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Talkhouse

Your favorite musicians, filmmakers, and other creative minds one-on-one. No moderator, no script, no typical questions. The Talkhouse Podcast offers unique insights into creative work from all genres and generations. <a href="https://pod.link/Talkhouse" target="_blank" rel="noopener">Subscribe now</a>, and explore more illuminating shows on the <a href="https://talkhouse.com/category/podcast" target="_blank" rel="noopener">Talkhouse Podcast Network.</a>

Talkhouse Podcast

Podcast

Mike Ness (Social Distortion) Talks with Ben Nichols (Lucero) on the Talkhouse Podcast

Geneva Jacuzzi is a pop artist working in the strange paradise of angels — Los Angeles. A mother of invention, she is exalted as an early pioneer of the modern lo-fi bedroom pop terrain, and is a notable figure in the underground scenes in Hollywood and Los Angeles, with her influence spreading worldwide in the pop, noise, and independent art communities. Geneva is further recognized for her work in visual and performance art, fabrication, fashion, and film. She directs and produces music videos and video art installations, designs and produces her own sets and wardrobe, and choreographs her stage performances.
Her latest album, Triple Fire, is out now on Dais Records.

Geneva Jacuzzi

Music

Askin’ Haskins: Geneva Jacuzzi Interviews Bauhaus’s Kevin Haskins

Joseph Shabason is a Toronto-based saxophonist. His new record, Welcome To Hell, is out now via Western Vinyl.

Joseph Shabason

Introducing: Joseph Shabason’s “Escape From North York”

Ned Russin co-fronted Title Fight for many years before the band suspended operations and Ned became Glitterer. He initially self-released two EPs that were odd, charming, clever, eloquent, and highly proficient records, hand-made in the spartan bedroom-pop mode: some programmed drums and keyboards with an electric bass and a voice. The songs were about the trap of self-awareness and the impossible dream of self-negation; and despite their being, combined, all of about 18 minutes long, they left long-lasting impressions, stuck themselves in peoples’ heads and stayed put. Lyrically, many of the songs on Glitterer’s debut full-length Life Is Not A Lesson are short, dialectical considerations of the countless daily miniature panic attacks that attend the rigorously examined life. Life is Not a Lesson proves to be a rigorous reckoning with the life of the mind at a time when there’s not much life outside the mind.
(Photo Credit: Farrah Skeiky)

Glitterer

Three Great Things: Ned Russin of Glitterer

Jeremy Earl (Woods) &amp; Glenn Donaldson (Skygreen Leopards, The Reds, Pinks &amp; Purples) met sometime in the mid-aughts and bonded over a love of tambourines and DIY sounds. They shared many stages since, and their first serious collaboration was on the 2011 Woods album Sun &amp; Shade. Around 2018, Earl was restless in upstate NY and accepted an invite to record in Donaldson’s studio in an undisclosed rural coastal town in Northern California. In a week they emerged with nearly an album’s worth of hazy folk-rock and psych-pop with touches of more outré lo-fi noise. Jeff Moller (The Papercuts) added bass, and they put the finishing touches on during quarantine. Heaven and Holy ebbs and flows like coastal fog between songs and dreamy instrumentals splitting the difference between The Clean’s Unknown Country and The Byrds’ Fifth Dimension.

Painted Shrines

Introducing: Painted Shrines’ “Not So Bad”

Perhaps no other instrument in the traditional music of Japan is as easily recognizable as the shakuhachi; an end-blown, bamboo flute. Originally played by itinerant monks as a form of meditation, it has endured centuries of change throughout Japan’s history. For six generations, the Araki family has shepherded this tradition under the name of Kodō. Named for his great-great grandfather, Hanzaburō made his professional debut in 1988 in Japan only four months after his first lesson from his father. In 2009, the name Kodō was bestowed upon him by his father to become the sixth in his family’s lineage to bear this title. This legacy continues to be the most influential in the genre, offering an unbroken connection to the roots of this haunting music.   In the midst of a catastrophic year for the performing arts, there was a silver lining: Araki was able to take possession of an extremely rare flute made by his great-great-grandfather. The unexpected reunification with a shakuhachi made by his namesake, the isolation of the pandemic, and over 30 years in the music industry, created an apt circumstance for a recording to honor the flute, his father, and grandfathers.   In January of 2021, he released an album titled Hankyō (Reverberation) with both traditional and more contemporary compositions.

Hanz Araki

I Don’t Ask People To Use My Full Name

James Toth is an artist/musician/writer living in Green Bay, WI. He has written about music and culture for NPR, The Wire, Stereogum, Aquarium Drunkard, and The Quietus, among others, and recently completed a draft of his first book. He currently plays in the transatlantic rock band One Eleven Heavy.

James Toth

R.I.P. Miles Seaton of Akron/Family

XIXA’s Gabriel Sullivan and Brian Lopez’s combined credits include Calexico, KT Tunstall, Orkestra Mendoza, and more as well as both being members of Giant Sand. For their new album Genesis they’ve delved even deeper into their admiration for Peruvian chicha, extracted and refined the core, and given voice to their most primal instincts. They are joined on select tracks by renowned artists from across the globe including Sergio Mendoza, Imarhan, and the Uummannaq Children’s Choir, which features youth from an orphanage in a small village in Northern Greenland. They’re also joined by drummer Winston Watson, who has done long stints with Bob Dylan, Alice Cooper, and Warren Zevon, among others.
(Photo Credit: Julius Schlosberg)

XIXA

Three Great Things: XIXA

Julia Jacklin Talks with Tamara Lindeman (The Weather Station) on the Talkhouse Podcast

Wild Pink is a New York-based rock band. Their fourth album, ILYSM, is out October 14, 2022 via Royal Mountain Records.
(Photo Credit: Mitchell Wojcik)

Wild Pink

In Conversation: Wild Pink and the Antlers

Vivian McCall established her career as a multi-instrumentalist and recording engineer with Chicago’s off-kilter retro-pop band Jungle Green. After years of engineering sessions for her bandmates, and recording a Jungle Green album with Foxygen’s Jonathan Rado, she recorded Pansy (Earth Libraries, 2021) on her Tascam 488 tape machine. In taking a lo-fi emotional inventory of her transition, Vivian drew from the music that helped her endure it: The Magnetic Fields, Liz Phair, and the eclectic punk of New Zealand’s Dunedin sound.
Shortly after releasing Pansy, Vivian moved to Seattle, where the band became a bona fide four-piece with guitarist Liz Perlman, drummer MJ Harbarger, and bassist Syd Brownstone. Pansy is about coming out. The Skin Graft EP is about trying to live a normal life as a trans woman in America, where the political temperature is rising.
(Photo Credit: Victoria Scott)

Pansy

Introducing: Pansy’s “Anybody Help Me”

Jeffrey Silverstein is a songwriter based in Portland, OR. His new EP, Roseway, is out June 14, 2024 via Arrowhawk Records.
(Photo Credit: Shade Standard)