A Deeper Listen

Fleet Foxes recently released a surprise album at the exact moment of the fall equinox, 6:31am PT on September 22.

Frontman Robin Pecknold discusses the significance of the equinox on the record, tells stories behind some of the songs, and shares how he found a renewed appreciation for music during the pandemic.

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Support the show: https://www.kexp.org/sound/

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Pitchfork published an article last week titled, “What it’s Like to Be Black in Indie Music.” Its author, Matthew James-Wilson, talks about his personal experience in the scene as well as what he gathered from various musicians he interviewed for the story.

He says the artists he spoke with were “playing to largely white crowds and feeling like their music was subject to a predominantly white gaze because of the audiences they were playing to or the ways their music was being marketed.”

KEXP is a listener-funded nonprofit, and we need your help to keep creating podcasts like this one. Donate now for our Fall Fundraising Drive! 

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Pitchfork published an article last week titled, “What it’s Like to Be Black in Indie Music.” Its author, Matthew James-Wilson, talks about his personal experience in the scene as well as what he gathered from various musicians he interviewed for the story.

He says the artists he spoke with were “playing to largely white crowds and feeling like their music was subject to a predominantly white gaze because of the audiences they were playing to or the ways their music was being marketed.”

KEXP is a listener-funded nonprofit, and we need your help to keep creating podcasts like this one. Donate now for our Fall Fundraising Drive! 

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Sylvan Esso is out with their third studio album, 'Free Love.' Sylvan Esso has said that this record is “about being increasingly terrified of the world around you and looking inward to remember all the times when loving other people seemed so easy, so that you can find your way back to that place.” 

Amelia Meath of the pop duo breaks down some of the stories behind the music, explains how dancing is a major theme on the record, and shares her love of radio DJs, as demonstrated in the song “Frequency.”

KEXP is a listener-funded nonprofit, and we need your help to keep creating podcasts like this one. Donate now for our Fall Fundraising Drive! 

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Sylvan Esso is out with their third studio album, 'Free Love.' Sylvan Esso has said that this record is “about being increasingly terrified of the world around you and looking inward to remember all the times when loving other people seemed so easy, so that you can find your way back to that place.” 

Amelia Meath of the pop duo breaks down some of the stories behind the music, explains how dancing is a major theme on the record, and shares her love of radio DJs, as demonstrated in the song “Frequency.”

KEXP is a listener-funded nonprofit, and we need your help to keep creating podcasts like this one. Donate now for our Fall Fundraising Drive! 

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Aluna Francis started her career as one half of the electronic duo AlunaGeorge. But as a Black artist in dance music, Aluna always felt like an outsider. For her first solo record, 'Renaissance,' she wanted to create a record for Black folks and bring dance music to its roots. After all, techno was formed in the early 80s by Black artists in Detroit and House was created by Black DJs in Chicago around the same time. By the time electronic dance music was mainstream, however, the genre's origins were unknown to many.

“I had approached this idea as a visitor, as a guest to dance music, as someone trying to break into a world that was not mine and when I found out about the Black history of dance music I was, well, slightly enraged,” Aluna says.

Read Aluna's open letter on racial inequities in dance music.

KEXP is a listener-funded nonprofit, and we need your help to keep creating podcasts like this one. Donate now for our Fall Fundraising Drive!

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Aluna Francis started her career as one half of the electronic duo AlunaGeorge. But as a Black artist in dance music, Aluna always felt like an outsider. For her first solo record, 'Renaissance,' she wanted to create a record for Black folks and bring dance music to its roots. After all, techno was formed in the early 80s by Black artists in Detroit and House was created by Black DJs in Chicago around the same time. By the time electronic dance music was mainstream, however, the genre's origins were unknown to many.

“I had approached this idea as a visitor, as a guest to dance music, as someone trying to break into a world that was not mine and when I found out about the Black history of dance music I was, well, slightly enraged,” Aluna says.

Read Aluna's open letter on racial inequities in dance music.

KEXP is a listener-funded nonprofit, and we need your help to keep creating podcasts like this one. Donate now for our Fall Fundraising Drive!

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Music journalist Jessica Hopper has been writing about misogyny, sexism and abuse in the music industry for more than two decades. When reacting to the fallout of Burger Records because of sexual abuse and misconduct, she says abuse in the music industry is nothing new.

“Historically within music for male artists, women’s bodies, particularly young women’s bodies has been seen as their right. That it is a reward for playing a good show, etc. That it is part of what power can get you in these spaces, which is access to women,” Hopper says.

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Music journalist Jessica Hopper has been writing about misogyny, sexism and abuse in the music industry for more than two decades. When reacting to the fallout of Burger Records because of sexual abuse and misconduct, she says abuse in the music industry is nothing new.

“Historically within music for male artists, women’s bodies, particularly young women’s bodies has been seen as their right. That it is a reward for playing a good show, etc. That it is part of what power can get you in these spaces, which is access to women,” Hopper says.

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.

Burger Records was a garage rock record label in Orange County that built its brand on bringing rock and roll to teens and putting the spotlight on underground bands. It folded in July after a wave of sexual assault and misconduct allegations were posted on social media that involved members of more than a dozen bands on the label.

Today’s story will dive into the rise and fall of Burger Records. We’ll hear from women who were abused by men on the label and from one of the former co-owners of the label. We’ll also hear what the music industry can do to prevent sexual assault—from labels to venues to bandmates.

Support the show: https://www.kexp.org/sound/

See omnystudio.com/listener for privacy information.