We just wanna tell you how we’re feeling; gotta make you understand…. the power of analysis. As the title suggests, Rick Astley is 50! After taking an extended hiatus in order to raise a family, he’s finally back to celebrate his age and other fortunes in his new album, aptly titled 50. Join us for a breakdown of 50, and also for a hefty discussion [@ 1:36:40] on the ‘memification’ of music, comedy, and social media art. So please, don’t give us up, and don’t let us down… because we know the game, and yes, we’re gonna play it.
In the mood for some girl empowerment? And girls? Well today, Matt welcomes Raina Sinclair, Betty Brash, and Paige Literati as the three producers of Magical Girl Burlesque (and as performers in their own right). Inspired by a genre of manga that focuses on the power and inner strength of girls and women, Magical Girl Burlesque joins Matt to discuss their origins as a burlesque troupe and how they all got their start, individually. From the details on how they create their acts, to discussions on Matt’s involvement as a host, and even their activities outside of burlesque, here’s presenting Matt Storm and Magical Girl Burlesque.
We’ve got an exciting project lined up for you today: the Austrian rock band Second Relation and their third album Eno. Peppered with the perks of pop music and the soul-satisfying rewards of art rock, Eno is a must-experience for progressive rock fans and music lovers in general. You know the drill; listen to the album yourself first, then join us in a track-by-track analysis of Eno and Second Relation’s fascinating attempt at musical portraiture. Afterwards, stick around for some brief theorizing on whether we, as people, have personal “themes”—simple narratives that the media we consume could easily, or not so easily, portray.
Today, Matt interviews all four members of the band Three Pints Shy—Jonathan Siregaar, David Anthony, Robbie Taylor, and David Mikofsky—all who identify themselves as a Celtic pub band from New York. With their latest release The Burlap Album now available, Matt chats with the guys on their band origins and their music & performance background. They also chat about their live shows, their songwriting process, and the fun they have with friends and fans. And so, here’s presenting Matt Storm and Three Pints Shy.
Clear your day for Leonard Cohen. (Well, a least a portion of it.) With his soft vocals and poetic flair, Leonard Cohen has been speaking to a generation of poets as well as musicians ever since the 1960s. Today we’ll be speaking to both camps as we take on Cohen’s latest album You Want It Darker. Also, stick around for a brief compare & contrast discussion on universality and general appeal vs. the personal effect and specificity.
[Edit: This episode was released three days before Leonard Cohen’s unfortunate passing. We are deeply saddened by his loss and we hope this episode is taken as a celebration of his work, despite its ill-timed release. The following interpretations of his final album and life’s work are opinion-based and, we hope, considerate of his legacy.]
Kat Pace is a singer/songwriter and actress from Philadelphia, who lives and writes in New York City. With the release of her three-song EP ‘Survivor’ in June 2014, she is currently working on a full-length album, due out in Spring 2017. Below is an interview she did with Matt Storm that was intended for release on Crash Chords: Autographs, but was delayed due to technical issues. The audio, unfortunately, was irrecoverable, but a transcript was saved! Enjoy reading this detailed chat with Matt & Kat on the ins and outs of the music industry, her background, writing process, plans for the future, advice for up-and-coming musicians, and a healthy aside on Hamilton, show tunes in general, and other genre trailblazers.
Batten down the hatches… Tidal Wave, the seventh studio album by 17-year rock veterans Taking Back Sunday, is our task for the week. Despite some occasional changes in the band lineup, the group has retained enough stability to turn out albums with consistency and class. We hope you’ll honor that consistency and join us for an analysis of the group’s latest creation, Tidal Wave. Afterwards, stick around to [2:02:20] for a preview on a little experiment of ours: Does music stack up to the 7 Basic Plots of plot-writing (as are often found in literature)? Are the journeys equatable, or does music simply go rogue?
Today Matt welcomes burlesque performer and producer Matt Knife, hailing from Brooklyn, NY. The producer of his own show Homo Erectus, Matt Knife discusses his performing & producing career, including some of the recent projects involving your host, Matt Storm: specifically, The Pink Room Burlesque’s tribute to Mulholland Drive. He chats about his style of performance, what it’s like to debut a new act that’s never been performed before, and his background in theater production and costuming (and how that’s informed his burlesque career). On these subjects and Matt’s other artistic endeavors — including his love of painting — here’s presenting Matt Storm and Matt Knife.
Grab your passport. Today we’re taking a trip through the island of Ushant — that is, Eusa (in Breton) — the inspiration for EUSA, the latest album by Ushant resident and French composer Yann Tiersen. As Crash Chords has never before had the opportunity to sit with a pure piano work, EUSA keeps us on our toes as we discuss Yann Tiersen’s trademark style and the album’s mysterious sequence of introductory “paths”. We chat about imagery, minimalism, what is and isn’t certainty/reality, and then let our hair down with a topic on good ol’ fashioned boredom in a media-rich culture.
Brace yourself for Love Streams… the “streams” being the conjurings of one Tim Hecker, a Canadian electronic artist who, with the help of his Icelandic colleagues, has turned out a record that focuses more on the indistinct (and occasionally indistinguishable) textures/soundscapes than on more well-defined figures. Sporting a whirlwind of choir, woodwinds, static, and plenty of food for discourse, we’ll be analyzing Love Streams from top to bottom before indulging ourselves in a topic on music listening habits. From time and place to ambiance and mood, how do we slice up our daily routine to accommodate the wide world of music? When a specific mood is on the docket, who should accommodate whom?