deluxe score at an estate sale 38:54 Good-All branded caps vs blue molded caps 40:01 Harvesting old coupling caps: Which brands are worth saving? 43:27 Building an Angela SSE amp with a few mods: The cathode bias on the second half of the 12AX7, experimenting with a Variac to lower B+, Zener diodes to a center tap, repurposing an old jukebox amp, recommended book: 'A Fortune Life,' by A. B. Facey (Amazon link), vegetarian congee 50:46 Recommended music: Fred Astaire's The Astaire Story; Fred Astaire and Barney Kessell 52:44 Lesser known vintage amp brands with surprisingly good tone 56:32 Bahamas plays "All the Time" on a Skip-modified Fender Champ at the Fretboard Journal (YouTube link) 56:59 Buying a new boutique amplifier to get a modern reliable tweed sound 1:01:19 Strain relief for the power cord in a Gibson GA88s, Grandma's Smoked Country sausage from Broadbents Hams (link) 1:05:12 Skip is taking visitors again; Loma Rica Mexican cuisine; lots of disc capacitors up for grabs; a Heathkit SA-3 integrated stereo amp 1:11:00 Daisy chaining amps, a Bugera BC30-212, and a desire to make a foot switchable daisy chain through the effects loop 1:15:08 Running a guitar into both channels of a Northern Electric PA, redux 18:11 Reusing the factory solder during a Fender Champ fix 1:20:17 A silverface Fender Champ with an annoyingly loose can capacitor 1:22:36 A 1967 Deluxe Reverb with a broken reverb tank 1:26:07 Fixing a Gemini VI project; Texas breakfast tacos 1:30:35 Early electrics at MIM.org; the Appleton guitar APP guitar (link)  1:32:25 An antique building with a buzz and/or ghost problem; "Be Thankful for What You Got" (YouTube link) Haven't joined the Fretboard Journal yet? Use the discount code PODCAST and save $5 off your next Fretboard Journal order. 

Producer and musician John Vanderslice returns to the Truth About Vintage Amps Podcast with Skip Simmons.  This week's episode is sponsored by Jupiter Condenser Co., Amplified Parts and Grez Guitars.  Special podcast offers: Use the discount code TAVA to get free domestic shipping through October 31, 2021 on any speaker at jupiter-speakers.com. Use the discount code TAVA10 to get 10% off all orders at  amplifiedparts.com through November 13, 2021. Some of the topics discussed this week: 8:40 Special guest: Musician/producer John Vanderslice returns! dEATh bUg, CRYSTALS; running Tiny Telephone studio during COVID, getting double-vaxxed, staying motivated, tape vs. digital recordings, Forssell converters, the four-track pre-amp used by Mk.Gee on Dijon's new song (YouTube link), Ritchie Blackmore uses an AKAI tape deck, Gibson Falcons, Peter Jensen's Magnovox speakers, Schoeps CMC and MK4 microphones, Neve 31102, Shure 565, Bogen RP2 mic-pre, Stromberg-Carlson AV38, Yamaha NS-10s as mics, Frank Sinatra, Vanderslice's Spotify Playlists (link) 1:06:43 Recommended Reading: They Might Be Giants' BOOK (order link), "I Broke My Own Rule" (YouTube link); Warren Ellis' 'Nina Simone's Gum' (Amazon link) 1:11:38 How to interview prospective amp techs 1:19:32 Making a copy of a Magnatone 210 with a jack socket on either side of the vibrato circuit; Kewpie Japanese mayonnaise 1:21:56 The Fender Champ 12's speaker-driven reverb (revisited), peppers in a cast iron pan 1:27:42 Bridging a Fender tube amp 1:30:46 Optimizing a Stromberg-Carlson AU-42 for guitar; 'Look Me in the Eye' by (Amazon link), old olive orchards 1:38:49 Fixing goop'd amps (Joe Bonamassa's Instagram link) 1:42:24 Eric Daw (Fret Files Podcast, luthier, Gibson handle MacGyver) 1:43:56 Blown Marshall output transformer (JCM800 2303) 1:46:09 Outboard reverb and trem units: Weber's ReVibe and TorVibe 1:47:47 Jumpered Marshall amps and La Costena & El Pato Frijoles (email us for the recipe) 1:52:08 Steve Dawson (Music Makes & Soul Shakers); a 1953 Fender Deluxe (5B3) with a sweet spot at 4; troubleshooting a dud Deluxe clone 1:58:57 Ohsawa organic tamari; availalbe: An SVT bass amp in Oroville, California, a single-ended Knight PA head at Skip's, and a Vox Cambridge Reverb Co-hosted by the Fretboard Journal's Jason Verlinde. Email or send us a voice memo to: podcast@fretboardjournal.com or leave us a voicemail or text at 509-557-0848. And don't forget to share the show with friends. 

My guest today is Justin Phelps chief engineer and designer of the Hallowed Halls recording studios in Portland OR. He began his career in 1996 at San Fransisco's famed Coast Recorders where he worked as a house engineer and received considerable guidance from a chief engineer/producer John Cuniberti and studio owner/gear guru Dan Alexander as well as working at some of the Bay Areas finest studios including The Plant, Prairie Sun, Studio 880, Tiny Telephone and Studio D.  In 2004 he acquired the lease for one of the more historic spaces in San Francisco, Hyde Street Studio C which he restored to its former glory and ran for the next 5 years as one of the busiest rooms in San Francisco when he met his wife Deanna and started his family.  With the birth of their first daughter, they relocated to Portland Oregon where he founded Cloud City Sound a multi room facility with a busy mastering suite serving many regional and international until 2016 when he opened The Hallowed Halls located in a 5500 square foot, historic, turn of the century library where the building's natural acoustics made for an ideal recording studio site.  Since then, they have been cranking records out for a wide variety of American and International acts, hosting a constant stream of events benefiting the local music and arts community and dabbling in new recording directions. The most prominent of these would be music video production.  The Covid 19 era has seen a particularly high spike in combined music and video as a result of the severe limitations placed on live performance. Necessity is the mother of invention and Justin is currently modifying The Hallowed Halls to facilitate concert performances and multi camera shoots including VR concerts in Studio A's main hall.  Through a partnership with a strong concert streaming distribution network, the hope is to use this to get the lifelong patrons of our studios back to work and to find new creative outlets for the music we create. So far it's working.  Thanks so much to John Cuniberti for making our introduction! Get access to FREE mixing mini-course: http://MixMasterBundle.com THANKS TO OUR SPONSORS! https://RecordingStudioRockstars.com/Academy Use code ROCKSTAR to get 10% https://JZmic.com Use coupon ROCKSTARS to get 20% off The Pop Filter Spectra1964 is having a bundle sale! Save $$ hundreds on the STX600 and the BBDI combo at https://www.Spectra1964.com http://MacSales.com/Rockstars http://iZotope.com/Rockstars use code ROCK10 for 10% off https://carltatzdesign.com/Mixroom-Mentor http://UltimateMixingMasterclass.com Hear guests discography on Spotify: https://open.spotify.com/playlist/7vIqSw1qkp7uDu1sGyXZMI?si=c8f2776ec4614eb9 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: http://RSRockstars.com/315

John Vanderslice is one of the most talented and prolific songwriters of his generation, now based in the Los Angeles area with over 20 years of recorded history behind him and the founder of Tiny Telephone recording studios based in the Bay area. John visits Free Association to talk about his new EP, a new compilation of rarities from Tiny Telephone, his move to L.A., the music business, live shows, touring, and the songwriting process.

NPR Music's picks for the best albums out this week include Willow's Lately I Feel Everything, new ones from Clairo and John Mayer, a posthumous release from Alice Coltrane and more.Featured Albums:1. Willow — Lately I Feel EverythingFeatured Songs: "Breakout" and "Xtra"2. Clairo — SlingFeatured Song: "Zinnias"3. Rodrigo Amarante — DramaFeatured Song: "Tao"4. John Mayer — Sob RockFeatured Song: "Guess I Just Feel Like"5. Cakes da Killa — MUVALAND Vol. 2Featured Song: "Lite Werk"6. Alice Coltrane — Kirtan: Turiya SingsFeatured Song: "Jagadishwar"7. John Vanderslice — I Can't Believe Civilization Is Still Going Here In 2021! Congratulations To All Of Us, Love DCBFeatured Song: "I Get A Strange Kind Of Pleasure From Just Hanging On"8. John Vanderslice — Ethical Jute Mouse: Lost Songs from Tiny Telephone 2001-2021Featured Song: "Advancing Army Clip"Other notable releases for July 16: Charlie Worsham — Sugarcane; Ida Mae — Click Click Domino; Jodi — Blue Heron; Karen Black — Dreaming Of You: 1971-1976; Pop Smoke — FAITH.

( Lorne Behrman) Greg Hoy is many things. He’s a singer-songwriter, multi-instrumentalist, a recording producer, a recording engineer, something of a marketing guru, a jingle and sound composer and producer, a 'people engineer' in the tech world, an art director, and a label owner. But when you boil it all down — he’s really just a guy in a band. “Music is in everything I do. Helping companies hiring people is just like putting a band together. I’ve been fortunate that both sides of my brain work in tandem,” the California-based artist says with a good-natured laugh. With his 2020 tour cancelled due to... well, you know what, Greg managed to coax East Bay, California's Tiny Telephone studio owner John Vanderslice into letting he and his band social distance to make 'Cacophony' - an 11 song cycle now out on gold vinyl - written and recorded in just two weeks. The lyrically output was heavy: birth, death, pandemics, and fires. But that fast and furious creative drive is what propels him to create. When you do more, you do more. So, maybe, it’s the collective inertia of all his projects that propels Greg’s prolific output? Somehow, between wearing so many hats — including tirelessly touring the nation in a vintage Airstream on the Limited Mileage tour throughout 2019 — he made time to write and a record a refreshingly eclectic, 22-song double-vinyl self-tiled concept album released as the self-titled Greg Hoy & The Boys. His last 2019 release, Enjoy the View, was recorded mostly live by audio legend Steve Albini (Nirvana, Pixies, PJ Harvey) in Chicago & mixed in Oregon by the equally amazing Sylvia Massy (Tool, Johnny Cash, Tom Petty, Red Hot Chili Peppers). Clocking in at just under 20 minutes, the band pushed the limits as a meaty 3 piece. The result is an immediately hooky slab of caffeinated, propulsive, plug-in-and-play rock n roll. To date, the restless creative has issued over 30 albums under various monikers, including The Royal Panics, Greg Hoy (“no boys” for intimate releases), Greg Hoy & The Boys, and Twice As Bright. Mostly these days, he fires up Greg Hoy & The Boys, a loose collective of friends and trusted musicians that includes boys and girls. Greg’s vibrantly diverse output harkens back to the bedroom 4-track visionary aesthetic of 1990s indie-rock, as epitomized by Guided By Voices and its fearless leader Bob Pollard. When you distill it all down, Greg plays retro rock n’ roll meticulously crafted from the timeless essentials of infectious melodies paired with undeniable grooves. Yet, within this focused path, Greg issues diverse albums aligned in spirit with such singular artists as Jack White, Dave Grohl, Neil Young, Queens Of The Stone Age, Cake, The Jam, The Who, The Beatles... “All the ‘the something’ bands,” Greg playfully adds. Throughout his wildly fishtailing career, Greg has worked with Glenn Branca, J. Robbins, Steve Albini, and drummer Steve Sutherland, late of Grant Hart's Nova Mob, among others. Greg’s songs have been featured on network television shows such as One Tree Hill and MTV's Made. Select live highlights in Greg’s career include performances at Noise Pop, SXSW, CMJ, and on the main stage at Latitude Festival in the UK. When off stage or not recording as an artist, Greg runs the record label, 30 Peak, and does production / soundtrack work. In this latter context, his music and sound design has been featured in Pinterest brand videos, American Express commercials, and as game effects for the software platform Adobe. Outside of the world of sonics, Greg works as a “people engineer” in tech, and he’s known for having hired & built the first creative teams for Facebook, Pinterest, and Lyft. Greg’s story in music begins at the age of 5 with the big bang of hearing Led Zeppelin’s 'Whole Lotta Love' on headphones with his big brother. “I was immediately drawn to the richness of the sound, and the idea that you could manipulate emotions with sound—like a certain fuzzed out guitar and drum beat could make you feel a certain way,” Greg explains. Later on, while attending Westminster College in Western Pennsylvania, Greg became a whiz with a four-track cassette recorder, recording his own songs as a multi-instrumentalist, and honing his lo-fi production chops tracking local bands. During this time, Greg also furthered his creative reach through working other bands as a guitarist, keyboardist, and a drummer. His debut became a buzzed-about tape, and 30 albums and two decades later he’s still a DIY-spirited artist freely exploring his artistic whims. Greg’s double album might be his most ambitious and personally poignant. He formed his music tastes through listening sessions with his mother who had a subscription to the Columbia House monthly CD series. Together, the two soaked up the sounds of Huey Lewis and the News, INXS, Chicago, and Led Zeppelin. Those were epiphanic moments for Greg as a budding music fan, and they’re treasured times he spent with his mother. A few years ago, his mother was terminally ill and Greg was there by her bedside. He recalls: “As she was passing, I would get the CDs we would listen to together, and then go to the studio and play along on drums to our favorite songs. I realized the best thing I can do emotionally is to make a record to process it all.” Those drum tracks became the foundation for the songs on Greg’s album. The songs also inspired emotive moods, and first-time instrument choices — like the use of saxophone on 'Ready Rock Steady.' The album can be digested almost like four grouped-together EPs. Greg Hoy & The Boys explores a wide array of thematic threads. At times, the songs are the wry musings of a middle-aged guy stuck in the millennial-addled tech world. Some tunes point out the dichotomy of being at the forefront of technology while still loving the lo-fi world of real drums and tape recorders. “Others are about birth, death, drugs, and rock n’ roll,” adds Greg. Interspersed within these loose concepts, is the arc of Greg’s mother’s passing. Select album standouts include 'Brilliant Jerk,' '(Keep Feeling) Caffeination,' 'Participation Award,' and “Ready Rock Steady.” The dance-y indie rock of “Brilliant Jerk” froths over with acerbic lyrical wit and twitch-y art-funk that recalls LCD Soundsystem, Gang Of Four, and Fugazi. Lyrically, this is playfully barbed social commentary on the onslaught of brainy bastards in the tech world. The tune’s accompanying video is culled from stock footage as sort of a meta statement on how, when peeled back, what passes for “brilliance” in this world can be flimsy ideas puffed up by big egos.  The playfully titled '(Keep Feeling) Caffeination' — the title is a nod to the Human League’s synth-pop gem '(Keep Feeling) Fascination'—is a sizzling rockabilly boogie number rife with savory puns. The song, and its accompanying video, pulls no punches in addressing a seldomly-addressed toxic social epidemic. Read more at:https://thegreghoy.com/

Welcome to Roadcase, a podcast exploring the live music experience!!   John Vanderslice is an amazing solo artist with a plethora of varied albums and recorded material and is also owner of Tiny Telephone Recording Studio where he has worked with tons of artists including Death Cab for Cutie, Spoon, The Mountain Goats, Sleater-Kinney and Okervill River.  He has a unique perspective on the music industry and his points of view are as varied and diverse as the broad creative ground he covers in his solo career.  I loved talking with John and this interview is a fresh insight into the world of this brilliant and innovative artist.  Come along and enjoy the ride!! For more information: http://www.roadcasepod.com or http://lnk.to/roadcaseTo support Roadcase on Patreon, please visit: http://www.patreon.com/roadcasepodContact: info@roadcasepod.comTheme music: "Eugene" (Instrumental) by WaltzerRoadcase is produced by Josh Rosenberg and Soothsayer MediaContact: info@soothsayer.media

I think it’s fair to say, a community is only as healthy and thriving as its arts scene, just as our personal health depends on our ability to express ourselves across a broad emotional spectrum as part of the larger socio-political conversation––maybe just as much as we need vitamin c to ward off scurvy. I know for me art, community, and the places those two intersect are what drive my will to survive such challenging times.Since this season is all about shining a light on some wonderful artists who’ve visited our live shows and the DJ’s who’ve interviewed them, we’d be remiss not to include this January 2018 interview with Bay Area music legend John Vanderslice.Besides making a ton of music, John is the owner of Tiny Telephone, a recording studio he founded in 1997. Sadly, the San Francisco space closed this past July. But his Oakland studio is alive and well.This interview takes us on a tour of some of the challenges and joys of creating a space that’s become so important to the indie music scene in the Bay Area and well beyond. How do you hold onto your values to have a fair and equitable organization that supports artists in one of the most expensive cities in the world?John sat down in the studio with DJ Nino MSK of Espresso Sesh and what resulted was an engrossing conversation about music, politics, gentrification, community, and mental health.Since this interview, John Vanderslice moved to LA, as he was already dreaming of doing back in 2018. But Tiny Telephone is still operating in Oakland so we didn’t lose everything. Enjoying the show? Please support BFF.FM with a donation. Listen to/purchase John Vanderslice's newest EP, Eeeeeeep!Listen to Espresso Sesh Tuesdays 2-4pm.This episode was edited and produced by Johnathon Sosa and Lily Sloane.Theme tune by Lily Sloane."Song For Leopold" used with permission from John Vanderslice. Check out the full archives on the website.

Episode 138 of Look At My Records! features an interview with indie music legend John Vanderslice. John is well known for his work engineering records for bands like Spoon, Death Cab For Cutie, and Sleater-Kinney at his all-analog studio Tiny Telephone in San Francisco. After almost two decades, the studio closed its San Francisco location and John moved south to Los Angeles, where he opened his own backyard studio called Grandma’s Couch.In addition to his engineering work, John has recorded and released about a dozen records of his own material - all on analog equipment. The pandemic imposed lockdown finally forced John to experiment with digital recording software like Ableton. The end result is his latest release, eeeeeeep, his first batch of songs recorded entirely through digital means. It’s an excellent EP! Tune in to hear about John’s experience recording the EP on a computer, how he uses his digital studio as an instrument, his favorite memories from Tiny Telephone San Francisco, his relationship with David Berman, and a whole lot more! This episode features records from Spirit of the Beehive, Porches, Lomelda, Robyn Hitchcock, and Eleanor Friedberger!Stream eeeeeeep on your platform of choice. You can also purchase it via Bandcamp. Check out John’s website and keep up with him by following him on Instagram and liking him on Facebook.

For Episode 136 of Look At My Records!, I was very excited to chat with the Bay Area duo Harry The Nightgown. The duo of Sami Perez (The She’s, Cherry Glazer) and Spencer Hartling just released their self-titled debut last week, and it’s a beautiful amalgamation of art-rock and maximalist experimental pop. Hartling and Perez recorded the album over the last year and a half at Tiny Telephone Studios in San Francisco, where they both also work as recording engineers. Tune in to hear how most of the songs came together while they were tinkering around in the studio, the lessons they learned from working at Tiny Telephone, the pros and cons of recording the album in a setting that they’re very familiar with, how their creative styles complement each other, and a whole lot more! We also geeked out over XTC and spun some additional records from Siouxsie and the Banshees, The Mantles, and Palberta.You can purchase Harry The Nightgown’s debut album on limited edition vinyl via Bandcamp. A cassette edition of the record is also available via Topshelf Records. Stream the album on your platform of choice! Keep up with the band by following them on Instagram.

Indie rocker, John Vanderslice, is a true American original. In addition to a successful two-decade career in music, he also owns the Tiny Telephone recording studios in San Francisco and Oakland.  He joined Christian Schaeffer last month to discuss his recent album, 'The Cedars,' as well as his libertarian philosophies on drugs, technology and building permits. While in the studio, Vanderslice performed "I'll Wait for You," "Henry Ford Gymnasium" and "I Got S**t to Lose." Recorded at KDHX in St. Louis, Missouri on May 2, 2019. The sound engineer was Andy Coco, with technical producer KE Luther. 

Working Class Audio #233 with Beau Sorenson!!! Beau Sorenson is a freelance audio professional (producer/mixer/ engineer) based in California. He also writes, records, and remixes music as Beaunoise. As producer/engineer, He's worked on multiple albums for Death Cab for Cutie, Bob Mould, and Superchunk, as well as albums for Tune-yards, Thao and the Get Down Stay Down, Mac McCaughan, Mike Krol, Someone Still Loves You Boris Yeltsin, The Dodos, Sparklehorse, Field Report, Jars of Clay, Yellow Ostrich, Camera Obscura, and many more. I’ve engineered sessions for Chris Walla, Merrill Garbus, Tucker Martine, Butch Vig, John Vanderslice, Dangermouse, Ryan Hewitt, and Al Weatherhead. While studio recording is Beau's primary focus, He's also composed and recorded soundtracks for films and podcasts mastered music for release, worked as a studio tech, taught audio engineering, and consulted on studio construction and design. Beau spent six years as a staff engineer at Smart Studios in Madison, WI before leaving to work freelance. He is currently a staff engineer at John Vanderslice’s Tiny Telephone studios but he also works at other studios as well. About this interview: Beau joins me for coffee to discuss hardware stores, being kind, respect for studio owners, having patience, and getting out of town to record. Enjoy! -Matt Links and Show Notes: Beau's Site: www.beaunoise.com https://www.workingclassaudio.com/wca-119-with-tucker-martine/ https://www.workingclassaudio.com/wca-220-with-butch-vig/ https://www.workingclassaudio.com/wca-047-with-john-vanderslice/ https://www.workingclassaudio.com/wca-156-with-justin-perkins/ Current sponsors & promos: https://bit.ly/2WmKbFw Working Class Audio Journal: https://amzn.to/2GN67TP https://www.omnigroup.com/omnifocus Credits:Host: Matt Boudreau Guest: Beau SorensonWCA Theme Music: Cliff Truesdell Announcer: Chuck SmithEditing: Anne-Marie Pleau & Matt BoudreauAdditional Music: The License Lab

Today we welcome John Vanderslice. I found out about John through his album in 2000 called, Mass Suicide Occult Figurines, on Barsuk Records. It stuck with me and I’ve followed him since. Last month, he released his latest album “The Cedars” on Native Cat Recordings. He’s on tour with Pedro the Lion and worth a listen if you’ve never dived into the mind of Vanderslice. We talk about how he started late in music, how creating music takes some narcissism to survive, about the loss of life, and the depression that he’s been dealing with, including how this album saved his life. Plus, we dive into a discussion about having fame and critical acclaim early on in your career and what that does to you during and after. This is probably one of the more emotional as John opened up about his struggles with dependency on drugs and the battle he has every day with life, creating art, and keeping his recording studios, Tiny Telephone, afloat. Many of your favorite albums have been recorded there like ones from Death Cab for Cutie, Sleater-Kinney, Deerhoof, The Mountain Goats, The Magnetic Fields, and Spoon. A man not afraid to say what he feels and talk it out, I think you’ll enjoy this discussion.Support the show (https://www.patreon.com/washedupemo)

From our Audiograph archives:

Meri St. Mary has a big convo with Tiny Telephone's John Vanderslice on The Underground Sound. Originally aired on KVMRx 10/120/18  

Working Class Audio Session #057 with The Pellicci Brothers!!! The Pellicci brothers Jay and Ian, spent  13 years as staff engineers at Tiny Telephone  working with bands like Sleater-Kinney, Deerhoof, Birds and Batteries and Rogue Wave. Since then they have expanded their recording universe and have joined Eli Crews and John Finkbeiner  in a  partnership at New […] The post WCA #057 with The Pellicci Brothers appeared first on Working Class Audio.

Working Class Audio Session #047 with John Vanderslice!!! John Vanderslice (born in Gainesville, Florida) is an American musician, songwriter, record producer, and recording engineer. He is the owner and founder of Tiny Telephone, and Tiny Telephone Oakland, Bay Area analog recording studios. In 10 full-length albums, and 5 remix records and EPs, Vanderslice’s songwriting is characterized by deeply personal and political lyrics […] The post WCA #047 with John Vanderslice appeared first on Working Class Audio.

Episode 160 - I had the absolute pleasure of speaking to prolific indie rock musician and talented producer (Death Cab For Cutie, The Mountain Goats), John Vanderslice. He was very open in discussing his attitudes towards touring, drug use and how important hip-hop his in his life. It's a free flowing conversation that I think you will enjoy. Excel Quickbooks at 50% off!Get $3 off Loot Crate for all of your pop culture needs. MONTHLY DONATIONONE TIME DONATION Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Nothing like digitally recording an interview in an analog mecca like Tiny Telephone -- but as John Vanderslice says, it's all about the right tool for the right job. We talk the importance of day jobs, Third Eye Blind, professional assholes and the consequences of crossing Mountain Goats fans.

John Vanderslice hardly needs an introduction. For the past ten years he’s been more influential in building the San Francisco music community than perhaps anybody else. His music is loved around the world, and his recording studio, Tiny Telephone, continues to be the spot for independent bands to record some of the best records of the past decade. We’re so honored to feature him, along with Jamie Riotto on bass, for the latest episode of Chasing The Moon.

John Vanderslice hardly needs an introduction. For the past ten years he’s been more influential in building the San Francisco music community than perhaps anybody else. His music is loved around the world, and his recording studio, Tiny Telephone, continues to be the spot for independent bands to record some of the best records of the past decade. We’re so honored to feature him, along with Jamie Riotto on bass, for the latest episode of Chasing The Moon.

a tiny horse and inside a sewing machine a telephone and inside a skeleton some playing cards and a die call me call me we’ll sew oats and blankets underneath we’ll gamble and wake the dead call me call me bhagiti 11.26.07 perrysburg, oh