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Talkhouse

<div>Robin Edwards is Seattle-based musician who performs as <a href="https://lisaprank.bandcamp.com/">Lisa Prank</a>  and in the supergroup <a href="http://whoisshe.bandcamp.com/">Who is She?</a> You can follow her on <a href="https://twitter.com/lisaprank">Twitter</a>, <a href="https://www.instagram.com/lisa_prank">Instagram,</a> and <a href="https://www.facebook.com/lisaprankmusic/">Facebook</a>.</div>

Robin Edwards

Music

Guitar God Lisa Prank in Conversation with Big City Producer Rose Melberg

<div>Legal Vertigo is a Montreal artist who is preparing to release his debut LP, Tragic Future Film Star. Though this is his first release under the name he has become well known in the Montreal scene for his work as a producer, most prominently on Operators&#8216; well-received 2019 album Radiant Dawn, and has shared the stage with artists like Alvvays, Wolf Parade, U.S. Girls, Basia Bulat, Bob Odenkirk, and Operators. Tragic Future Film Star will be released on Dine Alone on November 15.</div>

Legal Vertigo

Introducing: Legal Vertigo’s “Napster Vertigo”

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Yoni Wolf has spent the last two decades traveling the remote sonic terrain where hip-hop, rock, and electronic music meet. In that time he’s cultivated a unique sound, and a unique position as one of contemporary music’s most distinctive voices. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a yostunningly potent musical vision.
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<div id="press" class="st-accordion">(Photo Credit: Ryan Back)</div>

Yoni Wolf

Yoni Wolf and Miles Joris-Peyrafitte Talk Mental Health and Their Creative Processes

<div>Jesca Hoop is a California-born, UK-based songwriter who released her fifth studio album, Stonechild, in July. She has written songs with Sam Beam (Iron and Wine), collaborated with Lucius and This is the Kit on her latest release, and worked with luminaries including Peter Gabriel, Stewart Copeland, and Tom Waits. With her roots in folk and Americana, Hoop continually pushes at the boundaries of what is possible within those traditions, creating songs that twist and turn, constantly surprising, and delightful and disturbing in equal measures.</div>
<div>(Photo Credit: Aga Mortlock)</div>
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Jesca Hoop

“Can You Lie In a Song?” A Conversation with Jesca Hoop and Kate Stables (This Is the Kit)

Based in Austin, Texas, Hovvdy (pronounced “howdy”) is the writing and recording project of Charlie Martin and Will Taylor.
(Photo Credit: Taylor Clark)

Hovvdy

Hovvdy and Dijon Talk the New Frontier of the “Self-Centered DIY Bedroom Musician”

<div dir="ltr">Jlin, one of the most prominent electronic producers of the current generation, first appeared on Planet Mu’s second Bangs &amp; Works compilation, which had a huge impact on electronic/club music. Though she is known for bringing footwork to a wider audience, Jlin doesn’t consider herself a footwork artist. Hailing from Gary, Indiana, a place close yet distant enough from Chicago to allow her to develop a different perspective on the genre, she has morphed its sounds into something entirely new. Released in 2015, her debut album Dark Energy&#8216;s innovative sound propelled it to the top of many of the year’s Best Of lists. Jlin’s sophomore album Black Origami was recently released to even greater critical acclaim and attention. In 2017, Jlin also composed the music for a major new dance work by Wayne McGregor, one of the UK’s best known choreographers.</div>
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<div>(Photo Credit: Tim Saccenti)</div>

Jlin

IDM and Classical Worlds Collide

Obituary is a death metal band from Tampa, Florida. Their most recent album, Obituary, was released in 2017.
(Photo Credit: Ester Segarra)

Obituary

A Conversation with Obituary and Gatecreeper On Death Metal’s Constant Evolution

<div class="c-message__content c-message__content--feature_sonic_inputs" data-qa="message_content">Bill Nace is an experimental musician from Massachusetts who runs the Open Mouth label. He’s half of the duo Body/Head with Kim Gordon. This year alone he has released three collaborative albums with the likes of Steve Gunn, Samara Lubelski, and Chris Corsano.</div>
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Bill Nace

In Conversation with Bill Nace and Bill MacKay

Singer/Songwriter Mark Kozelek has released albums as Red House Painters, Sun Kil Moon, and under his own name, as well as collaborations with Justin Broadrick (Godflesh) and drummer Jim White (Dirty Three). His latest, I Also Want To Die In New Orleans comes out digitally March 1 and on CD April 12 on Caldo Verde Records.

Mark Kozelek

Alan Sparhawk (Low) Interviews Mark Kozelek About His Collaboration with Petra Haden

Sloppy Jane is an eight-to-11 piece music project led by Haley Dahl out of Brooklyn, NY (originating in Los Angeles). An ever-evolving lineup of players, friends, and collaborators. Elements of the live show include: laughter, choir vocals, xylophone, saxophone, kazoo, television, slide whistle, vomiting blue dye, a naked body, a rotting suit, guitar, bass, drums, tambourine, ruby red slippers, violent shifts in genre and speed, a make-believe maestro, and a set that does not stop moving once it has started.

Sloppy Jane

Listening to Weeping Icon’s debut album is to enter a dim catacomb of psychical catharsis. A critical commentary on the unique pressures and power dynamics experienced by the social media generation, the self-titled LP digs sharply into the destructive, repetitive nature of the neoteric tasks idled through daily by the ambitious urban millennial. Uniquely contemporary and keenly perceptive, the ubiquity on this album is natural territory for drummer Lani Combier-Kapel and guitarist Sara Fantry, native New Yorkers who grew up playing in bands together at the center of the booming Brooklyn arts scene. Determined to vent the energy left stirring in the inert confines of lazy, decades-old band tropes, Weeping Icon is the almanac to the complex contrarian language they developed as innovational collaborators during a decade of major socio-political uprooting. Alongside the classically trained, sludge/doom seasoned bassist Sarah Reinold and the scientifically explorative noise musician (and daughter of a scientist) Sarah Lutkenhaus, they devised a dream project in which they could freely encourage equal collaboration, pursuit of challenge, and a dedication to dismantling the cliches they encountered as disenfranchised females in a male dominated arena.
The results are an expansive whirlwind of compelling sonics. Urgent yet calculated riffs rip through a thunderous pummel of percussion, Combier-Kapel&#8217;s anomalous blend of punk and psychedelic drumming carrying their songs with an atmosphere of organized chaos. Typical song structure is a rubric to draw from and ultimately deconstruct, as we experience through the whipping tempo changes and sudden tactile shifts that unseat us throughout the album. Switching off vocalists, they give us a panoramic view into the plagued world of the millennial female, with lyrics that reveal intense contemplation, telling harsh truths through dark and poignant sarcasm. Confronting a generation undergoing perplexing, exponentiated change, Weeping Icon doses their listeners with such a controlled sense of horror and humor that they test our very comprehension of the world we participate in.
Weeping Icon is a collection of seven songs that archive the band’s metamorphosis into a heavier and more provocative undertaking. In keeping with their live performance, a sequence of dystopian sound interludes complete the album, serving as guided meditations between the candid subversive fury of the main tracks.
(Photo Credit: John Swanson)

Weeping Icon

“Everyone’s Looking For An Excuse to Do Something Cool”: a Conversation with Sloppy Jane and Weeping Icon

<div class="c-message__content c-message__content--feature_sonic_inputs" data-qa="message_content">A Giant Dog are a five-headed animal from Austin, Texas, fronted by songwriters Sabrina Ellis and Andrew Cashen. Their adventurous approach to garage, punk, and glam rock has yielded bombastic live shows, a fervent fan base, and an alliance with North Carolina’s Merge Records, who released Toy in 2017 and Pile in 2016. A Giant Dog’s latest is a full-album re-enactment of Neon Bible by Arcade Fire, released as part of Merge’s vinyl subscription series Born Under a Good Sign.</div>
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A Giant Dog

A Giant Dog Talk Covering Arcade Fire’s Neon Bible in Its Entirety

Deeper&#8216;s Shiraz Bhatti, Nic Gohl, and Drew McBride take a thoughtful and direct approach with their songwriting, yielding spry melodies and inventive structures. It’s a clever combination of jagged post-punk and refined indie rock. A tightly wound rhythm section teeters on the edge, but is anchored by intricate guitar interplay and saturated with an enigmatic spirit. Their first album, 2018’s Deeper channeled the anxiety of change in everyday life and navigating the unhinged political atmosphere. Run takes a more existential approach, reaching down past the emotion and staring back at the inner.
Backed by an astutely scientific cover of the John Maus rarity “Bennington”, Deeper sheds the searching bottled up in previous material, carving out an ambit distinctly their own. Brisk, pointed and efficient, and no note wasted, Run b/w Bennington, a new 7 Inch out in October 2019, sets the stage for the Chicago trio’s sophomore LP.
(Photo Credit: Brendan Carroll)

Deeper

Love is everyday magic. That’s the impression you get listening to Water, the new album by Chicago trio Dehd. Love rises up into the atmosphere like steam off a summer sidewalk and makes you wild. Love breaks your heart and you consider yourself lucky for it. Like water itself, it surrounds us, it supports us; it’s what we’re made of. It takes the shape of its container.
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That’s something Jason Balla, Emily Kempf, and Eric McGrady discovered quickly after forming Dehd in 2014. Balla and Kempf are both veterans of Chicago’s increasingly fruitful DIY scene (Balla with Ne-Hi and Earring, Kempf with Vail and formerly with Lala Lala). When they joined forces with first-time drummer Eric McGrady, they discovered they shared a strange and inexplicable chemistry. The music they make — hazy and reverb-drenched, a scuzzy and hyped-up take on surf rock that could only come from the Third Coast — came so intuitively, it made all three feel like they were stewards of something bigger than themselves, even while that very thing is unmistakably drawn from their own personalities.
Water finds Dehd’s three members united as they push themselves beyond their natural limits and end up in places they wouldn’t have imagined. Balla’s production incorporates flubbed notes and dropped beats, and it emphasizes he and Kempf’s occasionally strained voices. It’s all animated by the red-lining feel-good spirit of the Velvet Underground’s Loaded and the breezy melodicism of C86-era indie rock, with a dash of the Cramps’ spooky-hop bop courtesy of McGrady’s locomotive drumming.
Which makes Water feel like a different kind of record: It’s at once a mature and grounded look at adult relationships, and a raucous celebration of friendship, and a cracked piece of purely musical bliss. It’s a clear-eyed look at the wild nature of everyday life that’s been spun up in sugary sweet melodies and scratched-crystal sounds.
(Photo Credit: Alexa Viscius)
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interview