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Talkhouse

In the years between the release of Alice Ivy&#8216;s Australian Music Prize-nominated 2018 debut I&#8217;m Dreaming, the curator has grown into one of Australian electronica&#8217;s most prominent advocates for female producers. Now with the release of Don&#8217;t Sleep, Alice Ivy&#8217;s position alongside respected contemporaries is solidified, and her status as a revered collaborator confirmed.
Platforming new artists and helping new voices to break-through to the mainstream goes beyond just tastemaking for Alice Ivy, whose refined curatorial skills are on full display across Don&#8217;t Sleep. Through her choice of collaborators, Ivy is working to diversify the sound and look of the traditionally male-dominated studio space. This cause moves forward again through her second LP where Ivy is equally adept at uncovering new dimensions to well-established artists such as Cadence Weapon on &ldquo;Sunrise,&rdquo; Montaigne and Bertie Blackman on &ldquo;Sweetest Love&rdquo; and Ngaiire on &ldquo;All For You;&rdquo; as she is seeking out and breaking new ones including Thelma Plum on &ldquo;Ticket To Heaven,&rdquo; Odette on &ldquo;I&#8217;ll Find It&rdquo; and more across 13 tracks.
Written predominantly on the road where pool houses and kitchen tables were made into impromptu studios, in making Don&#8217;t Sleep Ivy strove to write music that could soundtrack both feelings of pure elation and move listeners emotionally. Challenging herself to experiment with new songwriting methods, explore the rawness of sound and collaborate with a broader range of voices, the result is a colourful journey made all the more vibrant and tender with tales woven from some of Australia&#8217;s most established and exciting upcoming voices.
(Photo Credit: Michelle G Hunder)

Alice Ivy

Music

You Don’t Have To Make Your Pandemic Album

Pure Bathing Culture is Sarah Versprille and Dan Hindman, an indie pop duo from Portland, OR. Their EP Carrido is out now via Infinite Companion.

Pure Bathing Culture

Too Easy: Pure Bathing Culture Talks with Jonathan Rado (Foxygen) About Richard Swift

Art Feynman (aka accomplished recording artist and producer Luke Temple) stitches art-pop, Nigerian highlife, worldbeat, and other lesser-known genres into a musical quilt that displays his unmistakable guile and eccentric songcraft. On his sophomore album Half Price at 3:30 (out now on <a href="https://smarturl.it/ls8g04" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://smarturl.it/ls8g04&amp;source=gmail&amp;ust=1594406618320000&amp;usg=AFQjCNFBBoLnjNsvhRwgMZDfYkAMTAa3mA">Western Vinyl</a>) he delivers songs that side-smile while pointing out the emotional sinkholes that whirl beneath the most overlooked, seemingly commonplace scenarios. As effortlessly as he inhabits his Art Feynman character he also slips into the lives of other personalities, both living and fictional. Where previous entries in the Luke Temple discography — including his well-liked former group Here We Go Magic — have utilized organic timbres even while sailing far from the guitar-and-drums shore, Half Price sees him employing drum machines, slightly glossier production, and even autotune with a tasteful balance that suggests these tools have been in his kit all along. The result affectionately evokes guerrilla recording predecessors like Francis Bebey, Arthur Russell, and Haruomi Hosono in musicological detail, yet it’s Temple’s hard-won creative voice that resounds over top of it all facing Half Price forward instead of nostalgically backward.
(Photo Credit: Aubrey Trinnaman)

Luke Temple

A Deep Dive Into Music Theory and Lyric Writing with Luke Temple and Buck Meek

Holding fast to the emotional honesty of Playing House (2017), Common Holly’s sophomore record, When I say to you Black Lightning is a look outward; an exploration of the ways in which we all experience pain, fear, and self-delusion, and how we can learn to confront those feelings with boldness.
The record is more experimental than Brigitte Naggar’s debut. It is rougher, looser, louder and more atonal. It feels edgy, but still kind. WISTYBL ditches fear without losing vulnerability, and trades in sadness for the healing powers of anger, and the strength of observing, recognizing and confronting. Through its 9 labyrinthian yet catchy tracks, shaped sonically by the seriously unique visions of Devon Bate, Hamish Mitchell, and Naggar herself, the album observes the complexities of mental health, the precarity of life, and the challenges of finding strength in the face of grave misunderstanding. 
(Photo Credit: Alex Apostolidis)

Common Holly

Checking In with Little Kid and Common Holly

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

Black Belt Eagle Scout Talks with SASAMI (and Guest Host Vagabon) on the Talkhouse Podcast

Patrick Haggerty is the leader of the band Lavender Country.
(Photo Credit: Isabel Dresler)

Patrick Haggerty

Lavender Country’s Patrick Haggerty Talks with Paisley Fields

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Dean Wareham is a musician (Galaxie 500, Luna, Dean &amp; Britta) and a writer. His memoir, Black Postcards, was published by Penguin. You can follow him <a href="http://www.deanwareham.com/">here</a>.
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Dean Wareham

Dean Wareham interviews Pete Kember, aka Sonic Boom

Bright Light Bright Light has been a staple of the international LGBTQ+ music scene for over ten years, having released three prior albums and touring as both a solo artist and as support alongside pop royalty like Elton John, Cher, Erasure, Ellie Goulding, and Scissor Sisters. He also collaborated with Elton on his 2016 banger “All In The Name” which he also performed with the music legend on The Graham Norton Show.
His new album Fun City is out September 18 on his own label YSKWN!, in partnership with Megaforce Records and The Orchard, and it will serve as not only a stellar collection of expertly crafted &#8217;80s-inspired dance-pop, but also as a musical love letter to the LGBTQ+ community. The album boasts a veritable “who’s who” of LGBTQ+ major-players and allies who serve as collaborators, including (in alphabetical order by first name) Andy Bell (of Erasure), Big Dipper, Brendan MacLean, Caveboy, The Illustrious Blacks, Initial Talk, Jake Shears, Justin Vivian Bond, KAYE, Mark Gatiss, Niki Haris &amp; Donna De Lory, and Sam Sparro.
For the past four years he has curated, hosted and served as the DJ for regular afternoon dance parties (which he affectionately calls the “Romy &amp; Michele&#8217;s Saturday Afternoon Tea Dance”) at Manhattan’s Club Cumming and Brooklyn’s C’Mon Everybody. Aside from using his music as a powerful platform for equality, he has also actively fundraised for The Trevor Project, Ali Forney Center, Hetrick-Martin Institute, ACLU, and Elton John AIDS Foundation over the years.
(Photo Credit: Warren Piece)

Bright Light Bright Light

In Conversation with Jake Shears and Rod Thomas

Dougie Poole is a country musician and songwriter based in LA. Coming of age in Providence, Rhode Island he dabbled in heavier and more experimental music before maturing into a country auteur. He writes earnestly about his experience (life in the big city, heartbreak in the digital age) and approaches country music with honesty and a deep respect for the genre&#8217;s traditions. His latest record, At Tubby&#8217;s, is out now on Wharf Cat.

Dougie Poole

A Country Oddball Roundtable

McIntosh “For the Love of Music…” — Janet Furman

Podcast

Scott Avett (The Avett Brothers) Talks with Eef Barzelay (Clem Snide) on the Talkhouse Podcast

The composer/electronic musician/healer Kaitlyn Aurelia Smith’s new album The Mosaic of Transformation on Ghostly International is the follow up to the critically acclaimed 2017 album The Kid.
For her, expressions found in the physical body&#8217;s relationship to sound and color became the foundational frequency of the new album. A bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself, with a distinct healing quality to it that existed long before society’s recent shift. Katilyn continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body&#8217;s relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of the new album.  While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers.
Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, what she calls “a visual language” stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as she says, &#8220;as a reference for how frequencies can be visualized,&#8221; much like a mosaic.
(Photo Credit: Chantal Anderson)

interview