Talkhouse Podcast

This episode originally aired on March 25, 2026. Subscribe to ⁠⁠Music Person. Florence Shaw of Dry Cleaning from South London, England. Florence and Dylan discuss the difficulties of international touring, what your brain feels like on art school, black plastics, wanting to become a horse, reaching an associative songwriting state, and riding the bus as an idea-generating machine. + Florence gets something off her chest. Artists we mentioned: Cate Le Bon, Ryan Davis, Black Midi, bar italia, Jeff Tweedy, Elton John. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got a songwriter with a long and varied history who’s somehow just now making her solo debut alongside the musician and producer who helped her make it: it’s Morgan Nagler and King Tuff. You could be excused for not knowing Morgan Nagler’s name; she’s been on the fringes of the L.A. music scene for the past couple of decades, co-writing songs with Phoebe Bridgers (the remarkable “Kyoto”) and HAIM, among others—as well as fronting the band Whispertown. She’s also had another career on-screen, from Punky Brewster to American Pie 2, but that’s not relevant for today’s conversation. Just this month, Nagler released the first album under her own name, and it carries the all-time great title I’ve Got Nothing to Lose and I’m Losing It. If you love melodic, heartfelt pop with a bit of that Laurel Canyon twang, you will find something to love on this record. Check out the song “Hurt” right here, which features a cavalcade of talented backing singers, too. Kyle Thomas has been making music under the name King Tuff for the past 20 years or so, cranking out rollicking, straightforward rockers that fit perfectly with his moniker. For his new record Moo, Thomas went back to basics after spending what he felt like was too much time cleaning things up. The result is a garage-y, thoroughly catchy set of songs that never try to overcomplicate the desire to rock. Think GBV or Ty Segall or Mikal Cronin. Check out the song “Invisible Ink” from his new album Moo right here. It’s out this week. In this fun chat, Nagler and Thomas talk about the fun of writing lyrics together, Thomas’ move back to the snowy woods of Vermont, and what they plan to eat on their upcoming tour together. There’s also white weasels and Cadbury creme eggs, so pay close attention and enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Morgan Nagler and Kyle Thomas aka. King Tuff for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got a great conversation between two friends and tourmates, one a musician, and one whose job title is slightly harder to pin down: It’s Langhorne Slim and Jordan Klepper. Langhorne Slim has been making music for the past two decades, and while it’s plenty varied, it also fits nicely into that wide bucket called Americana. For his new album, The Dreamin’ Kind, Slim hooked up with a couple of guys from Greta Van Fleet and ended up dedicating some time to rocking in a way he hadn’t really done before. Parts of the record offer a more polished sound than he’s made in the past—it’s the sound of a guy who’s always loved to go for it kind of going for it in a different way. Live, Langhorne Slim always brings it, connecting with audiences whether they’re already fans or not—often by joining them right out in the audience. If you recognize the voice or name, you may have heard Langhorne Slim on a movie soundtrack or opening for the likes of The Avett Brothers or The Lumineers over the years. Check out one of the more rocking tracks from The Dreamin’ Kind right here, “Haunted Man.” The other half of today’s conversation is a little harder to categorize. Sure, Jordan Klepper sometimes stands on stage and says funny things, but he’s not exactly a comedian. He’s probably best known as the co-host of the current Daily Show iteration, and via that avenue and others—including his own show, The Opposition and a bunch of standalone specials—he’s actually done some of the most biting and important political-culture reporting of the horrifying era we’re currently living in. He was there on January 6, somehow managing to be funny amidst all the chaos. It’s a talent that’s extended to a podcast, other TV specials, and of course, the stand-up stage. On a recent tour, he asked Langhorne Slim to join him for some dates, and as you’ll hear, the two became fast friends. In this conversation, they talk about touring together—and Slim’s frequent trips into the audience during shows—plus the tricky business of legacy, the meeting of capitalism and art, and running into an exposed penis on the streets of New York—and how one should react to that. Enjoy. Thanks for listening to the Talkhouse Podcast and thanks to Jordan Klepper and Langhorne Slim for chatting. If you like what you heard, please follow us on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week's Talkhouse Podcast, we’ve got a look back at a fantastic record on its 20th anniversary by an interesting pair of collaborators: the guy who made the music and the guy who created its iconic visuals. It’s Andrew Bird and Jay Ryan chatting about The Mysterious Production of Eggs. Andrew Bird has been on the podcast before, and he’s had such a rich and varied career we could have him on a dozen more times. He was a music-school kid and violin expert whose early career focused on more traditional sounds, but watching him break out of his shell—sorry—was fascinating. He made records with Andrew Bird’s Bowl of Fire for a few years, but it was when Bird officially went solo that he found his sound—a sort of gentle, intricate indie-folk made unmistakable by the triple threat of his gorgeous voice, his violin, and his uncanny whistling. You could reasonably argue that 2005’s The Mysterious Production of Eggs is where he really cracked the code—sorry again. It’s an essential record that didn’t come easy: He recorded and scrapped it a few times before getting it where he wanted it. Some of the early versions of the songs are included on the album’s new triple-LP reissue. Check out “Measuring Cups” from The Mysterious Production of Eggs right here. In addition to revisiting the music of Eggs for this anniversary edition, Bird decided to revisit the iconic artwork, made by his longtime collaborator Jay Ryan. Ryan was just coming into his own as an artist—mostly of show posters at the time—as Bird was making his way as a musician, both in Chicago. As you’ll hear in this chat, their worlds collided and they eventually found a creative collaboration whose zenith was the artwork for Eggs, whose cover features an odd beast covered in a blanket. Ryan created an image for every song on the album, and he expanded on those images for the upcoming box set, revealing more about the songs and the drawings. Ryan has created art for a million bands and other projects—and he’s in some bands of his own, including the awesome Dianogah—but it’s his work with Bird that might be his best known. As you’ll hear in this chat, these two are old friends who were excited to work together to revisit The Mysterious Production of Eggs. They talk about the individual songs and drawings, about their early days in Chicago, about how being creative shouldn’t necessarily be easy, and much more. At the end, you’ll hear them reference Bird’s 2026 tour dates, many of which will find him performing The Mysterious Production of Eggs backed by major symphonies around the world—sounds awesome to me. Check out andrewbird.net for tour dates and for some interactive artwork based on Jay Ryan’s art. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jay Ryan and Andrew Bird for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

This episode originally aired on February 18, 2026. Subscribe to ⁠That's How I Remember It⁠. Courtney Marie Andrews is my guest on the first That’s How I Remember It of 2026. Courtney is a great songwriter, poet, painter - a true artist who does a lot of things. We talked about love and grief on her great new record ⁠Valentine⁠ as well as light affecting memory, Marin County, the musical Annie, playing covers, Warren Zevon’s Preludes, and poetry vs. songs. Really enjoyed this and happy to be back with new episodes of THIRI. Listen and ⁠subscribe⁠!

This week’s Talkhouse episode is particularly exciting for me, since my two guests are also two of my favorite songwriters and singers ever—and they happen to be big fans of each other. It’s Matt Berninger and Eric Bachmann. Eric Bachmann was a massive part of the ‘90s indie-rock explosion as the snarling voice behind Archers of Loaf, a band that released four incredible albums in its relatively short run. But Bachmann ditched most of that genre’s signifiers afterward and has spent the last quarter-century writing and recording incredible songs both under the name Crooked Fingers and under his own. His records are more in line with Tom Waits or Townes van Zandt than Pavement, and his deep catalog is worth a deep dive. You could start pretty much anywhere, so it might as well be with the brand new Crooked Fingers album Swet Deth. It’s the first time Bachmann has dusted off the Crooked Fingers name in more than a decade, I’m assuming because it sounds like a more fleshed-out affair. He also invited some friends to provide backing vocals on a few tracks, including Superchunk’s Mac McCaughan, Sharon Van Etten, and today’s other guest, Matt Berninger of the National. Check out the Crooked Fingers song “From All Ways,” which features Berninger’s distinctive voice. Fun fact: When the first two Crooked Fingers albums were reissued about 10 years ago, Bachmann asked two of his biggest fans to write the liner notes. One, I’m proud to say, was me, and the other was Matt Berninger, the intense baritone frontman of the National. As you’ll hear in this chat, Matt has been a fan of Eric’s since back in the Archers days. Berninger of course has had an incredible career in roughly that same timeframe, leading the National from small clubs to huge venues with a thoroughly unimpeachable catalog of smart, dark songs. (These two have those adjectives very much in common.) In addition to fronting the National, Berninger has stepped away on occasion for side projects and solo records. His latest release under his own name is Get Sunk, which came out last year. He’s about to launch a Canadian tour followed by some dates in Europe—catch him if you can, the solo shows are a different vibe than the National, but no less worth your time. This wide-ranging conversation starts with a discussion of Bachmann’s recent heart attack—a scary situation that’s going to keep him off the road for a bit. They also talk about working together on “From All Ways” and a semi-secretive new thing that they’ve been hatching for the past couple of years. It’s a great, deep chat between two guys who obviously admire each other’s music a lot. If you’re not familiar with both, I strongly suggest a deep dive. Enjoy the episode. Thanks for listening to the Talkhouse Podcast, and thanks to Eric Bachmann and Matt Berninger for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the other great shows in our network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got two women whose singing styles are similar in that they’re both absolutely singular, unmistakable, and wonderfully out of step—just don’t call it spoken-word. It’s Florence Shaw of Dry Cleaning and Sue Tompkins of Life Without Buildings. As you’ll hear in this chat, Dry Cleaning sort of fell together in London around 2017, when the three instrumentalists approached their friend Florence Shaw to add some vocals to the music they had been writing. It turned out that Shaw’s approach—speaking dense, clearly crafted but never obvious words—slotted in perfectly with the sort of nervous-yet-precise songs they had been working on. By 2020, Dry Cleaning had signed with the venerated 4AD label and the next year released a debut album, New Long Leg, that earned comparisons to post-punk greats like Siouxsie and Sonic Youth. For their third studio album, Secret Love, Dry Cleaning worked with producer-slash-musician Cate Le Bon, and they stretched out a bit, mellowing the sharp corners a bit while Shaw experiments more with vocal melody than before. Check out “Cruise Ship Designer” from Secret Love right here. Another person that eagle-eared listeners have compared Florence Shaw to is Sue Tompkins of the legendary, kinda-lost Scottish band Life Without Buildings. Life Without Buildings only released one album, Any Other City, in their brief three-year run, but it had a focused impact. Shaw remembers hearing the record as a teen. “It blew my mind that you could free yourself from the pressure of making traditional sense in lyrics,” she told the website Hearing Things, before mentioning that she’d love to meet Tompkins one day and thank her. Well, with some recent activity on the Life Without Buildings front—Tompkins contributed vocals to a new Sleaford Mods song, and the band just announced a couple of reunion shows—it seemed like the perfect time to get them together. In this delightful chat, Tompkins and Shaw talk about the similar origins of their respective bands, how genuinely kind the dudes of Sleaford Mods are, and their understandable reticence about the term “spoken word.” They also chatted a bunch about the TV shows Dragons’ Den and Eastenders, but we had to trim that in the interest of time. Trust me, it was great. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Sue Tompkins and Florence Shaw for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

For this week's episode, we're going to skip the typical Talkhouse format and give you something that I think you're going to love just as much, about a band called The Fiery Furnaces. I bet a lot of you remember, but if you don't, The Fiery Furnaces are siblings, Matthew and Eleanor Friedberger from Oak Park, Illinois, not far from Chicago. Together they put out seven of the scrambliest, catchiest rock albums of the 2000s, and then they kind of disappeared. We got contacted by a longtime radio journalist and producer of the show Snap Judgment, John Fecile, who wanted to talk to Matt and Eleanor. It turns out he had spoken to them over a decade ago, and as he'll explain, there was a very specific reason he wanted to talk to them again. Upcoming live shows for The Fiery Furnaces Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

I might overuse this word a little bit, but on this week’s episode we do have a true pair of legends in conversation on the Talkhouse Podcast this week: Maynard James Keenan and Daniel Ash. Keenan is of course best known as the frontman for Tool, the dark, complex, heavy band he formed way back in 1990—but whose records come few and far between. Keenan is also the frontman for A Perfect Circle, but the reason for today’s chat is yet another band, Puscifer. This one started out almost as a solo outlet for Keenan’s weirdest ideas: There are comedic elements, and—fun fact—Puscifer actually sprung to life as part of a Mr. Show sketch. (Google it, it’s a good story.) But the band has evolved over the years into a steady trio that features Keenan alongside Carina Round and Mat Mitchell, and that more recently has explored Keenan’s most theatrical and straightforward impulses. It’s funny, weird, and heavy, and the brand new Puscifer album, Normal Isn’t, even nods sonically to UK post-punk bands like Killing Joke. Check out “Self Evident” right here. The other half of today’s conversation is Daniel Ash, whose resume also includes a remarkable number of incredible bands, starting with Bauhaus, moving directly into Tones on Tail, and then heading for a long stretch into Love and Rockets, which reunited a couple of years ago for some very welcome shows. Ash’s guitar playing over the years has been quietly influential on a ton of players; you can hear his tone in a remarkable swath of bands. Last year, he released the first album by his latest outfit, Ashes & Diamonds. Called Ashes & Diamonds Are Forever, it’s unmistakably Ash’s voice and tone, though in some flashier dressing on occasion. It’s a lot of fun. Check out “Teenage Robots” right here. In this wide-ranging conversation, Ash and Keenan talk about Keenan’s wine business—he was nice enough to send Ash some bottles in advance of this chat—as well as touring, making videos, and the seemingly inevitable future of AI. Ash thinks it’s going to be good, so even if he’s wrong, it’s nice to hear some optimism. Ash is also obsessed with motorcycles, leading Keenan to suggest an intervention. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Maynard James Keenan and Daniel Ash for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the other great shows in our network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by The Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve paired up two songwriters who love to wander musically but whose recordings are tough to mistake for anyone else’s. It’s Luke Temple and Will Westerman. Temple has been making incredible records at a pretty solid clip since around 2005, first making a real splash as part of a trio called Here We Go Magic, whose four-album catalog is legendary in certain circles. But Temple has also recorded fantastic records under his own name, under the alias Art Feynman, and, more recently, with Luke Temple and the Cascading Moms. That name is a little funny, kind of like his music—there’s humor but also a little bit of menace hiding underneath sounds that sometimes flirt with ‘70s soft-rock in the best ways. Check out “Echo Park Donut,” which is out this month on the new Cascading Moms record, Hungry Animal. The other half of today’s chat, Will Westerman, invited Temple to play on his 2023 album An Inbuilt Fault, and as you’ll hear they sound eager to meet and perhaps work together again. Westerman has been releasing music under his last name since 2020, crafting subtly mellow records that reveal something more intense when you listen to his lyrics. The third and latest Westerman album, A Jackal’s Wedding, came out last fall, and it’s another evolution in his sound—it’s been compared to mellow greats like Talk Talk, Tindersticks, and Nick Drake, so if those names mean anything to you—and they should—give it a shot. Check out “Mosquito” from A Jackal’s Wedding right here. This conversation between Temple and Westerman may have been the furthest geographically we’ve ever recorded: Temple was at home in Los Angeles and Westerman at home in Milan, where he recently moved after spending several years in Greece. These two talk about being recently married, about growing as artists and perhaps tricking yourself in the process, and about the very different places they now live. Enjoy. 0:00 – Intro 2:35 – Start of the chat 4:35 – On Los Angeles and gentrification in Echo Park 9:39 – Westerman on Milan, Greece, and learning new languages 13:20 – On Luke Temple's new album, Hungry Animal 19:50 – On tricking yourself to keep the creative process fresh 20:57 – On art and "the capitalist need to innovate" 24:50 – Comparing the musical heritage between the US and UK 28:25 – On the spirit of Jazz and Hip-Hop 30:38 – How technology caused the death of regionalism Thanks for listening to the Talkhouse Podcast, and thanks to Will Westerman and Luke Temple for chatting. If you liked what you heard, please check out both of their great new records, and please follow Talkhouse on your favorite podcasting platform. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by The Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Subscribe to ⁠Jokermen. And support Jokermen on Patreon. Ian catches up with Daniel Rossen of Grizzly Bear about their just-concluded 2025 tour, revisiting Yellow House, Veckatimest, and Shields, returning to the past with no sense of pressure, community vs. quality of life, solo artists vs. rock bands, the lasting reputation of Grizzly Bear, the GOAT Michael McDonald, and much more. FOLLOW DANIEL ON INSTAGRAM Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On the latest episode of the Talkhouse Podcast’s spin-off series, host Nick Dawson sits down with Saturday Night Live star Sarah Sherman, who’s just debuted her first-ever comedy special on HBO, Sarah Squirm: Live + in the Flesh. In a lively, candid and very entertaining conversation, the two talk about recurring nightmares, hypochondria, masochism, shit-talking people as a healthy form of expression, their thoughts on death, funerals and 12 step, how Ted Kaczynski was onto something …, SNL boss Lorne Michaels’ unfortunate habit of forcing his employees to be constantly sleep-deprived, and much, much more. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Host Josh Modell hands the mic off to these Talkhouse Podcast Network shows and asks: "What was your standout episode from this year? And tell us one thing you loved from 2025?" 0:49 – Josh Modell (Talkhouse Podcast) 1:50 – Craig Finn (That's How I Remember It) 3:46 – Jason P. Woodbury (Aquarium Drunkard's Transmissions) 5:18 – Dan Nordheim (Life of the Record) 5:58 – Matt Whyte (Sing for Science) 9:43 – Dylan Tupper Rupert (Music Person)

Episode 1: "The West is the Best? w/ Lili Anolik and John Doe" Subscribe to Really?? The Doors? What did The Doors mean for their time and what do they mean today? What’s the place of Los Angeles in The Doors’ oeuvre? What can the figure of Jim Morrison tell us about American masculinity? Are The Doors cool? And, has popular culture completely misunderstood The Doors? Naomi Fry welcomes you to the world of “Really??” and is then joined by writer Lili Anolik and musician John Doe of X to talk about the LA scene that gave birth to The Doors. Really?? The Doors? is produced by Noah Chernin, Jody Avirgan, and Ian Wheeler of Talkhouse. Production support from Jake Bowman and Keenan Kush. Special thanks to our sponsor, Bootleg. Be sure to check out Naomi’s work at The New Yorker and their podcast Critics At Large. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got a pair of incredible songwriters who’ve also been frequent Talkhouse guests and contributors over the years: Emily Yacina and Greta Kline. Follow along here, as this could get confusing: Frankie Cosmos used to be Greta Kline’s stage name, but now it’s the name of the band that she fronts. Maybe that wasn’t too confusing. In any case, the sixth and latest Frankie Cosmos album, Different Talking, came out earlier this year, and it’s a stunner. Kline has been writing smart, wry, literate indie-pop for a decade, and this one feels both like a nod to her bedroom-pop past and a bold look forward. Check out “Vanity” from Different Talking right here. Emily Yacina also came up in the DIY/Bandcamp era, and has been releasing music for the last decade or so as well—she collaborated with Alex G early on. Yacina’s latest album is the heady, expertly crafted Veilfall, which was at least partially inspired by a series of “death salons” she hosted while making it, where participants would share stories about grief and dying. The resulting album isn’t nearly the downer you might expect, considering that fact—it’s up there with the best she’s done. Check out “Holy for a Moment” from Veilfall right here. In this lively conversation, recorded while Emily and Greta were in the middle of a tour together, they chat about being connected to your inner child, tearing up for Talkhouse, and how sometimes releasing music feels like “shitting into the void.” Enjoy. 0:00 – Intro 2:12 – Start of the chat 2:50 – On their adventures touring together 5:20 – On being connected to your inner child 6:20 – On balancing your setlist for new and old fans 10:30 – On making Frankie Cosmos' new album, Different Talking 14:18 – On the vulnerable moments making Emily Yacina's Veilfall 18:20 – "Sometimes releasing music is like shitting into the void." 22:10 – On capturing the spark of songwriting 26:01 – The first time Yacina saw a Frankie Cosmos show 30:35 – On choosing music as a career choice 33:52 – On tearing up for Talkhouse Thanks for listening to the Talkhouse Podcast, and thanks to Emily Yacina and Greta Kline for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got two Canadian songwriter/performers with similar outlooks but pretty different results—both great. It’s Ada Lea and No Joy. Though it used to be more of a band, No Joy has become the solo province of Jasamine White-Gluz in recent years. She just released the first No Joy record in five years, Bugland, and it’s a whiplash-inducing delight. There’s an undercurrent of classic shoegaze, but no limits on where else things can go. So one minute you’ve got nods to ‘90s bands like Curve or even Garbage, the next minute the guitars are grunting and crunching. Bugland, which recently got the Best New Music nod from Pitchfork, was created with help from Chicago producer/musician Fire-Toolz, and the collaboration was fruitful. It’s funny, because it doesn’t sound at all like music that would be made by somebody who recently moved to a positively rural area—they chat about that move in this episode. Check out the title track from Bugland right here. The other half of today’s chat is Alexandra Levy, who records more spare songs than her friend under the name Ada Lea. Where No Joy takes a more kitchen-sink approach, Ada Lea leaves more breathing room, sometimes adding just touches of acoustic color to her voice. The third Ada Lea album, When I Paint My Masterpiece, also came out earlier this year, and its unfussy, live-in-a-room approach makes it feel engagingly up-close and personal, not to mention beautiful. Check out “Baby Blue Frigidaire Mini Fridge” right here. In this engaging chat, Levy and White-Gluz talk about living largely off the grid, the various mini-scenes that populate their home country, and a little bit of astrology. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jasamine White-Gluz of No Joy and Alexandra Levy of Ada Lea for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme was composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got a pair of singer-songwriters who exist in a sort of post-genre world: Evan Honer and Wyatt Flores. Honer first came to wider attention with a cover of Tyler Childers’ “Jersey Giant,” but kept people’s attention with a rapid succession of progressively more polished albums, all tied together by his own solid songwriting. For his latest, Everything I Wanted, Honer found himself a new home city, Nashville, where he built a studio in his garage and—as you’ll hear in this conversation—locked himself away to make something bolder than he had before. The result is shiny pop with a gritty heart, and just a touch of country influence. Think Jason Isbell or Pinegrove, two artists Honer cites as inspirations. Check out “Curtain” from Everything I Wanted right here, which I should mention was released by Honer’s own very active independent label, Cloverdale Records. He’s a busy dude, and he’ll be touring the US early next year, so keep an eye out for that. The other half of today’s conversation is Honer’s friend Wyatt Flores, who travels a similar musical ground but you can hear a bit more country in his flavor profile—maybe that’s his roots growing up in Oklahoma. If you’re of the TikTok generation, you may have seen him there; if you’re a bit longer in the tooth, you may have seen Flores on Stephen Colbert, NPR’s Tiny Desk Concert series, or even a recent Austin City Limits appearance. Part of the story behind his debut album, last year’s Welcome to the Plains, was Flores’ struggles with his newfound fame and a sense of imposter syndrome. While it’s brave of him to put that stuff out in the open, it’s pretty clear from the record that he’s the real deal. In this lively conversation, these two young dudes talk about making music, about an impromptu road trip in a busted up trailer, about the strong coffee and rowdy crowds down under, and much more. Enjoy. 0:00 – Intro 2:15 – Start of the chat 5:44 – How to keep old songs feeling fresh 7:28 – "Do people listen more with their eyes than ears?" 12:20 – An impromptu road trip on a busted, old trailer 15:42 – On recording 'Everything I Wanted' 20:37 – On taking the time to listen to albums top to bottom 22:15 – Writing music on the road 27:56 – On experimenting with live vocals 32:20 – The surprising kindness of audiences at live shows 35:20 – On crowds in the U.K., Europe, and Australia Thanks for listening to the Talkhouse Podcast, and thanks to Evan Honer and Wyatt Flores for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stories at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got two guys from different generations who’ve collided with big riffs in recent years: Tom Morello and Jordan Benjamin. Tom Morello is best known as the guitarist for Rage Against the Machine, which smashed together heavy music and activism in the 1990s, inspiring countless bands—some good, some bad, as he’ll freely admit—to sprinkle some hip-hop into their rock. Morello went on to form Audioslave with Soundgarden’s Chris Cornell and find a whole other area of success, but he didn’t stop there: Morello goes wherever the muse takes him, from playing with Bruce Springsteen to doing acoustic sets as The Nightwatchman. He’s always working on new music—and always outspoken politically. Morello tapped Jordan Benjamin to contribute to his 2021 single “Hold the Line,” which makes perfect sense, because the music that Benjamin records under the name Grandson is certainly inspired by Rage, among other artists of course. Grandson has been releasing records for the past decade or so, fusing hip-hop and alt-rock elements with unabashedly political lyrics. For his latest album under the Grandson name, Inertia, Benjamin leaned into a more organic rather than electronic sound—you’ll hear him talk about the transition in this chat. Check out the song “God is an Animal” from Inertia right here. In this lively conversation, Morello and Benjamin talk about working together, about the magic of band chemistry, and about the “technological hellhole we find ourselves in.” It’s still fun, though, check it out. Thanks for listening to the Talkhouse Podcast, and thanks to Jordan Benjamin and Tom Morello for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great shows in the Talkhouse Podcast Network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Episode 1: "To Hell and Back" Subscribe to ⁠Fela Kuti: Fear No Man. In a world that’s on fire, what is the role of art? What can music actually…do? Can a song save a life? Change a law? Topple a president? Get you killed? In Fela Kuti: Fear No Man, Jad Abumrad—creator of Radiolab, More Perfect, and Dolly Parton's America—tells the story of one of the great political awakenings in music: how a classically trained 'colonial boy' traveled to America, in search of Africa, only to return to Nigeria and transform his sound into a battering ram against the state—creating a new musical language of resistance called Afrobeat. For years, the world’s biggest stars made pilgrimages to Nigeria to experience Fela’s Shrine, the epicenter of his musical revolution. But when the mix of art and activism got too hot, the state pulled out its guns, and literally opened fire. Fela Kuti: Fear No Man is an uncategorizable mix of oral history, musicology, deep dive journalism, and cutting edge sound design that takes listeners deep inside Fela’s life, music, and legacy. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got two British gentlemen who made big waves in the past couple of decades and who’ve collided just recently for a celebratory remix: It’s Tom Vek and Gus Unger-Hamilton. Tom Vek released his instant-classic debut We Have Sound back in 2005, putting his own spin on post-punk and dance and riding the wave of so-called “indietronica” with catchy tracks like “Nothing But Green Lights.” He hasn’t exactly been prolific since then, releasing quality albums every few years while also working hard in other areas of the industry: Check out both supercollector.com and his upcoming music player, Sleevenote. But in celebration of We Have Sound’s 20th anniversary, Vek asked a bunch of friends and fellow musicians to remix each of the album’s tracks, including folks like Baths, Glass Animals, and the other half of today’s conversation, Gus Unger-Hamilton of the band alt-J. Check Unger-Hamilton’s remix of Vek’s song “Cover” right here. It’s unsurprising that Unger-Hamilton put his own spin on Vek’s song: alt-J has been scribbling in the bombastic, weirder corners of indie-rock and art-rock for since 2007, though they didn’t release their big debut, An Awesome Wave, until 2012. They’ve since embraced their oddness on a string of records, with the latest being 2022’s The Dream, which was hailed at the time as a return to the power of their debut. New music is likely on the horizon, though as you’ll hear in this chat, alt-J is currently without a label home. Label homes are one of many things these two chat about in this lively conversation: They’re both into the logos of their favorite record companies, they’re both really into fancy watches, and they’re both back into the lost art of reading a good book. Though Gus admits he hasn’t read a particular novel that his band famously borrowed a title from. Listen and find out which one. Thanks for listening to the Talkhouse Podcast, and thanks to Tom Vek and Gus Unger-Hamilton for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by The Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got two old friends who’ve worked together on such culture-crushing songs as “Dick in a Box”—one of whom is known more for the music, and the other for the funny. It’s Andy Samberg and Asa Taccone. Samberg you surely know for his years on Saturday Night Live and Brooklyn Nine-Nine and tons of big movies. Before all that he was part of the trio The Lonely Island, which blew up on SNL with “Dick in a Box,” among other hilarious jams. The Lonely Island also features Jorma Taccone, and when Samberg and Taccone needed some musical help for their SNL shorts, they would often call Jorma’s brother Asa, who helped them shape “Dick in a Box,” “Motherlover” and plenty of other songs. But Asa’s less inclined toward the funny stuff that his childhood friends are known for; he’s been making his own decidedly less silly music since 2011 in collaboration with Matthew “Cornbread” Compton under the name Electric Guest. The duo just released their first album since 2019, and it’s called 10K—you’ll hear the meaning behind the name in this chat. As you’ll hear, there’s no jokey rap to be found, just a compelling mix of soulful pop: You might not be surprised to learn that in recent years Taccone has also collaborated with the likes of The Weeknd and Carly Rae Jepsen. Check out “Play Your Guitar” from 10K right here. As you’ll hear, Samberg and Taccone are pretty comfortable with each other, because their friendship goes way back. They talk about Samberg’s decision to take a swing at the big time, Lonely Island deep cuts, and the alternate name that Electric Guest briefly considered. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Andy Samberg and Asa Taccone for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by The Range. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On the latest episode of the Talkhouse Podcast’s spin-off series, host Nick Dawson sits down with actor turned writer-director Crispin Hellion Glover, who is currently starring in both the Kafka-esque drama Mr. K and his third directorial feature, No! YOU'RE WRONG. or: Spooky Action at a Distance, which also stars his father, Bruce Glover, who passed away earlier this year. In a wide-ranging conversation, Glover talks about the acting job he’s still mad he missed out on at 13, supernatural goings on at the chateau he bought in the Czech Republic, his very imaginative alternative to traveling by car, plus his hopes for the future of AI (which is not what you’d think) and his understandable reservations about self-cloning. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

On the latest episode of the Talkhouse Podcast’s spin-off series, host Nick Dawson sits down with actor, writer-director, playwright and novelist Tim Blake Nelson, who can currently be seen in the boxing drama Bang Bang and whose new play And Then We Were No More is now at La MaMa in New York City. In a personal, profound and often surprising conversation, Nelson opens up about everything from his morning routine to his recurring dreams, from his earliest childhood memories – some of which are truly remarkable – to a pivot point in his life that was transformative. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. Find more illuminating podcasts on the ⁠⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠⁠. Visit ⁠⁠⁠⁠talkhouse.com⁠⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠⁠Instagram⁠⁠⁠⁠, ⁠⁠⁠⁠Bluesky⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter (X)⁠⁠⁠⁠, ⁠⁠⁠⁠Threads⁠⁠⁠⁠, and ⁠⁠⁠⁠Facebook⁠⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got a pair of singers who both look to classic sounds for inspiration—and one of whom happens to also be the creator of one of the biggest animated shows ever. It’s Liz Gillies and Seth MacFarlane. Now even if you don’t know his name, you almost certainly know Seth MacFarlane’s work and voice. He’s the creator of the animated comedy Family Guy, which will enter its 24th season next year. He also co-created American Dad and The Cleveland Show, plus directed the movie Ted, among many other TV and film accomplishments. If that weren’t enough, MacFarlane has a second career as a musician, a pursuit born out of his love for big band music of days gone by: It’s not a lark or a joke, either. MacFarlane is a serious student of classic songwriters, which led to his ninth and latest album, Lush Life: The Lost Sinatra Arrangements. As that title suggests, MacFarlane was given access to a massive number of songs that had been arranged—often by big names—for Frank Sinatra to sing, but that had never actually been recorded. MacFarlane recruited an A-team to get them in shape, and he sang the hell out of them. Check out “I Never Felt This Way Before” right here. The other half of today’s conversation is MacFarlane’s friend and sometime musical collaborator Liz Gillies, who’s also a multi-hyphenate. You may have seen her on TV—going all the way back to Nickelodeon—in movies or on Broadway. She even provided voices on a couple of MacFarlane’s shows. But the two really found their working spark during the pandemic with Songs From Home, and that collaboration continued in 2023 with a holiday album called We Wish You The Merriest. As you’ll see from this conversation, Gillies and MacFarlane have a friendly rapport. In this lively conversation, Gillies grills MacFarlane on the origins of Lush Life, a fascinating story in which MacFarlane is deeply invested. They also talk about how Liz likes to go out when they’re on tour but Seth prefers the comfort of a hotel room, how to pronounce Rudolph the Red-Nosed Reindeer and more. Stick around for the end, when they get a little silly coming up with podcast names. Thanks for listening to the Talkhouse Podcast, and thanks to Seth MacFarlane and Liz Gillies for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform. This episode was produced by Myron Kaplan, and the Talkhouse theme was composed and performed by The Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got a pair of singer-songwriters who came up in the social media age, and who, as you’ll hear, have leaned on each other for support as their careers have taken off. It’s Girl in Red and Gigi Perez. Girl in Red is the name under which Norwegian singer Marie Ullven started making intimate, sometimes sad bedroom recordings back in 2016 or so. Some of those songs, like 2018’s “I Wanna Be Your Girlfriend” really connected with people, and she became something of an icon, especially to young gay women. Her sound has grown over the years and Ulven has embraced bigger opportunities, including opening shows for Taylor Swift—it doesn’t get a lot bigger than that. Her last album, the hilariously titled I’m Doing it Again, Baby! was released last year, and as you’ll hear in this conversation, Ulven is stepping into acting as well: She’ll star in a film called Low Expectations, which she filmed earlier this year. Check out Girl in Red’s “Hemingway” right here. Gigi Perez is another fantastic songwriter and performer whose “Sailor Song” was everywhere last summer, and for good reason: It’s simple and gorgeous and undeniably catchy. Perez first started writing songs a few years ago in the wake of her sister’s passing, and she’s both created some incredible music and played big shows—including opening for Coldplay—in the past few years. Perez’s debut album At the Beach, in Every Life came out earlier this year, and it’s a thoughtful, sometimes uplifting, sometimes heartbreaking set of really personal songs. Check out “Sailor Song” right here. In this conversation, these two resilient ladies get into some real talk, touching on Girl in Red’s recent stint in rehab and her upcoming movie role, the inevitable comedown after a big tour, songwriting camps, and Perez’s favorite movie of all time. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Girl in Red and Gigi Perez for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Today’s Talkhouse Podcast features a pair of guys who’ve been making records for a long time and still manage to keep things not just interesting, but awesome: Mac McCaughan and Eric Johnson. Mac is the co-founder of legendary indie label Merge Records as well as the singer and guitarist for the band Superchunk, which has been making great, great records for about 35 years now, though they did take a bit of a break in the early aughts, which Mac mentions in this chat. Since reigniting around 2010, Superchunk has released five solid records that both reflect their maturity and bring the punk-rock energy. The latest just came out, and it’s called Songs in the Key of Yikes. It’s their first with new drummer Laura King, and you can catch Superchunk this weekend at Riot Fest in Chicago and then on a West Coast tour that starts October 9 at Pappy & Harriet’s in the California desert. Check out “Is It Making You Feel Something” from Songs in the Key of Yikes right here. The other half of today’s chat is Eric D. Johnson, who’s both one-third of Bonny Light Horseman and the only constant member of Fruit Bats, the name under which he’s been recording his smart, often gentle songs since around 2001. The newest Fruit Bats record, Baby Man, just came out on Merge, and it’s an absolutely stripped-to-the-bone affair, with Johnson’s voice even more front and center than usual. He lays it all out there and it’s easy to get sucked in by his words and lovely melodies. He’ll be touring all over in October, doing it “an evening with Fruit Bats” style. Check out “Let You People Down,” a song that comes up in this conversation, right here. In this easygoing chat, Eric and Mac talk about their long histories, from Eric’s time in the Shins and I, Rowboat to Superchunk’s not-that-fun stint opening for Teenage Fanclub. They also use some baseball analogies to talk about sequencing an album, and they commiserate about being dudes with unusually high singing voices. Enjoy. 0:00 – Intro 2:37 – Start of the chat 4:10 – They commiserate about their unusually high singing voices 6:30 – On influences 8:21 – "Indie rock changed my life" 11:27 – On vocals 13:45 – On "ringing your bell" 15:02 – On the Fruit Bats record: Baby Man 16:49 – Album sequencing is like a batting order 18:47 – On the indie rock scene in the '90s 21:37 – On “Let You People Down" 22:37 – Artist discovery pre vs post-streaming era 24:55 – On bad opening gigs 31:31 – On Baby Man 33:59 – On Songs in the Key of Yikes 39:00 – On the upcoming Superchunk tour 41:24 – Eno on owning your own mistakes 42:48 – On the piano and piano songs Thanks for listening to the Talkhouse Podcast, and thanks to Mac McCaughan and Eric D. Johnson for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff in our podcast network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Episode: "Birth of the Banquet feat. Gary Numan" Subscribe to States of Independence. Rome wasn’t built in a day, and neither was Beggars Banquet. The story starts in 1974 with three mates, a little bit of cash, and the dream of opening a record shop. But when punk happens, it changes everything – and suddenly there’s a new fantasy to chase. Label founder Martin Mills drops us into the chaotic formative years of Beggars Banquet and introduces us to their very first signing, The Lurkers. Then, we meet their first star, Gary Numan, who details his meteoric rise from just another punk rock pretender to one of the definitive voices of the new wave. In the process, the legend of Beggars is born. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got a repeat customer along with his well-known photographer friend-slash-collaborator who’s done some record covers you’re definitely familiar with. It’s Ruban Nielson and Neil Krug. Nielson is the frontman of Unknown Mortal Orchestra, the band he started in his native New Zealand before relocating to Portland, Oregon, where he still lives. UMO, as the band is affectionately known, has often been categorized as psych-rock, but I’m not sure that label is accurate or complete. There’s definitely some oil-lamp vibes going on, but there’s something more personal and direct happening underneath the swirling guitars and hooks. That’s maybe never been more true than on this year’s Curse EP, which was Nielson’s way of writing and creating through the grief of his younger sister’s untimely death from cancer. He channeled that energy into songs that were also inspired by ‘70s Italian horror movies and gloomy metal records, but somehow it’s not a bummer at all. Check out “DEATH COMES FROM THE SKY” right here. As you know if you’re a regular listener of this podcast, we mostly feature musicians, occasionally actors, every once in a while a producer or writer. But I’m not sure if in all of these years we’ve ever welcomed someone chiefly known as a photographer. That changes today, with Neil Krug, whose photographs you’ve likely seen even if you don’t know his name. Krug is maybe best known for his shots of Lana Del Rey, and he also did the iconic cover of Tame Impala’s The Slow Rush. He and Ruban go way back, having worked on artwork and photos for Unknown Mortal Orchestra over the years—and maybe in the future? In this great conversation, these two chat about the making of Curse, working together on UMO’s Sex and Food record as well as other UMO stuff, the ridiculously over-the-top reaction of Ruban’s fans to his dabbling in AI artwork, and the joys of David Lynch. Enjoy. 0:00 – Intro 2:20 – Start of the chat 3:02 – On making Curse and music as therapy 10:20 – Nielson on AI tools and the reaction from UMO fans 16:50 – UMO's "analog-only photography" policy at shows 21:42 – How Krug and Nielson first met 25:45 – Nielson's cape phase 26:42 – On UMO’s Sex and Food and the color blue 27:50 – Sex and Food's original title was... 31:51 – On SB mixes, Hanoi, Curse, and other non-traditional UMO records 34:45 – On David Lynch and the power of cinema 36:00 – The story behind The Slow Rush artwork 40:41 – Predictions on the next UMO record 44:02 – On "darky, spooky aesthetics" Thanks for listening to the Talkhouse Podcast, and thanks to Ruban Nielson and Neil Krug for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s episode of the Talkhouse Podcast we’ve got the leader of a killer Chicago band and the co-director of one of the biggest movie franchises in history in a fantastic conversation: It’s Alicia Gaines of Ganser and Lilly Wachowski, best known for The Matrix. The Matrix you surely know, but Ganser perhaps you don’t. They’re a Chicago band that’s been around for the last decade or so, but really seemed to snap into focus about five years ago with a startling stew of post-punk and art-rock sounds that snarl like some of my favorite elder statesbands—Gang of Four, Siouxsie—but updated. Their third and latest album, Animal Hospital, was produced by Angus Andrew of Liars, which makes sense. Oh, and they’re fierce live: I saw them last year opening for Mclusky and was blown away. Check out “Stripe” from Animal Hospital right here. Lilly Wachowski cut a winding path through Hollywood; along with her sister Lana, she made the 1996 thriller Bound—it comes up in this conversation—but took the film world by surprise with 1999’s The Matrix and of course its sequels. The Wachowskis, as they’re known professionally, took their films to weirder places after that rather than trying to go mainstream, with the unfairly maligned Speed Racer—an anti-capitalist blockbuster—and Cloud Atlas, a strange, moving epic. Both Wachowskis also came out as trans in the years after The Matrix, and Lilly, as you’ll hear, has a serious interest in getting that aspect of her life onto the silver screen. In this deep and friendly chat, Lily and Alicia talk about their shared experience at Chicago’s School of the Art Institute—aka SAIC—as well as Animal Hospital, using original music versus well-known pop songs in movies, finding yourself through art, a painting of a suicidal duck, and Lilly’s next project, which is “wall to wall trans people and trans rage.” I hope she can get it made. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Alicia Gaines and Lilly Wachowski for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all the great stuff in our podcast network. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

One of the pleasures of putting the Talkhouse Podcast together is that the guests often leave their promotional hats at home and just dig into conversations about life, and that’s definitely what happened this week with Matty Matheson and Jennifer Castle. Matty Matheson you’ll surely recognize either as a superstar chef and restaurateur who appeared on a bunch of VICE shows way back when—or if not that then as a star and consultant on the hit TV show The Bear, where he plays the sublimely ridiculous Neil Fak. Matheson has lived several lifetimes, building a reputation as a wild partier in his youth, which eventually led to a heart attack at just 29—that’s touched on briefly in this conversation. He’s also authored a bunch of super down-to-earth cookbooks, including the great new Soups, Salads, Sandwiches—you can guess what that one covers. Matheson’s connection to singer-songwriter Jennifer Castle goes way, way back. They met working in Toronto restaurants and became good friends over the years: Castle sang at Matty’s wedding and she was a doula at the birth of his first child, a topic that comes up in this chat. Castle has been making music for the past 20 or so years, first under the name Castlemusic but more recently under her own name. Don’t let the gentleness of her indie-folk fool you; there’s a lot that cuts deep in her songs. Speaking of those songs, one of the songs from her latest album Camelot was featured in season three of The Bear—a great way for Matheson to help get the word out on the person he calls the greatest Canadian singer-songwriter ever. Check out “Blowing Kisses” ⁠right here⁠. In this lovely conversation, Castle and Matheson talk about how music and food can both bring people together, but they get really excited talking about two other natural pursuits: childbirth and farming. (Matheson co-owns a farm called Blue Goose that you’ll hear a bit about.) Matheson talks a bit about his family and his current book tour, and Castle shows off a touching gift that Matheson gave her many years ago. Enjoy. 0:00 – Intro 2:35 – Conversation starts 3:25 – Matty’s airport adventures 6:38 – “Eat little shrimps!” 8:36 – Matty loves Jennifer’s music, as you’ll see 12:36 – Matty gets melancholy about their shared Toronto past 21:51 – The birth of children and the birth of Blue Goose 37:24 – Living the creative life Thanks for listening to the Talkhouse Podcast, and thanks to Matty Matheson and Jennifer Castle for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

Episode: "Wednesday (Karly Hartzman)" Subscribe to Music Person. Karly Hartzman of Wednesday from Asheville, North Carolina. Wednesday’s new album, BLEEDS, is out September 19, 2025. Karly and Dylan discuss being an introverted observer writer girl type, the merits of staying in your local scene, complicated feelings about Los Angeles, and Karly’s breakup with partner and bandmate MJ Lenderman. + Karly answers a listener advice question. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week's Talkhouse Podcast, we’ve got a guy from that band you like in conversation with Saturday Night Live's Donald Trump specialist. It's Hamilton Leithauser and James Austin Johnson. Leithauser was-slash-is the voice behind the Walkmen, the indie-rock band that burned bright from 2000 until 2013, at which point they splintered and Leithauser embarked on a solo career and some excellent soundtrack work. Last time he was on this show he was in conversation with Ethan Hawke, with whom he worked on Hawke's Paul Newman documentary; this time around, he's got a long-in-the-works solo album to promote. This Side of the Island came out earlier this year, though it probably would have come out sooner if Leithauser didn't take a break to reunite with the Walkmen for some big shows. It’s typically excellent, and a bit more slinky than his past couple. It was produced by The National's Aaron Dessner and he’s just finishing up a tour with Father John Misty. For Leithauser's latest video, he roped in comedian James Austin Johnson to play his sorta-stalker / impersonator at the legendary Carlyle Hotel in New York. Check out the video right here, it’s called "What do I Think?" If you don't recognize James Austin Johnson's name, you'll recognize his incredible impression of Donald Trump, which he's been doing on Saturday Night Live for the past couple of seasons. Now there have been many Trump impressions over the years, but nobody has quite captured the manic free-association in the way that Johnson has. With SNL off for the summer, Johnson is out doing comedy on the road, where you can catch him over the next few weeks before he returns to his main gig. In this fun chat, Johnson and Leithauser talk about SNL's schedule, about drinking wine on stage, about recording fake sounds versus real ones, and about a guy they're both a little obsessed with: Bob Dylan. Oh, and Trump, but just a little bit. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to James Austin Johnson and Hamilton Leithauser for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and make sure you check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme was composed and performed by the Range. See you next time! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.

On this week’s Talkhouse Podcast, we’re giving a nod to the heavier end of things with a conversation between George Clarke of Deafheaven and Jae Matthews of Boy Harsher. Deafheaven is the impossible to pin down metal band that has pushed genre boundaries since breaking out with 2013’s epic Sunbather. They’ve been the subject of much debate in the heavy music community over the years, since they’ve wiggled elements of shoegaze and even Brit rock into the world of black metal. It’s been a fascinating journey to watch, as the band navigates its own muse, seemingly without regard to any genre lines that might exist. 2021’s Infinite Granite took a pretty huge leap toward a more accessible sound, while this year’s Lonely People With Power heads back into the darkness—even as it’s produced by the pop-leaning Justin Meldal-Johnson, whose name comes up in this chat. The other half of today’s conversation is Jae Matthews, who’s also half of the darkwave-slash-coldwave band Boy Harsher. Deeply influenced by film, the duo’s most recent album, The Runner, serves as a sort-of soundtrack to a world they continue to imagine—one full of synths, beats, and lots of mood. As you’ll hear in this chat, Boy Harsher has been busy writing new material in a way they haven’t before. But in the meantime, Matthews contributed some striking vocals to a truly striking song on the new Deafheaven record. Check out “Incidental II” right here—you’ll need to listen to the entire thing to really get where it’s coming from. In this conversation, Clarke and Matthews talk about DJing versus performing, about finding inspiration in solitude, about whether being sober hurts or helps a performance, and of course, about Matthews’ contribution to Deafheaven’s Lonely People With Power. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jae Matthews and George Clarke for chatting. If you like what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme was composed and performed by the Range. See you next time. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.