Talkhouse Podcast

Nick Murphy is best known for his downtempo electronic project Chet Faker, which is confusing because it also sounds like a guy’s name—but which released one of the best albums of 2014, Built On Glass. But as you’ll hear in this Talkhouse chat, Murphy put the Chet Faker name on a shelf at the height of its popularity in order to go in a more organic route under his own name. He subsequently released a pair of albums—including one initially through a meditation app, which is very 21st century and awesome. This year, he decided to bring the Chet Faker name and sound out of the attic, and he’s just released a killer new record called Hotel Surrender. And that’s where the Belgian musicians/DJs Stephen and David Dewaele come in. The two are the principal players in a band called Soulwax, but they’ve made a massive second career as a DJ duo called 2 Many DJ’s. Back in the early aughts, 2 Many DJ’s reignited the mash-up trend with a classic mix called As Heard on Radio Soulwax Part 2. That’s right, they incorporate the name of their band right in with their other lives as DJs. They also recently opened a studio called DeeWee. Oh, and did I mention that they’re super in-demand, Grammy-nominated remixers as well? They are. And they remixed a song from the new Chet Faker album called “Whatever Tomorrow," which is what brought them together for this chat. This intercontinental conversation—Murphy is Australian but lives in New York, the Dewaele brothers are from Belgium—gets into a lot of great stuff really quickly, including the confusing but smart way both acts can diversify, how Murphy initially found the whole idea of EDM distasteful, and a little something called “spacebar energy.” I won’t tell you what it is, but I’ll say that you probably want your songs to have it. 0:00 – Intro 2:23 – Start of the chat 5:20 – Live versions of dance music with drummers 11:28 – How Murphy initially found the whole idea of EDM distasteful 13:40 – "spacebar energy" and Chet vs. Nick 19:10 – "brick walls" 22:57 – How Soulwax work creatively 28:35 – Active vs. passive listening 34:38 – We're "naive romantics" 38:22 – "great people try and push you" Thanks for listening to the Talkhouse Podcast and thanks to Nick, Stephen, and David for chatting. Check out their various guises—you won’t be disappointed. This week’s episode was produced by Melissa Kaplan, and special thanks to Keenan Kush for stepping in to record it. The Talkhouse theme song is composed and performed by the Range.

On this week’s Talkhouse Podcast, we’ve got a pair of incredible young songwriter-performers whose music isn’t super similar, but who both embrace a sort of ultra-modern mish-mash of styles: Dorian Electra and Claud. Claud was the first performer signed to Phoebe Bridgers’ new label, Saddest Factory, after spending some time in a duo called Toast. Claud’s debut album, Super Monster, is most often described as “bedroom pop”—that term is brought up in this chat—but that’s only a small part of it. There are hints of all kinds of sounds here, from vaguely Latin-esque to pop-punkish on the delightful “That’s Mr. Bitch to You.” Dorian Electra has been at it a bit longer than Claud, having made a splash around ten years ago with playful, politically charged songs about money and gender fluidity, among many other things. Electra was featured on the Charli XCX track “Femmebot” a few years back, and in 2020 released their second album, My Agenda, which features everyone from Pussy Riot to Village People. Electra and Claud have a great conversation, tackling everything from the importance of Spotify playlists—which played a role in each of their success—to college to the complicated commercialization of Pride Month. Enjoy. This episode was produced by Melissa Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Liz Phair crashed into the indie-rock world in a huge way in the early ‘90s with her instant classic album Exile In Guyville, and she was already the talk of the town—in this case Chicago—before she had even performed publicly. It was an auspicious start to a fascinating career that went from indie-world stardom to Lilith Fair to composing for films and TV to a consciously pop-leaning album to a fantastic memoir called Horror Stories. And it comes full circle, sort of, with her new album Soberish, which she created with the help of producer Brad Wood, with whom she worked on her early albums, including Exile. Zella Day took a very different path in her music life, starting out very young—at age 15—trying to write songs and make it in Nashville. That led to a revelation that she’d rather perform herself, and eventually a record deal and 2015’s pop-centric album Kicker. She played Coachella and other huge festivals, but wasn’t fully satisfied with where she was artistically, as you’ll hear in this chat. After relocating to L.A., she fell in with a slightly more serious crowd, included pals like Lana Del Rey and Weyes Blood, and her music shifted a bit. She’s currently working on an album with producer Jay Joyce, and recently released a song with Natalie Mering of Weyes Blood called “Holocene.” Phair and Day hit it off right away in this conversation, diving right into a conversation about restarting their careers post-COVID—Phair’s dad is a retired infectious diseases expert, which gave her some unique insight—as well as the challenges of not giving too much of yourself during an album’s promotional cycle. They also tackle the meaning of the word “sober-ish,” which is pretty great. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Liz Phair and Zella Day for chatting. This episode was produced by Melissa Kaplan, and the Talkhouse theme was composed and performed by the Range. See you next time!

This week on the Talkhouse Podcast we’ve got a special treat for the drummers and drum geeks out there: a conversation between Morgan Simpson of Black Midi and Bill Bruford of, as he says in their chat, about 101 bands. That number for Bruford isn’t too far from reality. Over a 40+ year career, he played with some incredible names in the world of progressive music, most notably Yes and King Crimson, but also his own projects, including Earthworks. He’s an astoundingly versatile and musical drummer, and we were delighted to hear that he’s still got his ear to the ground all these years later, as a fan of the relatively young band Black Midi. You can hear it in Morgan Simpson’s voice that he’s both pleased and excited to make Bruford’s acquaintance as part of the podcast—and it’s actually the first episode we’ve recorded in quite some time where the participants are in the same room with each other! Simpson pays Bruford the ultimate drummer compliment when he says that he can recognize his playing within a couple of seconds, and Bruford isn’t shy about his love for Black Midi. He even compares them—rightfully so—to King Crimson. Bruford himself actually retired from performing about 10 years ago, while Black Midi is just getting started. The band released their second album, Cavalcade, in May, and it’s a massively eclectic, fantastic collection of songs—a little more focused than their first, perhaps, but no less rangy and striking. They’ll hit the road for a huge tour this fall, kicking off with a slot at Pitchfork Fest in Chicago. Bruford and Simpson have a lot of fun, as you’ll hear, talking about other drummers—Phil Collins, Billy Cobham, etc—as well as the similarities in their own playing. If you’ve never realized that a snare drum could sound like you’re quote “being slapped around the head with a wet kipper,” then this conversation is for you. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks so much to Bill Bruford and Morgan Simpson for chatting. If you like what you heard, follow Talkhouse on your favorite podcasting service, and all available social channels. This episode was produced by Melissa Kaplan, and the Talkhouse theme was composed and performed by the Range.

On the latest episode of the Talkhouse Podcast, former REM frontman Michael Stipe talks with veteran indie director Jim McKay about the production company they’ve run together since the late 1980s, C-Hundred Film Corp, and the amazing work that has come out of it. In a fascinating conversation, the two best friends not only walk us through the history of the company – its humble beginnings in Athens, GA, to creating PSAs with KRS-One and Natalie Merchant, and Michael making the *original* Orange is the New Black at the Sundance Film Festival back in the ’90s – but also touch on their latest projects (McKay’s new film, and the photography book which Stipe just published) and how the pandemic has affected them, both creatively and personally. 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, director Edgar Wright chats with musicians Ron and Russell Mael of the beloved cult band Sparks, who are the subject of Wright’s deeply enjoyable new documentary, The Sparks Brothers. In a wide-ranging conversation, the friends and collaborators veer from gripping discussions about food to in-depth explorations of the Mael brothers’ longstanding love of their other creative passion, cinema, which finally resulted in Leos Carax directing their film Annette – which opens the Cannes Film Festival next month! They also discuss record-store hijinks, the genesis of past projects, compare notes on trailers, and much, much more. A veritable smorgasbord of an episode, it’s a real pleasure to listen to three people who so obviously relish each others company. 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. This episode was produced by Melissa Kaplan. The Talkhouse theme is composed and performed by the Range.

Meghan Trainor burst into the public consciousness with her 2014 hit “All About That Bass,” which was accompanied by a triple-platinum album and loads of subsequent success. Two more albums followed, as did judging roles on the British version of The Voice, and perhaps more important to this conversation, a singing competition called The Four, where she was on a panel with Sean Combs and DJ Khaled. That show is where Trainor first encountered the spectacular singing voice of VINCINT, who wowed her and the other judges with his incredible stylistic range, culminating in a cover of Radiohead’s “Creep” that was all around the internet a couple of years ago. VINCINT has since released a bunch of songs, and he’s finally ready to drop a proper debut album: There Will Be Tears is packed with what sound like future hits, and includes guest spots from Tegan and Sara, Parson James, Qveen Herby, and more. You’ll be hearing a ton more from VINCINT this month and year: He’s going to be on the Today Show, as you’ll hear in the chat, and he’s headlining HBO Max’s Pride programming. Trainor is awfully busy herself, having recorded and released a holiday album during quarantine and, in bigger news, signed a huge cross-platform deal with NBCUniversal that will include a comedy series at NBC. But she was so psyched about VINCINT’s album that she made some time to chat about it with him, and about their favorite songwriters, mutual acquaintances, and advice on dealing with stardom. Enjoy. This episode was produced by Melissa Kaplan. The Talkhouse theme was composed and performed by The Range.

Today’s Talkhouse podcast started with a little bit of serendipity in the form of album release dates: Both of our guests, Michelle Zauner of Japanese Breakfast and producer/musician/former Vampire Weekend guy Rostam, have excellent records coming out on June 4. They’re also fans of each other’s work, so we figured it made plenty of sense to put them together. Zauner’s album, her third under the Japanese Breakfast name, is called Jubilee, and as you’ll hear in this conversation, it took a deliberate turn toward slightly happier themes than her first two. It comes hot on the heels of Zauner’s first book, a heartbreaking memoir called Crying In H Mart, that deals with her mother’s death—also a theme in her early music—and food, lots of food. It’s a really touching read, and an ideal companion to her musical catalog, which grew in really compelling ways with Jubilee. Rostam is best known as a founding member of Vampire Weekend, and even though he officially left the band a few years ago, he still contributes some songwriting and production work. He’s kept plenty busy otherwise, producing records and writing songs with an incredible array of other artists, from Hamilton Leithauser to HAIM to Clairo. His first proper solo album is the gentle, string-filled, fantastic Half-Light, which came out in 2017, and now he’s releasing Changephobia, which as you’ll hear ditches the string section and brings in a sax, among other things. These two jump right into a conversation that flits around from silly to deep: On one hand, they talk about childhood loves of chess and fencing and the importance of song five on an album. On the other, Zauner gets rightfully annoyed at interview questions she gets that other people don’t, and Rostam talks about being Persian in a band that was sometimes pegged as particularly white. It’s a funny, smart chat. Enjoy. This episode was produced by Melissa Kaplan. The Talkhouse theme was composed and performed by The Range.

Chris Gethard is a comedian whose stories are often so serious and touching that they make people cry, and Jeff Rosenstock writes and sings heartfelt songs that are also witty and funny enough to make you laugh. So it’s no wonder that these two are friends and comrades in arms: From practically the moment they met, they could tell they were on the same page. Gethard has had a boundary-defying career that I’ll try and fail to quickly encapsulate here. He’s been a stand-up comedian, but perhaps more importantly the host of a public access show bearing his name that eventually ran for three seasons on a couple of different cable networks and was, to put it bluntly, kind of insane. He spun his stand-up into an off-Broadway show about depression, alcoholism, and suicide called Career Suicide, which later became an HBO special produced by Judd Apatow. Somewhere in there, he started several podcasts, the most popular of which is Beautiful/Anonymous, wherein he spends an hour with an anonymous stranger telling him their deepest secrets. I have yet to mention his books, his other podcasts, his appearances in movies and TV shows like Broad City and The Office, and more. The occasion for this conversation is the release of Gethard’s newest thing, called Half My Life, which is sort of a hybrid tour documentary and stand-up special that he recorded at ten venues around the country, including one with an audience of live alligators. It’s available on demand starting June 1. Jeff Rosenstock has been making music in various guises and with lots of people since the late 1990s, when he was in a ska-punk band called the Arrogant Sons of Bitches. He went on to greater renown in Bomb the Music Industry before launching a pretty incredible solo career, in which he combines super thoughtful, personal and political lyrics with catchy, genre-blending sounds. So maybe it shouldn’t have been a surprise when, earlier this year, he released a song-for-song reworking of his 2020 album No Dream called Ska Dream, on which he re-recorded every track… but ska. He roped in amazing guests, too—from Angelo Moore of Fishbone to members of PUP and Deafheaven. In this conversation, Gethard and Rosenstock are, unsurprisingly, both funny and serious. They’ve got doubts about whether audiences will be there when they return from lockdown, but they’ve also got a relentless desire to create art and to do the right thing. It’s refreshing, and I hope you enjoy it. This episode was produced by Melissa Kaplan. The Talkhouse theme was written and performed by The Range.

Blake Mills has the kind of resume that might make the average person feel really lazy. Not only is he an active musician, but also a Grammy-winning producer (for Alabama Shakes’ 2015 album Sound and Color), a collaborator to the stars—including the likes of Fiona Apple and Bob Dylan—and most recently, one of the guys in charge of the legendary Sound City studio in L.A. Mills’ newest musical project is a collaboration with legendary bassist Pino Palladino called Notes With Attachments. Just prior to that, it was the Pitchfork Best New Music designee Mutable Set, from 2020. Nick Sanborn is half of Sylvan Esso, along with Amelia Meath. The duo recorded their third and latest album, the excellent Free Love, while they were constructing a brand new studio, called Betty’s, on their farm in North Carolina. The album came out in September of last year, which obviously meant touring was off the table, but Sanborn got plenty busy with production work, including helping to create the most recent Flock of Dimes record with recent Talkhouse guest Jenn Wasner. Since the album’s release, Nick and Amelia have kept busy, releasing videos, a killer remix of their song “Numb,” and a live album called WITH. And now they’ve rescheduled a big tour for this fall, kicking off at Bonaroo, where they’ll host the Super Jam. Check out sylvanesso.com for tour dates. Sanborn and Blake get right into it in this conversation, covering the intimate relationships that make for good records, the joy and trepidation about returning to public stages, and even how weird it is to do the Talkhouse Podcast. Enjoy. This episode was produced by Melissa Kaplan. The Talkhouse Podcast theme is composed and performed by the Range.

This week, we revisit a chat from last year, featuring Mac DeMarco and Dayglow's Sloan Struble. The second Dayglow album, Harmony House, comes out May 21. Check it out! ------------------- On this week’s show, a young gun picks a veteran’s brain. A youngish veteran, admittedly — Mac DeMarco’s only 30, but compared to 21 year old Spotify-wunderkind Sloan Struble, aka Dayglow, he’s already spent a lifetime in the music industry trenches. The two take in a lot in this conversation. We hear Mac’s origin story, and get a nice overview of his career. We get insight into what it’s like finding fast fame online in 2020, and the two dissect the term “DIY” and the changing definition of “indie.” Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. —Elia Einhorn, Talkhouse Podcast host and producer This week’s talk was originally produced by Mark Yoshizumi and Elia Einhorn. This episode was produced by Melissa Kaplan. The Talkhouse Podcast theme song was composed and performed by The Range.

The way that Mary Lattimore and Sarah Neufeld met is kind of a rock and roll dream. Lattimore went to see Neufeld’s band, Arcade Fire, before they were huge stars, and they got to talking. When Lattimore mentioned that she’d be moving to Philadelphia soon, Neufeld and her bandmates asked her to perform with them—so her first time playing on stage outside a more classical setting was in front of a huge Arcade Fire crowd, and it gave her the performing bug. Both Neufeld and Lattimore have released fantastic records recently: Lattimore’s Silver Ladders came out last year on the Ghostly International label, and it met with widespread acclaim. Sarah Neufeld’s brand new record, Detritus, was born via a collaboration with Canadian dancer Peggy Baker. Neufeld wrote the songs that would become this album to accompany Baker’s choreography, and she even went on the road to accompany the dance performances. She later went into the studio and, with help from her Arcade Fire bandmate Jeremy Gara, set to recording them. It’s an incredible collection that blends her primary instrument with ambient electronics, drums, and other sounds. In this conversation, Neufeld and Lattimore talk about the night they met and subsequent nights they don’t remember, a harp that lives in Prague, writing music to accompany dance, and how a harp might actually help induce labor in an expecting mother. Enjoy. This episode was produced by Melissa Kaplan. The Talkhouse theme was composed and performed by The Range.

It’s no secret that Death Cab For Cutie's Ben Gibbard deeply admires Norman Blake’s band, Teenage Fanclub. In fact, he’s called 1991’s masterpiece Bandwagonesque his favorite album of all time; he loves it so much that just a few years ago, he recorded and released a cover of the entire thing. With that album turning 30 this year, and with a fantastic new Teenage Fanclub album, Endless Arcade, out this week it seemed the perfect time to get the two together. For this conversation, the two old friends dive into what their pandemic lives have been like, which includes lots of songwriting and record collecting. They also talk about the joy that comes from being a lifer in the rock and roll business, how streaming has affected all of the above, and how deeply emotional a return to rocking is likely to be for both of them. Enjoy.

Merrill Garbus and Jenn Wasner released monumental records just a week apart this year: Tune-Yards fifth album—sixth if you count their score to Boots Riley’s film Sorry to Bother You—is called Sketchy, and it’s as puzzling and progressive as you’ve hopefully come to expect. Garbus and bassist Nate Brenner are never content to rest on their past glories: They’re always searching for new modes of thought and expression, and Garbus’ lyrics meld the personal and political into one fiery concoction. Jenn Wasner is best known for singing and playing guitar in Wye Oak, and she’s also released albums with Dungeonesse and solo style under the name Flock of Dimes, in addition to being a recent touring member of Bon Iver. It’s her Flock of Dimes project that’s garnering some incredible, well deserved attention this year, including a huge feature in the New York Times. It makes sense, considering that the album she’s promoting is so extraordinary: Head of Roses will be both familiar to her fans and unexpected, with new sounds, textures, and lyrical motivations. The story is that it’s an album about heartbreak, but it’s so much more. It's a great conversation between two great friends. Enjoy.

On the latest episode of the Talkhouse Podcast, we have two artists who recently became writer-directors after finding success in other creative fields: singer-songwriter Bonnie McKee and actor Carlson Young. McKee, a Grammy-nominated hit songwriter best known for her collaborations with Katy Perry, is now on the festival circuit with her powerful and very personal short April Kills the Vibe, while her friend Young, who broke through on the small-screen version of Scream in 2015, just made her feature debut with The Blazing World, which world premiered at Sundance this past January. In their compelling conversation, the two talk about their journeys behind the camera, their COVID experiences, making movies as a form of psychodrama, Bonnie’s upcoming music-inspired film project, Carlson’s recent nightmare experience with a moving scam, 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.

It might feel like a lifetime ago, but it was just over a year ago in February of 2020 when we got new albums from both Tame Impala and Caribou. For Kevin Parker, The Slow Rush was his fourth full-length record following an extended break after Currents. Caribou fans had a slightly longer wait for Dan Snaith's tenth record, Suddenly. Now both artists have rereleases in 2021. Kevin Parker and company recently celebrated ten years since their debut record, Innerspeaker. There's a new behind-the-scenes short film chronicling the 2010 recording process, a box set, and an upcoming livestream performance later this month, April 21 (more info on tickets here), of the full album from the Wave House. Dan Snaith has also been in the news recently, releasing Suddenly Remixes, featuring reworked tracks by Toro y Moi, Four Tet, Floating Points, and others. This conversation, which originally aired in October of 2020, never has a dull moment and features the pair chatting about how and when they first met, having confidence as an artist, and their "de facto lockdown albums." Don't forget to subscribe to the Talkhouse Podcast wherever you get your podcasts. —Keenan Kush, Talkhouse Director of Operations This week's talk was originally produced by Mark Yoshizumi and Elia Einhorn. This episode was produced by Melissa Kaplan. The Talkhouse Podcast theme song was composed and performed by The Range.

Sharon van Etten and Jamie Stewart met a few years ago, when producer John Congleton recommended the Xiu Xiu frontman as a contributor to the singer-songwriter's 2019 album, Remind Me Tomorrow. Though their music isn't super similar sounding, each traffics in a kind of emotional honesty that's difficult to pull off but incredibly rewarding. Van Etten contributed vocals to the song "Sad Mezcalita" on Xiu Xiu's new all-duets album, OH NO, and the two chat about that collaboration here, along with the creative process, being open in their songwriting, and much more. This episode was produced by Melissa Kaplan. The Talkhouse theme is composed and performed by the Range.

In this week's Talkhouse Podcast, we hear from old friends Dan Deacon and the members of Future Islands. Both came up in the super fertile Baltimore scene, and both released new albums in 2020. Future Islands asked Deacon to remix their recent track "For Sure," and he took it to epic new heights, which they discuss on this chat—along with the reality of staying home during the pandemic, what their writing/road-testing/recording processes are like, and a brand new genre that they hope to create when this is all over. Sports Jazz! Enjoy. This episode was produced by Kevin O’Connell. The Talkhouse Podcast theme was composed and performed by The Range.

Two very funny people have a very funny conversation on this week's Talkhouse Podcast: Michael Ian Black and Jen Spyra. Black you probably know as part of the sketch-comedy troupe The State, or from his many podcasts—the latest is Obscure—or maybe one of his books, including last year's more serious A Better Man. Jen Spyra just released her first book, a collection of darkly hilarious short stories called Big Time. The two were fans of each other's work before their chat, but you can hear them get to know each other better. They talk about their writing processes, self-doubt, Michael's poker playing and Cameo birthday-ing, and lots more. Enjoy.

Andrew Bird and Jimbo Mathus have known each other for decades, going back to the beginning of Bird's solo career and Mathus' earliest days with Squirrel Nut Zippers. Most of their work together has been assistive—Bird would add his fiddle to the Zippers' records, and Mathus would return the favor with some horns. But a couple of years back, the old friends decided to write some songs together, and the result is These 13, a truly collaborative album featuring just their voices, guitar, and fiddle, for the most part. It's spare and surprising. In this Talkhouse conversation, they chat about the old days and the new, as well as a shared love of Charley Patton. Enjoy. —Josh Modell, Executive Editor This episode was produced by Kevin O'Connell. The Talkhouse theme is composed and performed by the Range.

Todd Rundgren is a legendary musician and producer whose list of credits is impressive as the man himself is down to earth. He had his own string of pop hits—including the novelty song “Bang on the Drum All Day”—and experimental albums, both as a solo artist and with the Nazz. He produced Meat Loaf’s Bat Out of Hell, one of the biggest-selling albums of all time, as well as New York Dolls’ self-titled debut, one of the most influential. This month, he’s been on the “Clearly Human” tour, which—due to obvious reasons—is all virtual. As a tech pioneer, he’s doing things a bit different, as you’ll hear in the podcast. Eric Slick is a fellow Philly boy and longtime fan of Rundgren’s who was excited to chat with him. Slick is best known as the drummer in the excellent Dr. Dog, and he’s also a frequent Talkhouse contributor. If that’s not enough, Slick recently released a magnificent solo record called Wiseacre. The two chat about making records, playing shows, and—of course—a certain former president. This episode was produced by Kevin O’Connell. The Talkhouse theme is composed and performed by The Range.

Mike Ness and Ben Nichols both front bands that blur the already-blurry genre lines between punk, Americana, country, and more—so it's no surprise that the two get along. Nichols' band, Lucero, opened for Ness' band, Social Distortion, on a tour about a decade ago, and the two hit it off. Since then, Lucero returned the favor by taking out Jade Jackson's band—which features Ness' son Julian on guitar. The occasion for this Talkhouse conversation is the release of Lucero's newest album, When You Found Me. The two songwriters talk about their craft, their kids, and how to write a song that makes a statement without getting political. —Josh Modell, Executive Editor This episode was produced by Kevin O’Connell. The Talkhouse Podcast theme was composed and performed by The Range.

Tamara Lindeman and Julia Jacklin are spending the pandemic thousands of miles away from each other, but you’d never know if from the closeness of this Talkhouse chat. Lindeman, who’s based in Canada, just released her fifth album as The Weather Station—and Ignorance is already making waves. It got the coveted Best New Music designation from Pitchfork, as well as a five-star review in The Guardian, both well deserved. Jacklin, who’s from Australia, finished touring her last album, Crushing, not long before the lockdown hit. Here, they discuss the ins and outs of how much they share in their songs, what they’re looking forward to when normalcy returns, and Joni Mitchell. This episode was produced by Kevin O’Connell. The Talkhouse Podcast theme was composed and performed by The Range.

In the third episode of McIntosh's "for the love of music..." podcast series presented by Talkhouse, Elia Einhorn spoke with one of the most recognizable names in popular jazz and soul: Gregory Porter. Gregory has been using his powerful baritone on both Broadway and concert stages for decades. His smooth take on classic American pop forms has earned him critical accolades, and fans the world over. The multiple Grammy-winning singer-songwriter has long had an intense touring schedule, and while the pandemic has forced him off the road, he’s been staying very busy. Gregory has a podcast of his own—called The Hang—and recently released a new album of original music, All Rise, which was nominated for Best R&B Album at this year’s Grammys. In this episode, Gregory talks about writing songs in the sky, English accents in gospel music, recording in some of the coolest studios in the world, and much more.

Jenny Lewis—she of Rilo Kiley, The Postal Service, and numerous excellent solo albums—met Chicago rapper Serengeti when they were both performers at the PEOPLE Festival in Berlin, back in 2018. They struck up a fast friendship that led to Serengeti asking Lewis to provide some music—a very specific amount of music—for him to rhyme over. They’ve since released two excellent songs together via Lewis’ Love’s Way label, “Unblu” and “Vroom Vroom,” and there are more on the way, as you’ll hear in their conversation. There’s also a mysterious appearance by Mr. Peanut. This episode was produced by Kevin O’Connell. The Talkhouse theme was composed and performed by The Range.

On the latest episode of the Talkhouse Podcast, the iconic actor Viggo Mortensen sits down with his longtime friend and fellow filmmaker Alix Lambert. The occasion for their talk is the release of Falling, Mortensen’s debut as writer-director, an intense family drama starring Lance Henriksen, Laura Linney and Mortensen himself. In a fascinating, wide-ranging conversation, Mortensen and Lambert discuss not only Falling and the pandemic, but also Viggo’s musical collaborations with the guitarist Buckethead, the various cinematic exploits of Mortensen’s son Henry, Lambert’s current non-fiction project, the shared love that Russian opposition leader Alexei Navalny and Mortensen have for a very surprising TV show, and 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.

Sometimes Talkhouse Podcast participants have never met, sometimes they’re acquainted, and on rare occasions, they know each other really well. For this week’s chat, it became clear pretty quickly that Sasha Spielberg—a.k.a. Buzzy Lee—and Alana Haim already spoke the same language. As it turns out, and you’ll hear this in the conversation, they’re close enough to share a Hulu account. The occasion for this conversation is the debut full-length from Buzzy Lee, the excellent Spoiled Love, which is out this week. And of course, it’s not too late to enjoy the latest album from HAIM, Women In Music Pt. III, which came out last year. The two old friends talk about young love, bat mitzvahs, “cozy boys,” and songwriting. It’s charming as hell.

On this week’s Talkhouse Podcast, we bring together a pair of singer-songwriters who share a love of intimate, thoughtful compositions and recordings. Robin Pecknold has been the chief creative mind behind Fleet Foxes since the band’s beginnings back in 2005; the latest Fleet Foxes album was surprise-released in September of 2020, and Shore was met with lots of well-deserved love. Elijah Wolf is just starting out on his career. The Brooklyn-based singer-songwriter was raised in upstate New York, and was a fan of Fleet Foxes before a chance meeting with Pecknold in a New York guitar shop. Wolf, who was working at Crandall Guitars, was playing music by a band called Holy Hive in the store, and it turned out that both Pecknold and Wolf were friends with that band. They got to know each other and started sharing works-in-progress with each other during the pandemic. Pecknold’s songs would end up on Shore, and Wolf’s would become his first album, Brighter Lighting, which is due out February 26 on Trash Casual Records. Both records, funnily enough, feature drummer Josh Jaeger—it’s a small world after all. The two songwriters get into a great chat about their process, their pandemic work strategies, and the idea of what defines an album. Enjoy the talk, and subscribe now to stay in the loop on future episodes. This week’s episode was produced by Kevin O’Connell, and the Talkhouse Podcast theme is composed and performed by The Range.

On the latest episode of the Talkhouse Podcast, actress Robin Tunney chats with multihyphenate extraordinaire Alexi Pappas, the filmmaker and Olympic athlete whose excellent new memoir, Bravey: Chasing Dreams, Befriending Pain and Other Big Ideas, is out now through Random House. Tunney, most recently seen in ABC’s The Fix and best known for her roles in Empire Records, The Craft and TV’s The Mentalist, is not only one of Pappas’ mentors, but she’s also her cousin by marriage, and their familial ease with each other is evident in a very open, insightful and sometimes funny conversation that takes in such topics as the shadow of mental illness, the challenges of finding the balance between career and family, bonding with others over trauma, how the thing we’re best at may still give us discomfort or pain, and 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.

On this week's Talkhouse Podcast, we bring together a pair of legends from different generations: Bootsy Collins and Mix Master Mike. Collins is of course best known for his long stints with Parliament-Funkadelic and James Brown's band, and Mike for his unstoppable contributions to the Beastie Boys. But each musician has spread his wings much farther than those Hall Of Fame acts, up to an including powerful new music. For Bootsy, it's The Power of the One, and for Mix Master Mike, it's Beat Odyssey 2020—what those albums share, beyond a spiritual connection to creativity itself, is a long list of collaborators, because these guys love to find new connections. This chat is one of those connections: Mike is clearly a fan of Bootsy's, and they get deep into conversation about history, music, and—eventually—some more cosmic topics. I wouldn't be the slightest bit surprised if this meeting leads to a collaboration between the two in the future. Subscribe now to stay in the loop on future episodes. This week's episode was produced by Kevin O'Connell, and the Talkhouse Podcast theme is composed and performed by The Range. —Josh Modell, Executive Editor

This week’s show is presented in collaboration with The Hideout and Seminary Co-op Bookstore. Big thanks and love to both of those Chicago institutions! To celebrate the release of his new book How To Write One Song: Loving The Things We Create and How They Love Us Back, Jeff Tweedy (Wilco) caught up with his friend and collaborator, comedian Nick Offerman. Their funny and illuminating conversation is followed by an audience Q&A, and an exclusive solo performance by Jeff. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. Plus be sure to check our Soundcloud archives for recent shows featuring Tame Impala with Caribou, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and Jeff Tweedy with Norah Jones. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Nick recorded himself and Jeff was recorded in Chicago by Mark Greenberg. Our producer is Mark Yoshizumi. The researcher for this episode was Reese Higgins. The Talkhouse Podcast theme song was composed and performed by The Range. PEEEEEAAAACE!

This week's show is presented in collaboration with Murmrr and Community Bookstore. We give big thanks and love to those two Brooklyn institutions! To celebrate the release of his new book How To Write One Song: Loving The Things We Create and How They Love Us Back, Jeff Tweedy (Wilco) sat down with his friend and collaborator Norah Jones for a deep dive into the creative process. Their warm and insightful conversation is followed by an audience Q&A, and an exclusive solo performance by Jeff. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Jeff Tweedy again(!), this time with comedian Nick Offerman, and Bootsy Collins (it's Bootsy, baby!) with Mix Master Mike (Beastie Boys). Plus be sure to check our Soundcloud archives for recent shows featuring Tame Impala with Caribou, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and loads more. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Norah recorded herself, and Jeff was recorded in Chicago by Mark Greenberg. Our patient producer is Mark Yoshizumi. The researcher for this episode was Reese Higgins. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected]. I adore hearing from you guys. And, I mean, how long do we all stay in the same place, right? Who knows where I'll be, come 2021...

On this week's episode of the Talkhouse Podcast, we share a deep-diving conversation about the idea of space for BIPOC folks in indie rock venues — a discussion with the explicit intent "to talk about brown voices, and to talk about how we can uplift them." Black Belt Eagle Scout — real name Katherine Paul — is a self-described “radical indigenous queer feminist” who grew up on the Swinomish Indian Reservation in Northwest Washington state. KP, as she's known, is Swinomish and Iñupiaq (a Native community in Alaska). Here, she speaks with Sasami Ashworth, aka SASAMI, a Korean-American singer/songwriter and musician based in Los Angeles. Sasami made her name playing synth in Cherry Glazerr before going solo in 2018. Our special guest-host is Vagabon, or Lætitia Tamko, a Cameroonian-born singer/songwriter/producer. This episode was inspired by the Twitter backlash after a conversation Black Belt Eagle Scout had with Ailsa Chang on the NPR show All Things Considered. With Chang, KP discussed feeling uncomfortable with so many white people at her shows, as her music is intended for BIPOC folks, and stated: "It's for people of color, for indigenous people, for queer people, and white men are so fragile when I say stuff like that. It's because of white privilege and they don't often get told that." KP was obviously not advocating for banning white men from her shows, but for there to be more room at each performance for her community. Still, of course, a number of fragile white men took to Twitter calling KP racist, and hating on the show for having her on. I saw Lætitia and Sasami tweeting support for KP, with Sasami doing full on UFC-style e-battle with some trolls! I reached out the next day to offer the platform of the Talkhouse Podcast for an extended convo on the topic, one without journalists or "fragile white men" involved. This talk was recorded back in March, just before Covid-19 slammed the States, and before the Black Lives Matter movement's incredible recent strides. Keep it locked to hear about issues of safety and space in DIY touring, the importance of land acknowledgments, and actionable things that bands and fans can do. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Sasami Ashworth was recorded by Eric Rennaker at bedrock.LA; Katherine Paul, Lætitia Tamko and I each recorded ourselves. Our producer extraordinaire is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

On this week's show, we pair in conversation the artists behind two of 2020's best albums: soul and blues legend Bettye LaVette and indie wunderkind Phoebe Bridgers. Though separated by five decades in age, when the two met backstage at a Tibet House US benefit at Carnegie Hall earlier this year, they immediately developed a mutual friend crush. Now that we've gotten them reconnected here, it appears something very dope is on the horizon... but more on that in the talk! Their warm, freewheeling convo takes in a lot, including: a wonderful overview of a career Bettye calls “tenuous at best”; the unexpected benefits of promoting a new album during the pandemic; and privilege in the music industry. We also get to hear about making Pete Townshend cry, quirky Little Stevie Wonder, and learn the answer to Bettye's query "What is a Princess Nokia?" Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Norah Jones with Jeff Tweedy, and then Jeff again(!) with comedian Nick Offerman, and Bootsy Collins (Bootzilla, baby!) with Mix Master Mike (Beastie Boys). Plus be sure to check our Soundcloud archives for recent shows featuring Tame Impala with Caribou, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and loads more. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Bettye LaVette was recorded by her adoring hubby Kevin Kiley, and Phoebe Bridgers by her pal Marshall Vore. Our long-suffering producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Dude released gorgeous new music this year — check it out! Please direct all podcast-related ideas, vitriol, and compliments to [email protected]. Seriously, I love hearing from you guys. And if we're honest with ourselves, isn't the end always sneaking up on us?

On the latest episode of the Talkhouse Podcast, three of the creative talents behind the new movie The Nest – writer-director Sean Durkin, actor Jude Law and composer Richard Reed Parry – sit down for a deep-dive conversation about their work together and their respective artistic processes. Over the course of their talk, the trio discuss how their deeply collaborative creative approaches aligned in creating a collective vision for The Nest, how Sean and Richard met and became friends and collaborators, how Richard approached writing music for The Nest (and how Sean was able to “find” the film through the music), the way Jude and Sean together sketched a backstory for Jude’s protagonist Rory, the ways in which they each “submitted to the moment” while making the movie, and much more. For more filmmakers and musicians in conversation, visit Talkhouse at talkhouse.com. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

For this week's show, we pair two truly virtuosic musicians — legendary fingerstyle guitarist Leo Kottke and Phish bassist-extraordinaire Mike Gordon. Their wonderful new collaborative album Noon just came out on CD and vinyl, so we knew we had to get these brilliant musical minds together for a deep-diving Talkhouse convo. Tune in to hear the guys share their superhero origin stories; what The Grateful Dead’s Bob Weir taught Mike about rock & roll; Leo’s tricks to never playing predictably; the importance of violating one's own musical expectations; Trey Anastasio's literary recommendation; and so much more. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Norah Jones with Jeff Tweedy, and then Jeff again(!) with comedian Nick Offerman, and Bootsy Collins (Bootzilla, baby!) with Mix Master Mike (Beastie Boys). Next week's show features actor Jude Law with director Sean Durkin and composer Richard Reed Parry (The Arcade Fire) discussing their film The Nest. Plus be sure to check our Soundcloud archives for recent shows featuring Tame Impala with Caribou, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and loads more. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Mike Gordon was recorded by Jared Slomoff, and Leo Kottke by Miles Hanson. Our incredible producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected]. Seriously, I love hearing from you guys, and I won't be around forever.

It turns out that Tegan and Sara, Talkhouse Podcast producer extraordinaire Mark, and lil ol' me all share a favorite new band: Dehd. Hailing from Chicago, the jangle-tastic indie-rocking three-piece recently released their second LP Flower of Devotion, a tour de fookin' force of boy/girl vocals, Sarah Records-worthy guitar, and lyrics that make you wonder if the tears in your eyes are from loneliness or laughter. When we saw Sara tweeting her, um, devotion to the band, we knew a Talkhouse convo was in order! Keep it locked to hear about the vicissitudes of intense intra-band relationships; how musical joy isn't necessarily part and parcel of "success"; and pets as surrogate babies, tourmates, and social media fodder. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Phish‘s Mike Gordon with Leo Kottke, Norah Jones with Jeff Tweedy, and then Jeff again(!) with comedian Nick Offerman. And be sure to check our Soundcloud archives for recent shows featuring Tame Impala with Caribou, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and loads more. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, each band recorded themselves. Our long-suffering producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected]. Seriously, I love hearing from you guys.

To celebrate the release of the new Deftones album Ohms, we paired frontman Chino Moreno with his old friend and tourmate — and long-time Deftones fan! — comedian/musician Reggie Watts for a Talkhouse Podcast conversation. The guys were very psyched to catch up, and their freewheeling talk took in the making of the new Deftones LP; the ups and downs of long-term collaborations; their very different writing and recording approaches; and… bikes. Turns out they're both waaay into bikes. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Tegan and Sara with Dehd, Phish‘s Mike Gordon with Leo Kottke, and Norah Jones with Jeff Tweedy. And be sure to check our Soundcloud archives for recent shows featuring Tame Impala with Caribou, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and loads more. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themselves. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

Devonté Hynes, aka Blood Orange, had an incredible 2019. He dropped the mixtape Angel's Pulse; scored the critically acclaimed film Queen and Slim; released a classical album with Third Coast Percussion; directed a music video for Beck; and, as a fan, finally saw the brilliant composer/vocalist Beverly Glenn-Copeland live. Glenn-Copeland (as he prefers to go by in his day-to-day life) had his own amazing year: At the age of 74, he had his first international tour, released the new LP Primal Prayer, and saw his previously obscure, decade-spanning seven album catalog finally embraced in music communities around the world. And he met Dev, whose music he adores. We introduced Dev and Glenn right here on the Talkhouse Podcast, and the ensuing convo was warm, vulnerable, funny, and potent. The two sat on a sofa at Hook and Fade Studio in Brooklyn, and instantly formed a world all their own; they stared into each other's eyes, and spoke so softly that it was difficult to hear them from even a few feet away. In their wide-ranging conversation, Glenn and Dev discuss discovering parts of themselves by traveling out of their home countries; the way they each approach their songwriting; and the story behind Glenn’s seminal 1986 album Keyboard Fantasies. We also learn the importance of nature and its role in their music; how recently Dev began to honor music as the foundation of all his creativity; and the trick Glenn’s mother used to make him a musician while still in utero. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast. —Elia Einhorn, Talkhouse Podcast host and producer Today's show was engineered and co-produced by Mark Yoshizumi. Additional editing by Katie Lau. Research by Reese Higgins. The Talkhouse Podcast’s theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

TAME IMPALA AND CARIBOU ARE ON THE SHOW THIS WEEK!!! Sorry, I tried to write a more "professional" first line, but this is just SO DOPE! Tame Impala's Kevin Parker and Caribou's Dan Snaith are two of the most fascinating artists working today, and when the Talkhouse Podcast discovered they're also huge fans of each other's work, we knew we had to get them together to chop it up. In this warm and open conversation, the guys get into their very different creative processes; the pluses and minuses of having confidence in your artistic output; the clutch piece of gear Kevin uses to help get that sweet sweet Tame Impala sound; and much more. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Tegan and Sara with Dehd, Deftones‘ Chino Moreno with comedian Reggie Watts, and Phish's Mike Gordon with Leo Kottke. And be sure to check our Soundcloud archives for recent shows featuring Mac DeMarco with Dayglow, Carly Rae Jepsen with mxmtoon, Diplo with Charlie Crockett, and loads more. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themselves. Our producers are Mark Yoshizumi and Elia Einhorn. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

To celebrate Carly Rae Jepsen and mxmtoon's rad collab track "ok on your own," we paired the pop stars for what turned out to be a deep dive into the art of making music and learning to thrive in the complicated music industry. In this very warm and insightful conversation, Carly and Maia each share their (very different!) origin stories, and explore both the art of songwriting and live performance. Carly also shares clutch career wisdom. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Tame Impala’s Kevin Parker with Caribou’s Dan Snaith, and Deftones‘ Chino Moreno with comedian Reggie Watts. Plus, ICYMI: mxmtoon just kicked off her yearlong podcast project 365 days with mxmtoon in collab with Talkhouse, which features quirky stories from history that occurred on each day, old diary entries and more; it’s really fun, and like eight minutes long. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Carly was recorded by Nick Theodorakis, and everyone else you hear recorded themselves. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

On this week’s show, a young gun picks a veteran’s brain. A youngish veteran, admittedly — Mac DeMarco’s only 30, but compared to 21 year old Spotify-wunderkind Sloan Struble, aka Dayglow, he’s already spent a lifetime in the music industry trenches. The two take in a lot in this conversation. We hear Mac's origin story, and get a nice overview of his career. We get insight into what it's like finding fast fame online in 2020, and the two dissect the term "DIY" and the changing definition of “indie.” Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Tame Impala’s Kevin Parker with Caribou’s Dan Snaith, Carly Rae Jepsen with mxmtoon, and Deftones' Chino Moreno with comedian Reggie Watts. Follow @talkhouse across socials to catch upcoming installments of Talkhouse Podcast Live On Insta. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themselves. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

For this week's episode of the show, we paired two brilliant rockers from different generations, each of whom has a fantastic new record out: Bob Mould (Hüsker Dü, Sugar) and Bully's Alicia Bognanno. They chop it up about a lot, including the making of their new albums; how the music industry has changed since Bob’s early days in the game; the ups and downs of sharing one's life — including familial and mental health issues — with the public; and so much more. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Tame Impala's Kevin Parker with Caribou's Dan Snaith, and Mac DeMarco with Dayglow. Follow @talkhouse across socials to catch upcoming installments of Talkhouse Podcast Live On Insta. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themselves. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

To celebrate the release of their collaborative live LP To Be Surrounded By Beautiful, Curious, Breathing, Laughing Flesh Is Enough, experimental indie rockers Deerhoof and avant garde trumpeter Wadada Leo Smith chop it up on the Talkhouse Podcast. Recalling the shows they've played together — including the one at Le Poisson Rouge here in New York that the record captures — they discuss the magic of collaboration, improvisation, and other matters of cosmic music philosophy. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Bob Mould with Bully's Alicia Bognanno and Mac DeMarco with Dayglow. Follow @talkhouse across socials to catch upcoming installments of Talkhouse Podcast Live On Insta. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themselves. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

In the second episode of the McIntosh "for the love of music..." podcast series presented by Talkhouse, Elia Einhorn spoke with Ben Blackwell, head honcho and co-founder of the world-renowned Third Man Records alongside Jack White, and drummer of Detroit band the Dirtbombs. In the talk, Blackwell discusses Third Man's approach to the music industry — their business model, their philosophy, and the decisions behind their curation process. He also touches on Third Man's commitment to integrity and "doing things the old fashioned way;" tells the story of Neil Young and a very old (and expensive) recording booth; and gives a full rundown on the gear that he and Jack White use to listen to records.

For this week's show, we paired two game-changing artists working in different mediums who are obsessed with each other's output: musician Paul Banks (Interpol, Muzz) and visual artist/designer Shepard Fairey (Obey). Originally aired as part of our Talkhouse Podcast Live On Insta series, their talk takes in a lot, including the evolution of their art; the thrills and intricacies of collaborating; the direct and passive political work they're involved in; and, of course, Paul's new Muzz LP! Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Bob Mould with Bully's Alicia Bognanno, Deerhoof with Wadada Leo Smith, and Mac DeMarco with Dayglow. Follow @talkhouse across socials to catch upcoming installments of Talkhouse Podcast Live On Insta. —Elia Einhorn, Talkhouse Podcast host and producer Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

Singer/songwriter Perfume Genius — aka Mike Hadreas — and playwright Jeremy O. Harris (Slave Play) are each boundary-shattering artists. Their takes on queer sexuality, trauma, and, in Jeremy's case, race have seen them deified in their respective fields. They're also massive fans of one another's work, and while the two have been "internet friends" for a while, we were truly thrilled to pair them for their first-ever conversation right here on the Talkhouse Podcast. In this insightful discussion, they share their artistic processes, including consciously pushing boundaries and avoiding comfort zones by showing the world one’s metaphorical — and literal — asshole. They also share deets on the amazing celebs Mike has written with, and who Jeremy is getting ready to work with. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Bob Mould with Bully‘s Alicia Bognanno, Deerhoof with Wadada Leo Smith, and Mac DeMarco with Dayglow. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themself. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

Here's the mark of a great Talkhouse Podcast pairing: For this week's show, we introduced legendary producer Diplo (Major Lazer) and rising country star Charley Crockett, and by the end of the talk, the two had decided to work together! In this wonderful conversation, Charley and Diplo go deep on the connections between country music and hip hop, their love of flashy cowboy fashion, the changing looks and sounds of country, and much more. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Perfume Genius with Jeremy O. Harris (Slave Play), Bob Mould with Bully‘s Alicia Bognanno, Deerhoof with Wadada Leo Smith, and Mac DeMarco with Dayglow. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, Charley Crockett was recorded by Gary Calhoun James at King Electric in Austin, and everyone else recorded themself at their #stayhome studios. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. Please direct all podcast-related ideas, vitriol, and compliments to [email protected].

On the latest episode of the Talkhouse Podcast, we reunite two filmmaking greats who first talked on the show back in 2017: Alejandro Jodorowsky and Darren Aronofsky. The iconic directors this time spoke on the occasion of the release of Jodorowsky’s new documentary about the therapy he created, Psychomagic: A Healing Art (now available on Alamo on Demand), with the 91-year-old maestro Skyping from his home in Paris and Aronofsky from New York. The two discussed a variety of subjects including, of course, psychomagic, but also touched upon the “idiot moment” of the current pandemic, how Jodorowsky maintains his physical and spiritual health, his desire to live many hundreds of years, how he would script the end of 2020, and much, much more. For more filmmakers talking film, visit Talkhouse Film at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

On this week's show, we present a deep dive conversation between mutual fans — and newly minted collaborators! — Bruce Hornsby and James Mercer (The Shins, Broken Bells). To celebrate Bruce's single "My Resolve," which features James, the guys sat down for a talk that takes in each of their earliest musical moments, right up to their new collab. Tune in for some wonderful stories of the roles Sir Elton John, Modest Mouse’s Isaac Brock, Zach Braff, and even the musical The Music Man played in their careers. Check it out, and subscribe now to stay in the loop on future episodes of the Talkhouse Podcast, including Diplo with Charley Crockett, Bob Mould with Bully's Alicia Bognanno, Deerhoof with Wadada Leo Smith, and Mac DeMarco with Dayglow. —Elia Einhorn, Talkhouse Podcast host and producer For this week’s episode, everyone you hear recorded themself at their #stayhome studios. Our producer is Mark Yoshizumi. The Talkhouse Podcast theme song was composed and performed by The Range. (But not, you know, Bruce Hornsby's The Range...) Please direct all podcast-related ideas, vitriol, and compliments to [email protected].