A Deeper Listen

The War On Drugs released a new album at the end of October, titled 'I Don't Live Here Anymore.' KEXP’s Janice Headley spoke with the band’s frontman, Adam Granduciel, about the record's optimism despite being mostly written during a pandemic. They also discuss how his creativity has been influenced by being a new dad.

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Mudhoney, known for their hit “Touch Me I’m Sick,” was a precursor to Seattle’s grunge scene. But you’d never hear Mudhoney bassist Guy Maddison uttering the words “Touch Me I’m Sick” to his patients during his day job as a nurse at Seattle’s Harborview Medical Center. Maddison talks with Sound & Vision’s Emily Fox about his life in music and medicine during the COVID-19 pandemic.  

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Tori Amos talks about her new album, 'Ocean to Ocean,' and how she experiences visual trips of synesthesia when playing and listening to music. She also discusses how the pandemic impacted her mental health, strengthened her connection to nature, and influenced songs on the album.

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Sound & Vision's mini-series, Behind the Console, highlights the stories of women and nonbinary audio engineers who are navigating what is still a very male-dominated field. 

Today we feature two engineers who got their start in Seattle and both love playing with sound. First we meet Alice Wilder, who has done front of house sound for Big Thief, Third Eye Blind, M.I.A., Future Islands and more. Then we speak with Talaya Logan, who at 22 is just getting started in the industry and is already fluent in recording, mixing and mastering. She also just put out her own solo record.

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Sound & Vision's mini-series, Behind the Console, highlights the stories of women and nonbinary audio engineers who are navigating what is still a very male-dominated field. 

Today we meet two monitor engineers. The first is Karrie Keyes, who was just on the road with Pearl Jam, and has previously worked for Red Hot Chili Peppers, Sonic Youth, Social Distortion and more. She talks about mentoring the next generation of women and nonbinary audio engineers through her organization, Sound Girls, and balancing her work with raising twins as a single mom.  

We also hear from Christina Moon, who has worked with Sleater-Kinney, Yeah Yeah Yeahs, LCD Soundsystem, Interpol, Death Cab for Cutie and Cat Power. She talks about managing artists' emotions on stage while delivering audio, and striving to be a good engineer, not just a good female engineer.

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Sound & Vision's mini-series, Behind the Console, highlights the stories of women and nonbinary audio engineers who are navigating what is still a very male-dominated field.

Today we meet two front of house audio engineers who both have had to pivot their careers. The first is Dana Wachs, who has worked with Yvyes Tumor, Perfume Genius, MGMT, Grizzly Bear, Cat Power, St. Vincent, Deerhunter and more. Dana talks about losing work during the pandemic when tours got cancelled. She was living off her savings and spending 7 hours a day on the phone with the Department of Labor to stay afloat. She eventually pivoted from doing sound for touring acts to finding a salaried job engineering live audio streams.

We then meet Seattle-based Alicia Blake who took a few-years hiatus from music to become a baker. In the past she’s worked with Head and the Heart, Thao and the Get Down Stay Down, Destroyer and more. She’s now back on the road, tour managing for Sylvan Esso.

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Sound & Vision's mini-series, Behind the Console, highlights the stories of women and nonbinary audio engineers who are navigating what is still a very male-dominated field. 

Today we meet Susan Rogers, who engineered for Prince for four years, working on albums like Purple Rain and Sign o' the Times. She also has credits with David Byrne, Tricky, and the Barenaked Ladies. She talks about what it was like keeping up with Prince's tireless creativity, and how it could be both exhausting and exhilarating. She also discusses eventually leaving engineering in her 40s to get her PhD in Music Cognition and Psychoacoustics, and how that has influenced her work in unexpected ways.

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Sound & Vision's new mini-series, Behind the Console, highlights the stories of women and nonbinary audio engineers who are navigating what is still a very male-dominated field. The University of Southern California calculated that only 3 percent of Grammy nominated songs were engineered by women. The organization Sound Girls estimates that women only make up 5% of the professional workforce in audio.  

Today we talk with two mastering engineers, who put the final touches on music before it’s released. It’s Seattle’s Rachel Field, who has worked with Eddie Vedder and Pearl Jam, and the Cairo-born, Brooklyn-based engineer Heba Kadry, who has worked with Björk, Lucy Dacus, Slowdive, The Mars Volta and more. They discuss the gender inequities they have seen both at home and abroad, the women who pioneered audio yet were largely left out of the narrative, and what makes them hopeful for positive change.

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Noah Gundersen talks about his new record and its themes of moving away from Seattle. He also talks about his collaboration with Phoebe Bridgers and changing the way he tours to make it more manageable. 

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In honor of Indigenous Peoples’ Day, Sound & Vision Assistant Producer Grace Madigan profiles Native musicians Lil Mike & Funnybone, Samantha Crain, and Halluci Nation about their involvement in the recent TV shows Reservation Dogs as well as in Halluci Nation’s case, Rutherford Falls, and how important and meaningful Native representation is in mainstream entertainment.

KEXP’s Martin Douglas also chats with the music supervisor for Reservation Dogs, Tiffany Anders. Hear about the older Native American folk and psych rock musicians whose music did and didn’t make the cut for the show.  

This is a special Indigenous Peoples’ Day Episode of the Sound & Vision podcast. We're releasing this episode one day early to coincide with KEXP's celebration of Indigenous People’s Day. Check out KEXP.org, the KEXP mobile app, or 90.3 FM in Seattle on Monday, October 11th, for music celebrating Indigenous peoples of the world. If you miss it in real time, you can still access this special day of programming until October 25th on KEXP's 2-week archive.

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