Today we’re joined by an especially talented folk singer and member of The Waysties, Molly Herbert-Wilson. Kicking us off with a performance, she then takes us into her album pick, The Once by The Once. This self-titled debut is a varied medley of folk tracks that Molly admits contributed to her own personal folk tradition… As such, we then cut to Matt Storm’s “away” interview with Molly where he gets the chance to dive into those career origins a little further. And keep your ears open for more performances throughout!
Today’s band, the English guy-girl duo Slow Club, dips from modern Indie-Pop back to 60s/70s-era Motown for their new release, Complete Surrender. First we take a trip through the album, and then, as per the present case of genre-meshing, we take another trip a through a thesis: “Pop music looks toward the future while Indie looks to the past.” Any validity? That’s today’s question. (Opinions & comments encouraged.)
Welcome to our favorite Calgarian’s special day! That’s right, the renaissance man of the Indi-Folk world, Chad VanGaalen, has released a new album, Shrink Dust, the subject of today’s analysis. We also take some time to discuss fans’ expectations of a given artist’s work based on prior conditions. Artists may often govern our tastes, but our tastes certainly don’t govern them! Ergo, some personal tales. Enjoy!
We’re returning to an old favorite this week with the cheerful theatrics of three musical robots: Steam Powered Giraffe. Incidentally, another old favorite (guest Nelson Lugo), is returning to us! For review, he delivers us Steam Powered Giraffe’s third studio release, MK III. (To hear our review of their second album, see Ep. #39!) And stick around, because after this fun-filled excursion through the band’s most daring product yet, we get to hear all about Nelson’s excursions through the world of magic and theater, namely his upcoming show, “Gathering the Magic.” Enjoy!
This week’s review features an eclectic album of covers whose native genres have been turned on their heads to suit the creative muse of former Red House Painters and Sun Kil Moon frontman, Mark Kozelek. Join us as we hash out this unique acoustic cover-album, Like Rats. Afterwards, we talk more broadly about what it means to “cover” existing music. Whether true to the note or fundamentally overhauled, why do some covers inspire us anew, while others fall flat on their face?
This week’s review is powered by… nobody. We’re unplugging our hearts and minds to dissect the electric-gone-acoustic album, The Life Acoustic by Everlast. Then, be sure to stick around for the big joke: So… three hosts, 62 albums, and a hell of a lot of genres walk into a podcast… and, well, you’ll have to listen in to hear how they fare. That’s right, it’s a blind genre-guessing test! Just a little experiment on interpretation and categorization. Try it yourself for fun and post your claim in the comments! (No Wiki-ing though.)
This week we’re joined by our guest, manic mandolinist Painless Parker, who invites us to explore the rich history of American Folk music. After starting us off with a treat performance, he introduces this week’s album review: Leaving Eden by Carolina Chocolate Drops. Then, after another performance, we get to talk about Painless as an artist, his background, and how he grew to attain a cult following within the Steampunk community and abroad. Oh, and for the subway enthusiast, be sure to remain all the way to the bumper block.
This week we mellow out to the crooners of the Great Lakes, Low, and review their tenth studio album, The Invisible Way. Don’t have the album? We got you covered — follow along with our new Spotify widget! Then stick around for a whopper of a debate on the influential power of art, exploring music’s sociopolitical relationship with prejudice, conscience, and choice.
This week is full of throwbacks and smokestacks as we get down to the brassiest of tacks with the steampunk stylings of Steam Powered Giraffe, and their latest full-length, The 2¢ Show. Then we talk a little about music’s therapeutic capabilities, while gauging the polar extremes of musical receptivity.