Even during their 90's heyday -- with popular singles like "Fall Down," "Walk on the Ocean," "Something's Always Wrong" and "All I Want" ruling the radio -- Toad the Wet Sprocket vocalist and songwriter Glen Phillips recognized that they weren't "the cool kids," often being the least edgy band on any alt-rock marquee. But Glen says it's that same overt self-awareness that has both kept Toad fans around and stirred his current creativity: Releasing a new album based solely on minimal songwriting prompts, and leading a community choir made up of all genders, ages and backgrounds. On this episode, Glen discusses an early love of disco, the visual aesthetics of the 4AD label, his brother's forensic devotion to synthesizers, and why the cover art for Toad's second album Pale is still being studied in graphic design classes. Visit glenphillips.com for social media, tour dates and to get his latest solo release, There Is So Much Here.
Influenced equally by Elizabethan composers and pop radio, Dessa consistently dissects the human condition, while deftly defying genre tags. A member of the Minneapolis indie-rap collective Doomtree (and championed by playwright Lin-Manuel Miranda), her interest in examining behavioral science has fueled multiple careers in creative writing, music and live poetry, as well as spawned TED Talks and her own BBC Radio program on not just how our brains work, but why. During this episode, Dessa shares the impetus for her latest book, previous and upcoming collaborations with the Minnesota Orchestra, the myriad of condiments that travel with her on tour, and the 30-year impact of Liz Phair’s groundbreaking album Exile in Guyville. Visit dessawander.com for literature, vinyl, tour dates, social media and more. Her aforementioned radio series Deeply Human is available however you listen to podcasts.
"People ask us, 'What's your favorite record?' Our answer is 'The one we're going to hear next week.'" That anecdote on today's show from Greg Kot is why he and his Sound Opinions co-host Jim DeRogatis have inspired legions of music journalists for decades: Between emotional reactions to pop music and intellectual analysis of art-rock, they consistently remain curious. As former critics at the Chicago Tribune and Sun-Times respectively, they have seen weird fads, legendary careers and physical media come and go, documenting it all -- whether in print, via the web or on the air. On this episode, Greg and Jim dive into their own early obsessions with vinyl, whether or not we can truly judge someone by their record collection, and why music criticism shouldn't be a solo project. Find Sound Opinions wherever you hear podcasts, or at soundopinions.org.
Counting himself as part of the last pre-internet music generation, North Carolina native and singer/songwriter Caleb Caudle believes the things that matter take time -- whether sending handwritten postcards randomly to fans or making sure a vinyl release invites listeners fully into his world through artwork. And that kind of dedication ultimately creates hope in a post-pandemic music industry. On this week's episode, Caleb discusses renting his first turntable from his high school library, record shopping in nearby Winston-Salem, how being an avid history buff turned him into a pro wrestling fan, and recording his new album Forsythia -- which, in some ways, he originally projected as being his final release -- in a cabin built by Johnny Cash. Forsythia is available everywhere Friday, October 7th with unique vinyl variants available via indie record stores, Amazon and calebcaudle.com, where you can also find tour dates, social media and more.
From the first moment of S.G. Goodman's latest album Teeth Marks, one hears a voice and a lyrical wisdom that feel perfectly worn in -- like that of an artist who's been crafting decades worth of masterful, soul-baring material. What's all the more astounding is that Teeth Marks is only her second record. Amongst many accolades since that album's release, the publication Bitter Southerner defines it as "driven by love, sometimes by defiance, but always by a delight in singing out... like the declaration of an artist who knows exactly who she is, backed by a band that blows the roof off the studio." On today's show, S.G. shares her affection for Herb Alpert's "Ladyfingers," some candid struggles with diagnosed OCD, the unique way in which her Marantz receiver was acquired, and the underappreciated comforts of house slippers. Find tour dates, social media and more at sggoodman.net.
Enjoy this encore presentation of the podcast with Motion City Soundtrack drummer -- and host of the podcast Bizarre Albums -- Tony Thaxton, from early in 2021. We will be back with new episodes soon!
Enjoy this encore presentation of the podcast with singer/songwriter Emma Swift from August 2020. We will be back with new episodes soon!
Enjoy this encore presentation of Episode 101, with accomplished graphic designer Aaron Draplin.
While stepping outside of Death Cab for Cutie and The Postal Service - inarguably two of the most influential names that indie rock has birthed in the last two decades - lead singer/songwriter Ben Gibbard has acquired a stunningly diverse range of collaborators, from The Monkees to Chance the Rapper. On today’s show — as DCFC approaches the fall release of their tenth album, Asphalt Meadows — Ben describes why the pandemic changed his vinyl listening habits, how he’s fallen randomly into some of the aforementioned collaborations, and the band’s explosive (literally) new video, directed by Lance Bangs. We also discuss Yoko Ono, AC/DC, Pharoah Sanders, and Ben’s soft spot for former Milwaukee Brewer Gorman Thomas. Pre-order Asphalt Meadows, via deathcabforcutie.com or wherever you get music, prior to its release September 16th.
Enjoy this encore presentation of Episode 110 with guest Matt Earley, president of acclaimed vinyl pressing plant Gotta Groove Records in Cleveland. PLUS a sneak peek on next week's guest!
Popular female country artists like Kacey Musgraves and Maren Morris have scored major pop crossover hits, made huge splashes in the vinyl market and perform for sold-out crowds across the United States, yet barely have a blip on country radio. Though far from a new phenomenon, it’s one that has drawn battle lines over the last two decades between gatekeepers of a genre dominated by white males and a rightfully fervent opposition seeking accountability, diversity and equal representation. On this week’s episode, music journalist Marissa R. Moss (Rolling Stone, Billboard) explains how she tackles these issues and more in her new book, “Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be” (available today, May 10th). We also dive into why Sturgill Simpson’s latest record is best enjoyed on vinyl, the rise of Nashville’s Black Opry, and how life events influence how we hear and appreciate music. Visit marissarmoss.com for more information about “Her Country,” and follow her on Instagram and Twitter @marissarmoss.
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.
Much of what we love about vinyl records is separate from the vinyl itself: Photographers, illustrators and more play an important role in helping fans connect emotionally or otherwise with their favorite recording artists, especially in the age of social media. Today, three accomplished individuals — portrait photographer Alysse Gafkjen, muralist Kim Radford and live photographer Josh Weichman — discuss their first big breaks in the music industry and specific methods used to capture their best work, as well as advice for the next generation of visual artists.
As co-hosts of the podcast Who Cares About the Rock Hall?, comedians Kristen Studard and Joe Kwaczala examine the history, politics, annual inductions and just-as-annual snubs within the Rock and Roll Hall of Fame. Originally launched as a simple way for two friends to discuss music, the show has gotten the duo unprecedented access to those behind-the-scenes and in the know -- even arguably swaying a vote or two. This week, Joe and Kristen discuss the hall's controversial start, this year's nominations, how doing the podcast has influenced their views on music fandom, and why voting for less total inductees speaks volumes. Follow @rockhallpod on Twitter and Instagram, plus subscribe to Who Cares About the Rock Hall? wherever you get podcasts.
With 25th anniversaries occurring or looming for some of his earliest work with Alkaline Trio, Slapstick and Tuesday, Dan Andriano is set to release yet another chapter in a storied career next month -- Dear Darkness, his first LP with backing band The Bygones. On today's show, Dan discusses the importance the suburbs play in the story of Chicago punk rock, what kickstarted his interest in writing songs in the studio, and how some of Alkaline Trio’s most visceral album artwork came from both organic and practical means. Dear Darkness is out everywhere February 11th on Epitaph Records. Visit danandriano.com for social media, album pre-orders and more.
Championed by some today’s biggest names on the fringes of country music, singer/songwriter Amythyst Kiah released her most recent album, Wary + Strange, last year to rave reviews. Upon its release, Pitchfork dubbed the record “an intensely personal document (that) examines the realities of being a Southern Black LGBTQ+ woman in songs both defiant and vulnerable.” One of those tracks in particular, the Grammy-nominated “Black Myself,” matches a hypnotic groove and gritty distortion with lyrics addressing the horrors of chattel slavery and the Brown Paper Bag Test, making for an unforgettable statement that channels both Odetta and Public Enemy. On today’s episode, Amythyst discusses “Black Myself” in detail, as well as growing up with an audiophile father, being intrigued as a kid by a particular Santana album cover, and how an a cappella Tori Amos song inspired her to share her most personal struggles. Visit amythystkiah.com for tour dates, social media and more.