For the Record With GG and Adam
250 episodes — Page 4 of 5
For the Record #100: Mike Krol's "Power Chords"
Both the cover art and title of Mike Krol's new album give insight into what this record sounds like: a fuzzy, raw, emotional gut-punch full of cathartic, sing-a-long choruses and self-aware lyrics.
For the Record #99 - Better Oblivion Community Center
Better Oblivion Community Center is an exciting new collaboration between two extremely talented singer-songwriters, Conor Oberst and Phoebe Bridgers, the latter of whom we discussed in episode #75. We discuss Better Oblivion Community Center's self-title
For the Record #98: Buke and Gase's "Scholars"
Buke and Gase is an experimental pop duo who make their own instruments and create an unclassifiable sound that rewards repeated listens. We discuss their new album "Scholars" on episode #98 of "For the Record."
For the Record #97: Foxwarren's "Foxwarren"
Foxwarren is led by Canadian singer-songwriter Andy Shauf, and brings a rich, complex warmth to the isolation of the Canadian prairie. We discuss it in-depth on episode #97 of "For the Record."
For the Record #96: Boygenius' self-titled EP
Boygenius is the group project of Lucy Dacus, Julien Baker, and Phoebe Bridgers, who recorded this six-song EP when they came together in an L.A. studio for a four-day break in their own solo touring schedules.
For the Record #95: Rubblebucket's "Sun Machine"
On the surface, Rubblebucket's fifth LP is a fun, energizing dose of electro-funk to which you can't help but dance. But dig a little deeper and you'll find a thoughtful meditation on finding joy and personal growth in the aftermath of major health and re
For the Record #94: Ian Sweet's "Crush Crusher"
EThis is Ian Sweet's second record, but to some degree it's a solo debut by vocalist/guitarist Jilian Medford. We discuss Ian Sweet's rebirth with the melodic, experimental "Crush Crusher" in-depth on episode #94 of "For the Record."
For the Record #93: Swearin's "Fall into the Sun"
Swearin' broke up 3 years ago, but have reunited for a third LP. We discuss Swearin's new record, "Fall into the Sun," in depth in episode #93 of "For the Record."
For the Record #92: The Beths' "Future Me Hates Me"
The Beths is a new power pop band from New Zealand who pile hooks upon hooks while also creating impressive depth. We discuss their debut LP, “Future Me Hates Me” in episode #92 of “For the Record.”
For the Record #91: Slothrust's "The Pact"
For their fourth studio album, Slothrust brings in a new producer and willingness to experiment, taking their guitar-driven sound in some unexpected directions. We discuss it in depth in episode #91 of “For the Record.”
For the Record #90: Janelle Monáe's “Dirty Computer”
EJanelle Monáe breaks out of her history of doing concept albums in-character to make a more personal record that also serves as a statement of queer, black, feminist empowerment to which you can't help but dance.
For the Record #89: Valley Queen's "Supergiant"
Valley Queen's debut LP combines Natalie Carol's powerful vocals with 70s-tinged guitar rock that recalls both Florence and the Machine and Fleetwood Mac. We discuss it in depth in episode #89 of “For the Record.”
For the Record #88: Fantastic Negrito's "Please Don't Be Dead"
EOakland's own Fantastic Negrito has a story worthy of a Hollywood movie, and he uses his incredible life experience to bring emotion and depth to the modern blues fusion of his latest record, “Please Don't Be Dead.” We discuss it in depth in episode #88 o
For the Record #87: Snail Mail's "Lush"
Lindsey Jordan of Snail Mail is only 19 years old, but possesses a guitar prowess and emotional maturity that make her wise beyond her years. We discuss the dreamy textures of her Matador debut, “Lush,” in episode #87 of “For the Record.”
For the Record #86: Flasher's “Constant Image”
Flasher are a Washington D.C.-based trio who make tight, energetic, new-wavey post-punk that captures the urgency and anxiety of being young in 2018 America. We discuss their debut LP, “Constant Image,” on episode #86 of “For the Record.”
For the Record #85: Neko Case's "Hell-On"
Neko Case combines her singular voice with a host of collaborators, branching out into a variety of musical styles and instrumentation choices to make what might be her best solo record yet — and it's mostly self-produced. We discuss it in depth in episo
For the Record #84: L.A. Salami's "City of Bootmakers"
British singer-songwriter L.A. Salami crosses genres in a style he describes as “post-modern blues.” In his new record, “City of Bootmakers,” he addresses both social and personal issues using songs that are tight, catchy, and will stick with you long aft
For the Record #83: Frank Turner's "Be More Kind"
EBritish singer-songwriter Frank Turner takes things in a new, synthier direction on his new record, “Be More Kind,” which is also his proposed solution to how we keep our sanity in an increasingly chaotic world. We discuss the album in depth in episode 83
For the Record #82: Forth Wanderers' "Forth Wanderers"
The Forth Wanderers may be just out of high school, but they make compelling guitar rock with a wisdom beyond their years. We discuss their self-titled debut for Sub Pop Records in episode #82 of "For the Record."
For the Record #81: Caroline Rose's "LONER"
Caroline Rose's sophomore record "LONER" is already one of our favorites of 2018, combining a great sense of humor with a pop sensibility that compels you to just keep the whole album on repeat, and we discuss it in detail in episode #81 of "For the Recor
For the Record #80: Marlon Williams' "Make Way for Love"
EMarlon Williams is only 27 but his extraordinary, Roy Orbison-esque croon has already won him fame in his native New Zealand. With "Make Way for Love," he branches out beyond a more stripped-down presentation of his amazing voice to bring us a record with
For the Record #79: Our Picks from SXSW 2018
In Episode #79 of For the Record, we depart from our usual format to tell you about our favorite new discoveries from 2018's South by Southwest music conference (aka SXSW) in Austin. We discuss Gang of Youths, Haley Heynderickx, Mal Blum, Flasher, Carolin
For the Record #78: Superchunk's "What a Time to Be Alive"
EAlmost 30 years in, on their 11th studio album, Superchunk sound like they've been galvanized by national events, and bring us an album that's more vital and thrilling than anything they've done in years.
For the Record #77: No Age's "Snares Like a Haircut"
The fifth studio album from No Age, "Snares Like a Haircut," is also their first record in 5 years, and brings a welcome melodic sensibility to their noisy, art-rock roots. We discuss it in-depth on episode #77 of "For the Record."
For the Record #76: Typhoon's "Offerings"
The fourth studio album from Portland-based Typhoon, "Offerings," is a meditation on memory and loss that's emotionally absorbing and an incredible artistic achievement. We discuss it in-depth on episode #76 of "For the Record."
For the Record #75: Phoebe Bridgers' "Stranger in the Alps"
EPhoebe Bridgers' darkly self-aware songs, touched with humor and interesting production, are the perfect note to go out on for our last podcast of 2017. We discuss her debut LP, "Stranger in the Alps," in episode #75 of For the Record.
For the Record #74: Our *Other* Favorites From 2017
For this episode, we take a look at the albums released in 2017 that we really enjoyed, but didn't do as a standalone podcast for one reason or another. We discuss this year's releases from the Dirty Projectors, A Giant Dog, Feist, Spoon, The War on Drugs
For the Record #73: The National's "Sleep Well Beast"
EThe National are back with their 7th studio record, "Sleep Well Beast," and we discuss it in depth on episode #73 of "For the Record." For all the episodes, visit ForTheRecordPodcast.com.
For the Record #72: Weaves' "Wide Open"
Toronto's Weaves got a lot of attention for their experimental debut record last year, and they're back with a sophomore LP that's more pop-oriented and accessible, but no less interesting.
For the Record #71: Wolf Parade's "Cry Cry Cry"
It's been seven years since Wolf Parade released their last LP and subsequently went on an indefinite hiatus. Each member spent time on various side projects, but they're back together and sound more cohesive than ever.
For the Record #70: Ted Leo's "The Hanged Man"
Ted Leo (minus the Pharmacists) is back with a vengeance with his first solo record in 7 years, which explores new territory, both musically and emotionally. We discuss it in depth in episode #70 of "For the Record."
For the Record #69: LCD Soundsystem's "American Dream"
The second coming of LCD Soundsystem has been controversial because of the band's much-ballyhooed breakup less than a decade ago, but "American Dream" makes us forget all that and just be grateful for their return.
For the Record #68: Filthy Friends' "Invitation"
Filthy Friends is a supergroup made up of Corin Tucker of Sleater-Kinney, Peter Buck of R.E.M., Scott McCaughey of the Minus 5 and the Young Fresh Fellows, Kurt Bloch of the Fastbacks, and Bill Rieflin of King Crimson and many other bands.
For the Record #67: Tim Darcy's "Saturday Night"
With "Saturday Night," Tim Darcy, the lead singer of Montreal band Ought, has released a solo album that feels like he has combined equal parts Lou Reed, Neutral Milk Hotel, and 1960s psychedelia, to create a sound that's wholly his own.
For the Record #66: Broken Social Scene's "Hug of Thunder"
Canadian collective Broken Social Scene had been on a multi-year hiatus, but are finally back with their first record in 7 years, "Hug of Thunder." We discuss it in-depth in episode #66 of "For the Record."
For the Record #65: Ratboys' "GN"
Ratboys' second record, "GN," is sweet on the surface but has a depth and complexity to it that rewards repeated listens. We discuss it in-depth on episode #65 of "For the Record."
For the Record #64: Jay Som's "Everybody Works"
Recording under the moniker Jay Som, Oakland's own Melina Duterte produced "Everybody Works" in her own home, playing all of the instruments herself. The result sounds more like a full band.
For the Record #63: The Mountain Goats' "Goths"
The Mountain Goats' 16th studio album, "Goths," is neither a goth record, nor a record about being goth, but a complex and beautiful album about looking back on the intensity and passions of your youth with the perspective of adulthood.
For the Record #62: Girlpool's "Powerplant"
Girlpool's second full-length record marks a major change in style for the band, as the onetime duo adds a drummer, noisier guitars, and lowers their vocals in the mix. We discuss it in depth in episode #62 of "For the Record."
For the Record #61: Aimee Mann's "Mental Illness"
Aimee Mann has had a long and impressive career as a singer-songwriter, but her new, stripped-down record, "Mental Illness," which includes collaboration from Jonathan Coulton, Ted Leo, and John Roderick, may be one of her best records yet.
For the Record #60: Sweet Spirit's "St. Mojo"
Sweet Spirit are probably the best band in Austin, Texas -- live music capital of the world -- and they're definitely the best band we saw at the South by Southwest music conference this year. We discuss their new LP in depth in episode #60.
For the Record #59: Diet Cig's "Swear I'm Good At This"
EIn Episode #59 of For the Record, we discuss the debut LP from Diet Cig, "Swear I'm Good at This." The energetic duo makes charming indie pop that documents a sometimes-tough transition between the teen years and adulthood.
For the Record #58: Our Picks from South by Southwest 2017
As we do once a year, we break format to talk about our favorites from SXSW this year: Lizzo, Sweet Spirit, L.A. Salami, Weaves, Lisa Prank, Lee Bains III and the Glory Fires, and CHAI.
For the Record #57: Landlady's "The World is a Loud Place"
Landlady's engaging live performance is what first attracted us to the band, and their third LP, "The World is a Loud Place," really delivers that energy to the listener. We discuss it in-depth in episode #57 of "For the Record."
For the Record #56: Ty Segall's "Ty Segall"
Ty Segall's prolific psych-glam-garage rock output makes it seem a bit intimidating to find an entry point into his catalog, but his second self-titled LP provides a great opportunity.
For the Record #55: Greg Laswell's "Everyone Thinks I Dodged a Bullet"
Greg Laswell's "Everyone Thinks I Dodged a Bullet" is a great breakup album for a stormy winter day. We discuss it in depth on episode #55 of "For the Record."
For the Record #54: Hannah Georgas' "For Evelyn"
Hannah Georgas is a Canadian singer-songwriter who has made a beautiful, introspective pop album that rewards repeated listens.
For the Record #53: Our Favorites of 2016
We review our favorite records of 2016, in no particular order: Car Seat Headrest, Lucy Dacus, Okkervil River, Mitski, Thao & The Get Down Stay Down, A Giant Dog, and Eleanor Friedberger.
For the Record #52: LVL UP's "Return to Love"
Three different songwriters/vocalists each bring their own style to New York band LVL UP's Sub Pop debut, "Return to Love." We discuss it in-depth in episode #52 of "For the Record."
For the Record #51: Angel Olsen's "My Woman"
Angel Olsen's breakout record "Burn Your Fire For No Witness" set fans up to expect more of her powerful retro-folk this time around, and Olsen instead subverts expectations and delivers a new sound that showcases her creativity and range.