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Talkhouse

Tony Price is a New York based producer, musician, and songwriter. Born in Greektown, Toronto, Price has lent his expertise to a wide range of critically acclaimed records on labels like 4AD, Slumberland, DFA, Slumberland, and Burger Records amongst many others. In 2017 he founded his label and creative services unit Maximum Exposure, which quickly became an in-demand entity, providing production and design expertise to the likes of Capitol Records, Pat McGrath Labs, Vogue, SSENSE, 4AD, and Night School Recordings amongst others.

Tony Price

Music

Young Guv Talks Making a Rock & Roll Album in 2019

Rachel Browne and Andrew Futral formed Field Mouse sometime in 2009 after meeting at SUNY Purchase. After releasing two 7&#8243; singles, they signed to Topshelf Records and released their first full length Hold Still Life (2014) followed by Episodic (2016). Their new album, Meaning, was released August 16, 2019.

Field Mouse

Field Mouse and Control Top Talk Ditching Grad School and the Meaning of Meaning

Collapsing Scenery is the meeting of two fertile and febrile minds, Don De Vore (Ink &amp; Dagger, Lilys, The Icarus Line, Amazing Baby) and Reggie Debris. Together they straddle the gap between music, art, film, and politics, seamlessly moving between each with the same ease at which they traverse the globe, soaking up experiences and immersing themselves in different cultures.
Since they formed in 2013 “under a pall of paranoia and disgust” they haven’t stopped moving. They&#8217;ve recently collaborated with Jamaican dancehall legend Ninjaman, Beastie Boys producer/collaborator Money Mark, and no-wave pioneer James Chance. The band also has remixes out or on the way from Genesis P-Orridge (Psychic TV, Throbbing Gristle), Jennifer Herrema (Royal Trux), Uniform, Youth Code, Brian DeGraw (Gang Gang Dance), Oliver, and more.
Their forthcoming debut album Stress Positions is a glorious collision of futurist electro, glacial goth tones, techno, post-punk and chillwave recorded using analogue electronics: samplers, step sequencers, synths and drum machines.
Collapsing Scenery are artistic explorers pushing into bold new futures, then. Join them.

Collapsing Scenery

Collapsing Scenery and Colum McCann Talk Protest Music, and Protesting in General

Jan St. Werner is a critically acclaimed and internationally recognized sound innovator. In a myriad of ways — as a solo artist, a collaborator, through his group Mouse On Mars, as a producer, as a lecturer at MIT, or as a professor of Dynamic Acoustic Research at the Academy of Fine Arts, Nuremburg — Werner has challenged traditional approaches to creating and experiencing music.

Jan St. Werner

Jan St. Werner and David Grubbs Talk the Fiepblatter Catalogue

Cross Record is the recording project of Emily Cross, an artist, musician, and death worker currently living in Austin, TX. Her new self-titled album was released August 2 on Ba Da Bing! Records.
(Photo Credit: Jackson Montgomery Schwartz)

Cross Record

In Conversation with Thor Harris and Cross Record

Sauna is a brand new Toronto based band featuring Zach Bines (Weaves), Braeden Craig (Greys), and Michael le Riche (Fake Palms).
With synths in bright focus, which le Riche both plays and builds, this project marks a departure from the electric guitar-driven sound of Fake Palms. Bines (bass) and Craig (drums), meanwhile, provide a tough and tight complement to this new approach. Minimalist one minute and maximalist the next, the music is rich with suspense and satisfying subversions of expectation.

Sauna

Introducing: Sauna’s “Carousel”

Ghost Orchard, aka Sam Hall, is a Grand Rapids, MI-based artist. His album Bunny is out August 23 via Orchid Tapes.

Ghost Orchard

Foxes in Fiction is the project of the Toronto native/New York-based artist Warren Hildebrand. He is also the founder of Orchid Tapes.&nbsp;

Foxes In Fiction

GChatting with Ghost Orchard and Foxes In Fiction

Evocative music can be some of the best. And musician Shannon Carey, who performs under the moniker Luray, has a particular knack for doing just that. Her songs feel welcoming, yet elusive, like a long-forgotten photograph you find at the bottom of a box, a memory that gets hazier with each passing year.
&#8220;My songs tell me what’s going on with me, like my unconscious trying to get my attention,&#8221; explains Carey, who had plenty to unravel in her life leading up to the recording of her sophomore full length, Dig. &#8220;My marriage broke up while I was writing this album and the songs started to speak to me about my relationship and what I was hoping for and holding onto. What I wasn’t letting myself acknowledge. I moved to Richmond and set to finishing the songs for the record. I wrote more songs about how it felt to lose, and how it felt to be starting over.&#8221;
Although Carey has called Richmond, Virginia home for a number of years, her music has an inescapable imprint of her Wisconsin upbringing. And it&#8217;s back in Eau Claire, Wisconsin that she set about recording the album, enlisting her brother Sean Carey to produce. &#8220;The band drove out to Wisconsin and met up with Sean and engineer Brian Joseph, who had just completed building his own studio, which he called The Hive. It&#8217;s in the woods and feels very &#8216;Northern Wisconsin&#8217; — feels like a little haven from the world.&#8221; The Hive became the perfect locale to capture such a personal collection of songs. &#8220;It’s hard to explain how intimate the recording process was, but it felt very insular and almost delicate. After the end of that relationship that had been so central, I felt a little fragile and obviously in transition. Sometimes you can hear something tentative in my vocals. I had been getting my new life together for the past year, but it still felt strange.&#8221;
The eleven songs that came to form Dig provide a stolen glance at a snapshot of Shannon Carey&#8217;s life, yet invite listeners into the story to explore for themselves. It also marks the closing of one chapter and the beginning of the next.
(Photo Credit: Jake Cunningham)

Luray

Spend Some Quality Time with Luray and S. Carey

Shehzaad Jiwani is a musician, producer, writer and director from Toronto. He fronts the band Greys and performs solo under the name Golden Drag. As a producer, Shehzaad has worked with bands like The Dirty Nil, Casper Skulls, and Patio. His writing has appeared in Brooklyn Vegan, Hazlitt, Metro Toronto and others. He is currently filming his first documentary.

Shehzaad Jiwani

“We’re Ready To Be In the Future Now”: a Talk with Devin McKnight and Shehzaad Jiwani

Claude Fontaine is an American girl with a French name who never felt like she fit in anywhere she happened to call home, and one particular year she was awash in a grey London fog that matched the fog and grey in her own too-recently broken heart. While living right off Portobello Road, she stumbled into the record store down the street. And in a flash of luck — or fate — that particular record store turned out to be Honest Jon’s, a long-lived spot for records collected from the furthest edges of the world. She’d never heard those old Studio One and Trojan and Treasure Isle reggae and rocksteady and dub records before — the same records that got the Clash covering “Police And Thieves,” and the Slits sharing a bill with Steel Pulse. And she’d never heard bossa nova and tropicalia and Brazil’s incandescent música popular brasileira, either. But instantly, she understood — it was exactly and perfectly everything she didn’t know she needed.
And because she loved those records so much, she decided to make a record of her own — an album singing her own love songs (with Jane Birkin-style ye-ye elan) that was itself a love song to classic reggae and Brazilian music, and an album honoring that feeling of finding a home away from home. Ferociously inspired, she demo-ed a set of songs about heartbreak and loneliness, and drafted a wish list of musicians she’d hope would help out. At the top were guitarist Tony Chin, whose playing with Althea and Donna, King Tubby, Dennis Brown and so many more very arguably defined a gigantic part of the classic reggae sound, and Airto Moreira, the Brazilian drummer whose work both solo and in collaboration — with Miles Davis, Astrud Gilberto, Chick Corea, Annette Peacock — make him an actual living legend.
But after diligent detective work — long chains of emails and voicemails, tracing between LA industry veterans and globetrotting photographers and the label that would put out her finished record, though she didn’t know that yet — she found them. Then she sent them her demos. Then they said yes.
She finished her album in two potent sessions with Chin, Moreira and a murderer’s row of their connections — bassist Ronnie McQueen of Steel Pulse and Ziggy Marley drummer Rock Deadrick, Now Again Records guitarist Fabiano Do Nascimento, Sergio Mendes percussionist Gibi Dos Santos and Flora Purim bassist Andre De Santanna. Side A is the reggae, five songs about love gone wrong that sound like they came out of Jamaica in the early 70s; side B wasn’t specifically designed to be the bossa or Brazilian side, but that’s how it worked out. All together, it’s a valentine to this special music that called out to her from the other side of the planet.

Claude Fontaine

Reggae Royalty: a Conversation with Tony Chin and Ronnie McQueen

Most people know Aaron Lee Tasjan as one of the wittiest, most offbeat, brilliant, weedsmokin’ &amp; LSD microdosin’ Americana troubadours writing and singing songs today. But steel yourselves, folk fans, because he’s about to follow his restless muse straight out from under the weight of everyone’s expectations into the kind of glammy, jingle-jangle 
power-pop- and- psych-tinged sounds he hasn’t dabbled in since his younger days playing lead guitar for a late-period incarnation of The New York Dolls.
Really, the roots of Tasjan’s new record, Karma for Cheap, stretch even deeper, drinking up the sounds of a Southern California childhood spent listening to The Beatles while riding around with his mom at the wheel of their navy blue Volvo station wagon — back to the very first pre-teen year he picked up a six-string and started figuring out all the pretty little chords in those Lennon-McCartney tunes. Back to the pure, blissful unfiltered innocence of falling in love with music for the first time.
Karma for Cheap is Tasjan’s third LP and second for his label New West Records, based in his current hometown of Nashville. The record was co-produced by ALT and his friends Jeff Trott (Stevie Nicks, Liz Phair, Meiko, Joshua Radin) and Gregory Lattimer (Albert Hammond Jr.) and features Aaron Lee’s road band — guitarist Brian Wright, 
bassist Tommy Scifres and drummer Seth Earnest — with whom he’s been touring heavily for the last two years.
While the stylistic shift from Tasjan’s palpably stoned ‘70s-country-channeling 2015 debut, In the Blazes, to his more sophisticated, introspective and lushly produced 2016 follow-up, Silver Tears, was relatively incremental, Karma’s rocked-up Brit-pop-influenced Beatles-Bowie-Badfinger vibes underscore a significant departure. The album boldly reimagines these vintage sounds, pushing the boundary of what can be considered Americana. With Karma, Tasjan establishes himself as an artist who not only evolves over time, but isn’t afraid to risk reinventing himself completely from one record to the next.
(Photo Credit: Curtis Wayne Millard)

Aaron Lee Tasjan

“What Haven’t I Said?” A Conversation with Aaron Lee Tasjan and Drivin N Cryin’s Kevn Kinney

Ren Aldridge is the frontwoman of the feminist hardcore punk band Petrol Girls.
(Photo Credit: Martyna Wisniewska)

interview