On this week’s Talkhouse Podcast we’ve got the songwriters behind some of the most tuneful tunes in indie-rock, one with a couple of decades under his belt, the other two relatively newer to the game: A.C. Newman along with Liz Stokes and Jonathan Pearce.

Stokes and Pearce are the core of the New Zealand band The Beths; she sings and plays guitar, he plays guitar and engineers their fabulous records. Their third and latest, Expert in a Dying Field, was one of 2022’s best—and you don’t have to take my word for it, it made tons of those best-of-the-year lists. Stokes is a fabulous lyricist and expressive singer; she’s one of those people whose semi-deadpan actually says quite a lot. The songs are melancholy and spunky, and sort of in the tradition of some great late-90s/early aughts indie-rock, like Superchunk or Rilo Kiley. Maybe it’s no surprise that some big bands that broke out in that era, like Death Cab for Cutie and The National, have taken the Beths out on tour. Check out the title track from Expert in a Dying Field right here, and catch the Beths on tour all over the world this summer.

Another Beths admirer who got his start in the early aughts is A.C. Newman, who’s best known as the singer and chief songwriter for the New Pornographers. That Canadian band started out as a sort of supergroup consisting of Newman and Neko Case alongside Dan Bejar and John Collins of Destroyer, but over the years it has really become a vehicle for Newman’s incredibly melodic songs. The band is on tour now behind their ninth album, the slightly mellower though no less engaging Continue As A Guest, and yes, both the current live lineup and the record still feature Neko Case—in the past she’s had to split time with her vibrant solo career. Check out “Really Really Light,” from Continue as a Guest.

In this conversation, Newman, Stokes, and Pearce—who were only admirers beforehand, not yet acquaintances—talk about the early days of these things called websites, blowing your life savings to go on tour, government arts grants that help bands do bigger things, and when doing it yourself just becomes too tough. Also, Newman gives some solid life and career advice: “Just do what you think is cool.” Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to A.C. Newman, Liz Stokes, and Jonathan Pearce for chatting. If you like what you heard, please follow Talkhouse on your favorite podcasting platform, and don’t forget to check out the other podcasts in our network, including Craig Finn’s That’s How I Remember It, How Long Gone, and Bjork’s Sonic Symbolism. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

On this week’s episode we’ve got two guests who might know each other better than any two prior guests of this podcast ever have: brothers Ben Nichols and Jeff Nichols.

Ben Nichols is the singer, guitarist, and chief lyricist for the long-running Memphis band Lucero, and when I say long-running, I mean it: Assuming you’re listening to this podcast the day we release it, the band played its first show exactly 25 years ago today, on April 13 of 1998. In that time, they’ve released an even dozen albums, making the journey from punk-influenced country—or maybe that’s country-influenced punk—to soul to straight-up rock and roll. I’ve always felt like Lucero was the Southern version of The Hold Steady, purveyors of great story-songs and always an incredibly good time live. The newest Lucero album came out in February, and it’s a very intentional back-to-basics rock record called Should’ve Learned By Now. Check out “Macon If We Make It” from that record.

Ben’s younger brother Jeff followed a similar independently creative path, but down a different road: He’s a successful—and incredible—film director whose credits include Mud starring Matthew McConaughey, a drama about the real life battle over interracial marriage called Loving, and my personal favorite, Take Shelter, in which Nichols’ frequent collaborator Michael Shannon plays a family man who may or may not be coming unglued. Each is very different from the next, and each is excellent. Jeff Nichols next film is called The Bikeriders, and it will star Tom Hardy, Austin Butler, and Jodi Comer, among others. It’s very loosely based on a book of the same name that Jeff was introduced to by Ben. As you’ll hear in this conversation, it’s not the only time the two have influenced each other. They talk about how Lucero songs have found their way into Jeff’s movies, about how the brothers came upon the same exact story in different ways, and about Jeff’s potential future as the man who may attempt the impossible: adapting some of Cormac McCarthy’s more complicated books, including Blood Meridian, for the big screen. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Ben Nichols and Jeff Nichols for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great written stuff we’ve got 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!

On this week’s Talkhouse Podcast, we’ve put together what might seem like two vastly different musicians, but they’re connected by a deep respect and by a truly rebellious spirit that’s reflected in their names: Steve Ignorant and Sunny War.

Sunny War has been releasing bluesy, folky, virtuosic albums for years, but recently hooked up with the notable Americana label New West for the album Anarchist Gospel, which features not only some of her best songs yet, but also a bunch of notable guest performers, like singer-songwriter David Rawlings and My Morning Jacket’s Jim James. You might not guess it from just a surface listen, but War cut her teeth not just on classic songwriters and fingerpickers, but on plenty of harder, more left-of-center music as well. On Anarchist Gospel she covers a Ween song and paraphrases a lyric by the legendary anarcho-punk band Crass—which is the genesis of today’s conversation. Check out Sunny War’s “Whole” right here, in which she namechecks Crass.

The other half of today’s chat is Steve Ignorant, a founding member of Crass and still the band’s flag bearer more than 40 years later. Now Crass is often overlooked by punk historians who don’t run deeper than the Sex Pistols or the Clash, but they were in many ways just as important. Crass were unapologetically political, making anti-corporate, anti-fascist, anti-racist, anti-bullshit statements in both their music and out in the streets—back when that could be a much more dangerous thing to do than it is now. Though Crass split in the early 1980s, Ignorant has performed under various guises over the years, and still plays gigs that cover his vast musical history, including new material as Steve Ignorant’s Slice of Life. At 65, he’s still got plenty of the anarchist’s spirit in him, as you’ll hear.

In this chat, War and Ignorant—that sounds funny together, doesn’t it?—talk about growing up as true outsiders—he in post-war England, her in drug-friendly Los Angeles. They chat about War’s devotion to Crass, including a misspelled tattoo she got way too young. And they get into their problems with how young people are educated, and offer a pretty smart, simple solution. Enjoy. 

Thanks for listening to the Talkhouse Podcast, and thanks to Steve Ignorant and Sunny War for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the good stuff we’ve got 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!

Hey Talkhouse listeners, we're off this week, so we're bringing you something special. To honor The Hold Steady's new record, The Price of Progress (out March 31st), we invited Craig Finn to highlight his favorite episode of his podcast, That's How I Remember It. Craig chose this conversation with The Mountain Goats frontman John Darnielle. Be sure to catch The Hold Steady and The Mountain Goats on tour together this summer, details at: theholdsteady.net. See you next week!

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John Darnielle is my guest on this week’s That’s How I Remember It. John has been making brilliant music as The Mountain Goats since 1991. Originally a solo lo-fi bedroom project, TMG has grown into a lush rock & roll juggernaut. John has also written four great novels, the most recent being Devil House, which we talked about here. We also talked about activated charcoal, local crime obsession, consciousness of sin, and whether the amazing new Mountain Goats record Bleed Out is their Age of Quarrel. Huge thanks to John for bringing a great conversation here. Listen, subscribe, and stay tuned for more awesome guests on That’s How I Remember It.

On this week’s Talkhouse Podcast, we’ve got a musician at the start of her career talking with a songwriter whose 35-year-old song she recently covered—after just discovering it. It’s Dan Littleton and Helen Ballentine, aka. Skullcrusher.

Don’t let that name fool you. Skullcrusher’s music taps into elements of ambient electronic and traditional folk to create a mesmerizing stew: In other words, if it crushes your skull, it will do so gently. On her debut album under the name, last year’s Quiet the Room, Ballentine deftly explores some complicated emotions via gorgeous songs and words; the two artists she’s been most frequently compared to are Phoebe Bridgers and Grouper, and I think if you smush those together, it makes some sense. 

The other half of today’s conversation is Dan Littleton, whose indie-folk outfit Ida made some incredible records in the ‘90s and the aughts. But the focus of this conversation is actually Littleton’s hardcore band from the 1980s, the Hated. The Hated was part of what emo scholars—does such a thing exist?—consider the genre’s first wave, which was led most notably by Rites of Spring. They were adjacent to the so-called “Revolution Summer” in 1985, though the Hated faded into history more quickly than some of their counterparts. But the scholars at the venerated Numero Group label recently launched a reissue series that takes a deep dive into the Hated’s discography, starting with a compilation called Best Piece of Shit Vol. 4. Now what does an ‘80s hardcore band have to do with an ambient folk artist currently bubbling? Well, the Numero folks had the brilliant idea of asking Skullcrusher to cover a Hated song, and once she heard “Words Come Back,” she was all in. Check out the original below; the cover is available on your favorite streaming service starting today.

In this conversation, Ballentine and Littleton—who are chatting for the first time—talk about how this unusual cover version actually makes complete sense, and how sometimes radically different sounds can actually come from very similar places. Dan describes the emotional teenage years that inspired the original, and Helen talks about how she layered the unusual sounds on her version. It’s an inspiring lovefest of sincerity and creativity, and I hope you enjoy it as much as I did.

Thanks for listening to the Talkhouse Podcast, and thanks to Helen Ballentine and Dan Littleton for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all we’ve got to offer on Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Artist-on-artist conversations about life, the creative process, and more. Subscribe today.

On this week’s Talkhouse Podcast we’ve got a pair of songwriters separated by thousands of miles who came together recently for a killer single: Remi Wolf and Benny Sings.

Wolf has been writing songs since her early teens, but it wasn’t until a couple of years ago that her neon pop jams starting getting some social media attention. A major label came calling, and Wolf spent a good chunk of the early pandemic making her full-length debut album Juno, which she named after her recently adopted dog. It’s one of those deceptively sunny records that hides some bigger emotions inside huge hooks, and it led to a bunch of amazing singles like “Anthony Kiedis”—that’s the name of the song— and tours: Wolf will play Coachella next month.

As you’ll hear in this chat, Wolf met Dutch singer-songwriter Benny Sings when both were playing a Spanish festival that had some kind of Medieval theme. Wolf was already a fan of Benny’s work, both as a performer and a producer: Not only has he released a ton of great music on his own, but he also co-wrote a hit with Rex Orange County and has worked with the likes of Mac Demarco. Benny’s music has a sort of classic soft-pop vibe; he playfully mixes in hip-hop and island vibes on occasion, too, making the sort of breezy songs that easily get stuck in your head. When it came time to record his brand new album Young Hearts, which comes out next week, he reached out to Remi for some vocal assistance. The result is a delightful little nugget called “Pyjamas.” Check out that song right here.

In this chat, Remi and Benny talk about collaborating on the video for “Pyjamas”—she directed it, adding some of the visual flair she’s known for. They also chat about songwriting in general—whether it’s craft or divination, and they get into whether technology is good or evil—and whether these two would survive a tech-pocalypse. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Remi Wolf and Benny Sings for chatting. If you like what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the goodness 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!

On this week’s Talkhouse Podcast we’ve got a pair of fantastic musicians who’ve been intimately involved with each other’s lives and work for the past decade and a half: Cate Le Bon and Huw Evans.

Le Bon and Evans each have their own incredible discographies that wouldn’t have been the same without the other: They’re not in a band together, but each has been a key component of the other’s work over the years, starting when they were young and romantically involved. Though they’re no longer in a relationship, they’re still a huge part of each other’s lives. And as you’ll hear in this conversation, they like to give each other shit—to the point where while recording I wasn’t sure if there was some real hostility happening. (There wasn't.)

Evans records under the name H. Hawkline, and this week he’ll release his fifth album, Milk For Flowers. It’s his most personal and intense yet, though strong emotions remain shrouded in what he once called “strange pop.” Hawkline first found a bit of fame in his and Le Bon’s native Wales as a TV presenter, but found his musical voice with a unique blend of classic-sounding songwriting flecked with psychedelic and folk influences. He’s worked with Tim Presley of White Fence a bunch; as you’ll hear, Presley even played a pivotal non-musical role in the creation of Milk For Flowers. Le Bon produced it, helping to shepherd some intense feelings onto tape. Here’s the title track.

Evans was there right at the start of Le Bon’s career, as you’ll hear in this chat: They were living together, and he convinced her to start playing her otherworldly songs outside of their house. He even had to come up with her stage name in order to create a flyer: What may or may not have been a reference to Duran Duran singer Simon Le Bon stuck. The two eventually moved to Los Angeles together and continued making music: Le Bon has amassed an unforgettable discography—you know immediately when you hear her music. (Jeff Tweedy once said he could always tell when it was Le Bon playing guitar, which sounds like a compliment to me.) Le Bon’s latest album is last year’s Pompeii, a grand, height-of-the-pandemic record that feels like an amazing high-wire act, with saxophone, clarinet, and synthesizers all complementing her voice, guitar, and bass. And it’s a matter of some debate, as you’ll hear, whether Evans contributed any bass as well. Check out “Remembering Me” from Pompeii.

In addition to giving each other grief about song titles and bass parts, the two talk about their history together, about how Le Bon narrowly avoided recording a song that sounded like Jane’s Addiction, their different writing styles, and about how the story of Le Bon’s first gig was like “a shit indie film.” Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Huw Evans and Cate Le Bon for letting us in on their chat. If you liked what you heard, please followTalkhouse on your favorite podcasting platform, and be sure to check out all the other podcasts in our network, including Jokermen, Craig Finn’s That’s How I Remember It, and more. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

On this week’s Talkhouse episode, we’ve got a couple of old friends who’ve made some great music both together and separately, and who record under interesting names: Chaz Bear and Hannah van Loon.

Those aren’t even the interesting names I was talking about. Chaz Bear is better known as Toro Y Moi, a pioneer in the chillwave genre who started releasing records about a dozen years ago. But that microgenre never quite captured what Toro Y Moi is all about, because nothing really can. Chaz Bear loves to jump around sonically, dipping his toes into indie rock, hip-hop, and even some jazzy influences. He’s got enough excess energy that Toro Y Moi isn’t even his only musical outlet, and he also moonlights as a graphic designer. This spring and summer he’ll open shows for Caroline Polachek, and he’s also part of the new ReSet touring festival that’s hitting bit cities this year. Oh, and he’s still got time to collaborate with today’s other guest.

Hannah van Loon has been making music as Tanukichan since 2016 or so, and Chaz Bear has been involved in quite a lot of it. In addition to releasing it via his own imprint, Company, Bear has produced quite a bit of van Loon’s music and collaborated with her on it, including the brand new Gizmo, which is out March 3. It’s a slightly more uplifting experience than her lovely but kinda dark debut, 2018’s Sundays. Her publicist describes one song on the new record, “Don’t Give Up,” as nu-metal meets Cocteau Twins, which is sort of simultaneously wrong and exactly right. Check out a different song, ”Take Care,” right here.

Van Loon and Bear are both a little bit introverted, as you’ll hear, but they chat a bit about her woodworking, his studio, and… TikTok. They talk a bunch about TikTok—whether it’s a force for good or evil, what kinds of weird corners you can find on it, and how it’s actually a really great tool for learning about new music. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Chaz Bear and Hannah van Loon for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great written content we’ve got 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! 

On this week’s Talkhouse Podcast we’ve got a pair of women who came up together during one of the most exciting musical eras ever, and who’ve got the stories to prove it: Gina Birch and Vivien Goldman.

Birch started the Raincoats with friends from a London art college in 1977, stepping right into the burgeoning punk scene with records that were notoriously challenging in a scene not known for being particularly welcoming to women to begin with. The Raincoats were never poppy enough to flirt with the mainstream, but thanks to Kurt Cobain, the band had a bit of a resurrection in the mid-1990s. At Cobain’s behest, Nirvana’s American label re-released the Raincoats catalog, complete with liner notes by Cobain, and the band subsequently made its first album in over a decade. They were even set to tour with Nirvana in Europe, but Cobain’s death scuppered that plan. But Birch didn’t slow down; she set out on a filmmaking career while still pursuing music; she even made music videos for the likes of New Order and The Libertines. Later this year, Birch’s paintings will accompany a hardbound volume of Sharon Van Etten’s lyrics. Just recently, Jack White’s Third Man Records came calling, and it reignited Birch’s musical endeavors: This week marks the release of her first proper solo album, called I Play My Bass Loud. Check out the title track right here.

Vivien Goldman is known more as a writer than as a musician, but she’s done both of those things and much, much more. She worked in PR for Bob Marley and the Wailers way back when—and she lives part of the time in Jamaica nowadays, which is where she Zoomed in from. At the height of the punk boom, she released an influential single called “Launderette” before transitioning more into writer and journalist mode: She was the editor of influential UK music paper Sounds and co-wrote the Massive Attack song “Sly.” She was also roommates with Chrissie Hynde and, more important to this conversation, Geoff Travis of Rough Trade Records, which is how she got to know Gina Birch. These days, Goldman has been teaching about the history of punk at NYU, and she dove back into music last year, releasing an album called Next is Now. I’ve only scratched the surface, too: Check out viviengoldman.com for a more complete picture.

In this conversation, Birch and Goldman chat about the old days and the newer days, how roles and respect for women have changed over the decades, and about the famous musician and producer, Youth, who encouraged them both—and produced both of their new records. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Gina Birch and Vivien Goldman for this fantastic chat. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all we’ve got on offer 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!