In this episode of Post-punk Heartstrings, we sit down with Emmett and Daniel of The Swoon for a deep, candid conversation about their origins, their music, and the strange, beautiful path that led them from a town of 800 people to national stages and legendary studios.

We start at the very beginning — childhood friendships, next-door neighbors, and the formative experiences that shaped their creativity long before a band existed. From riding bikes at night and playing Dungeons & Dragons to discovering music through parents’ record collections and late-night video programs, Emmett and Daniel trace how imagination and curiosity fueled everything that followed.

The conversation explores:

• Growing up in Cottonwood, Minnesota, and how isolation sharpened creativity

• Family influence, especially poet parents and homes filled with literature and music

• Early musical experiments, homemade drum kits, and first rehearsals in basements, garages, attics, and church buildings

• Playing shows at youth groups, American Legion halls, and early festivals

• The awkward, chaotic reality of first gigs — and how perseverance slowly turned embarrassment into confidence

Pivotal moments include:

• Winning Battle of the Bands competitions at Falcon Heights, Sunshine Festival, and Cornerstone Festival

• The excitement — and disappointment — of a record deal that fell apart during negotiations

• How religious expectations and denominational differences unexpectedly derailed a label contract

• The turning point when Charlie Peacock stepped in, leading to sessions at Neverland Studios in California

Inside the Neverland Studios recordings:

• Charlie Peacock’s role as producer and creative guide

• The collaborative influence of Derri Daugherty (The Choir), including studio support and sonic shaping

• The realities of analog recording, limited time, and expensive tape

• Song selection, production decisions, and the band’s growing confidence in their artistic voice

We also discuss:

• The evolution of the band’s name, from Restricted Access to The Swoon

• The literary roots of the name, inspired by Emmett’s mother’s poetry

• Early influences including The Beatles, Bob Dylan, Men at Work, and U2

• Comparisons to U2 and the band’s embrace of performance, commentary, and emotional intensity in live shows

Throughout the conversation, Emmett and Daniel reflect with humor, honesty, and humility — sharing not just the highlights, but the missteps, doubts, and near-misses that shaped The Swoon’s legacy.

This is a rich, heartfelt episode about friendship, faith, creativity, and what it means to keep making art even when the path forward isn’t clear.

Follow The Swoon

• Website: https://theswoon.band/

• SWOONTube: https://theswoon.band/video/

• YouTube: https://www.youtube.com/channel/UCOJ2i66WETgYaSQDFSc5Khw/videos

• Facebook: https://www.facebook.com/theswoonband

• Remember The Swoon (Facebook group): https://www.facebook.com/groups/2412843425690573

Follow Jeffrey Kotthoff (Lo-Fidelity)

• Facebook
  https://www.facebook.com/jeffrey.kotthoff

• Bandcamp (Lo-Fidelity Records)
  https://lo-fidelityrecords.bandcamp.com/

Related video

• Austin Dacey – What I Did on My Summer Vacation
  https://www.youtube.com/watch?v=v8ZBNmBQTQo&list=RDv8ZBNmBQTQo&start_radio=1

Follow Post-punk Heartstrings

• Facebook: https://www.facebook.com/PostpunkHeartstrings/

• YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp

• Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ

• Instagram: https://www.instagram.com/postpunkheartstrings/

The Julies join Post-punk Heartstrings to reflect on their history, influences, and enduring impact. The conversation begins with a mention of The Holy Hour, the All-Cure podcast they recently appeared on, before diving into how each member discovered music.

Chris recalls exploring his parents’ record collection—The Beatles, The Monkees, Dylan—and discovering Run DMC, Erasure, New Order, The Cure, and The Smiths. Patrick shares how a “good weird uncle” introduced him to The Cure and The Police, opening the door to The Clash and Siouxsie and the Banshees.

Before The Julies, Chris ran sound for their precursor band, Garden Party. From there, The Julies formed, developing a sound shaped by shared influences, experimentation, and evolving tastes. They discuss The Church as an influence and soccer as an unexpected point of connection.

The band recalls playing in the Philadelphia scene, crossing paths with bands like The Ocean Blue, and early live favorites like “Wake Up Christine” and “Wish”. They reminisce about creating their first self-made cassette, Discovery, and reflect on growing up in fundamentalist homes.

Landing on Flying Tart Records allowed them a better creative fit than larger labels. Recording the January EP was formative, with Patrick excited by the studio experience. Working with Bill Campbell of The Throes captured their live energy—“Friday and Faithless” is highlighted as a standout. The feedback at the start of “Wake Up Christine” was a happy accident.

The discussion moves to The Lost Mixes, with Dave Barbe of Sugar producing two tracks for a rawer sound. They then dive into the Lovelife EP, noting its unusual post-breakup release and enduring fan resonance, with stories of nationwide fans sharing its impact at the Always & Always release party.

After the breakup, some members continued as Riviera, while Patrick relocated to Philadelphia and played with other bands. The Lost in Ohio reissue of Lovelife helped inspire new music as The Julies.

They discuss recording Always & Always with producer Kyle Pulley at Headroom Studios, including its artwork and thematic ties to New Order’s Power, Corruption & Lies. Patrick jokes that if Heaven exists, it should have a dance floor—communal joy over streets of gold.

Songs from Always & Always are explored:

• “Black Metal” — a B-side born from file-trading; Chris highlights the “black metal lyric sheet” line

• “The Weight of Your Hand” — guitar tones and textures

• “Symmetry” — imperfection, beauty, and emotional imbalance

• “Angels of the Underground” — a tribute to formative artists

• “Summermouth” — the song that moved the band as listeners as much as creators, guided by Alex’s musical leadership

Their upcoming album (planned for February 2026) is intentionally sequenced as “a book”. Live shows remain uncertain, though fan interest is high, and Patrick’s project Tugboats gets a brief nod.

The episode closes by revisiting the mystique of The Julies—the emotional weight and enduring impact of their music remain as strong as ever.

Original members:Chris Newkirk – vocalsJohn Bada – bassGreg Hohman – drumsPatrick Zbyszewski – guitar

Current members:Chris Newkirk – vocalsPatrick Zbyszewski – guitarAlex Yost – bass / multi-instrumentalist

👉 Follow The Julies

• Bandcamp: ⁠https://thejulies.bandcamp.com/music⁠• Spotify: ⁠https://open.spotify.com/artist/39TjpeRcKdR13572B3XHPm?si=omC1VfleRzGgLPaDmaeq1A⁠• Facebook: ⁠https://www.facebook.com/thejuliesofficial/⁠• Instagram: ⁠https://www.instagram.com/thejuliesofficial/?hl=en⁠👉 Follow Post-punk Heartstrings

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**✨ Episode 049 — John Easdale of Dramarama

From Looney Tunez to Color TV**

🎙️ Guest: John Easdale
🎧 Band: Dramarama
📅 Episode: 049
🔥 Topic: Four decades of songwriting, survival, and the unexpected rise of “Anything, Anything (I’ll Give You)”

In this episode, I sit down with John Easdale, singer and songwriter of Dramarama, for an in-depth conversation covering the band’s origins in New Jersey, their underground rise, their accidental Los Angeles breakthrough, and the creative cycles that have kept their music vital for 40 years.

We explore his earliest inspirations, their first recordings at Looney Tunez Records, the legendary impact of “Anything, Anything,” the band’s breakup and rebirth, and John’s evolving relationship with success, creativity, and longevity.

0:00 – 2:43
🤘 Fan moments & the long-term consistency of Dramarama’s sound

2:43 – 8:13
🎵 Early musical beginnings — first 45 purchased, Beatles years, drums, prog rock → Bowie → Sex Pistols → punk

8:13 – 16:00
📼 Looney Tunez Records basement days
• Early 7” with “You Drive Me,” “A Fine Example,” and a cover of “Femme Fatale”
• Why they chose a Velvet Underground song to gain recognition
🎧 Clip: “Femme Fatale”

16:00 – 21:54
🎛️ The Comedy EP → Cinema Verite
How a French DJ helped launch the band internationally

21:54 – 29:09
📻 Rodney Bingenheimer discovers the band on KROQ; thought they were French
• The rise of “Anything, Anything (I’ll Give You)”

29:09 – 32:34
🎸 The twin lead guitar dynamic
• Peter = “tasty, cleaner”
• Mark = “wild, crazy”

32:34 – 37:50
💿 Standout tracks on Cinema Verite
• Why Box Office Bomb & Wonderamaland weren’t widely available
• Last Cigarette
• Reissue after Nightmare on Elm Street 4

37:50 – 41:37
🏷️ Chameleon Records & the making of Hi-Fi Sci-Fi

41:37 – 48:32
⚡ The ’90s, grunge, and the rise of “alternative”
• The Vinyl album
• Song: “Train Going Backwards”

48:32 – 54:17
🥁 Clem Burke (Blondie) joins for the Vinyl tour
• “Introduction/Hey Betty”

54:17 – 58:55
🎤 “Work for Food”

58:55 – 1:05:39
🌅 Life after the band’s breakup

1:05:39 – 1:12:00
💼 The music business, solo work
• Roller Skating on Rattlesnakes
• The Bent Backed Tulips (Eggbert Records)

1:12:00 – 1:19:00
📺 Bands Reunited experience

1:19:00 – 1:21:00
💔 Everybody Dies (2005)
• Written as a second solo album for Greg Dwinnell (eggBERT)
• Released on 33rd Street Records

1:21:00 – 1:23:38
🌐 Early-internet anecdote: people arguing Dramarama was a “made-up band”

1:23:38 – 1:28:30
📀 Color TV (2020) and releasing it during COVID

1:28:30 – 1:30:36
🎤 Ending the album with a Heatmiser/Elliott Smith cover: “Half Right”
• Talk of Elliott Smith and Scott Miller

1:30:36 – 1:34:39
💔 “The Bottle and the Bell” from Everybody Dies
• “I was God and thought I knew better”

1:35:00 – 1:39:00
🎫 Memorable fan moments, concerts, VH1 Bands Reunited, first California shows

1:39:00 – 1:43:00
🌟 How John’s definition of success has changed over time

1:43:00 – end
🙏 Wrap-up & thanks

🌐 Website: https://www.dramarama.us/
📸 Instagram: https://www.instagram.com/dramaramaofficial/
👍 Facebook: https://www.facebook.com/dramarama/
🐦 Twitter/X: https://twitter.com/DramaramaBand
▶️ YouTube: https://www.youtube.com/@dramaramaofficial

🎧 Spotify Artist Page: https://open.spotify.com/artist/5bYy43LckWm8MLy1zNhEWH

Instagram: https://www.instagram.com/postpunkheartstrings/
Email: [email protected]

🎙️ Post-Punk Heartstrings — Episode 048
🎬 US Kids: An Alternative Music Rebellion
📍 Host: JimmyJames S. Butler
📍 First Mate / Co-Host: Jim Anderson
🎤 Guests: John Smeby & Todd A. Zeller

🌐 Us Kids Website: https://www.uskidsrockumentary.com/
📘 Us Kids on Facebook: https://www.facebook.com/UsKidsAnAlternativeMusicRebellion
📸 Instagram: https://www.instagram.com/uskidsrockumentary/
Todd Zeller Instagram: https://www.instagram.com/toddazeller/
John Smeby Instagram: https://www.instagram.com/john_smeby/

⭐ Episode Summary
Filmmakers John Smeby and Todd A. Zeller join host JimmyJames S. Butler and first mate Jim Anderson to explore the creation of US Kids: An Alternative Music Rebellion, a documentary celebrating the explosive creativity of the Christian alternative and post-punk underground and the stories of the musicians who built it.
They discuss their musical origins, radio roots, the emotional weight of interviewing beloved artists, the massive archival mission behind the film, and much more.

🔍 Episode Highlights
• 🎧 Early music memories & first albums
• 🎹 John launching Reality Rock (1982)
• 🎥 Todd’s videography path & Gene Eugene tribute connection
• 🤝 How John & Todd teamed up to create the film
• 🗃️ Behind-the-scenes digitization & archival rescue work
• 💿 The US Kids double-vinyl soundtrack
• 🕊️ Emotional interviews with legendary artists
• 🚧 Production challenges, surprises & breakthroughs
• 🤯 Artists they wanted but couldn’t secure
• ❤️ Why the documentary feels like a “family reunion”
• 🔄 How the filmmaking process reshaped their perspective

🎵 Music Featured in This Episode
🎶 “In Our Valley” — The Sea Hymnal
🎶 “God Rules” — Undercover
🎶 “River on Fire” — Greg Lawless
🎶 “Heart Lost in Nowhere” — The Altar Boys
🎶 “Desperately” — Vector
🎶 “I Want to See Heaven” — Mad At the World
🎶 “Sanctuary” — Daniel Amos
🎶 “Under Lock & Chain” — Ric Alba

📚 Other Topics & Stories
• 🌱 Childhood musical beginnings
• 🕍 Discovering Christian alternative culture
• 🎤 Live show memories: Petra, Servant, Undercover
• 🤘 KISS pajamas, trading cards & early fandom
• 📼 Building the US Kids digital archive
• 🧡 Reconnecting musicians after decades
• 🎨 Crafting the artwork, editing style & tone
• 📝 Encouraging feedback from Sam Phillips
• 📀 Soundtrack curation with Jason Dean (Reality Rock)
• ⚙️ Technical challenges behind the film’s creation

🙏 Special Thanks
Appreciation to the GoFundMe supporters and friends of the project:
Michael Pritzl • Jason Dean • Rob Birks • Robert Reynolds • Dan Michaels • “Spun Counter Guy” • And many more.

👉 Follow Post-Punk Heartstrings
• Facebook: https://www.facebook.com/PostpunkHeartstrings/
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In this second half of our conversation with legendary drummer Richard Ploog (The Church, Groom Epoch), we explore his post-Church journey — from collaborations with Peter Koppes, Steve Kilbey, and Marc Gable to the surreal, space-infused sounds of Groom Epoch.

🎵 Joining Peter Koppes and The Well
How Richard was invited to join Peter Koppes’ project The Well, recording Iridescence and Water Rites. Includes a clip of “Faith” from Water Rites.
🎧 Listen to “Faith” – The Well

🤝 Performing with Steve Kilbey & Marc Gable
Richard recalls performing with Steve and Marc, reflecting on Steve’s many collaborations and taking Ibogain on tour.

🛸 The Birth of Groom Epoch
How Groom Epoch came together — and why the band is named after Groom Lake (Area 51, Nevada).

🎻 Amanda Brown (The Go-Betweens)
Amanda contributed electric harp, oboe, and backing vocals on the Groom Epoch track “Cosmic Artifice.”
🎧 Listen to “Cosmic Artifice” – Groom Epoch

🎚️ Inside the Groom Epoch Albums
A discussion on the band’s evolving sound, layered arrangements, and Richard’s unique vocal cadence and production style.

🌀 On Surrealism
Jim asks whether Richard still considers himself a surrealist — and how that perspective shapes his songwriting.

🎧 Song-by-Song Insights
💜 “Love Divine” — Layered textures, crunchy guitars, and possibly electric harp.
🎧 Listen on Spotify
🌍 “Earth First” — Features guitarist Brett Myers (Died Pretty). Richard recalls Brett’s solo work on “Out of the Unknown.”
🕊️ “Fodder for Zion” — Written about the conflict in Syria.
🎧 Listen on Spotify
🌌 “Cosmic Artifice” — A lush, surreal sonic landscape (clip included above).

🚀 The New Groom Epoch Album
Richard teases the band’s fourth release, continuing to explore new musical territory.

🎭 The Gaslight Puppet Show
Includes guitar contributions from members of The Sunnyboys and other musicians from Australia’s post-punk scene.

👨‍👦 Family & Serendipity
Richard talks about his son Irie Ploog, and shares a surreal story about accidentally walking into a Tin Machine rehearsal with David Bowie singing “Ashes to Ashes.”

• “Faith” – The Well

• “Love Divine” – Groom Epoch

• “Fodder for Zion” – Groom Epoch

• “Cosmic Artifice” – Groom Epoch

📍 Host: JimmyJames S Butler and First Mate - Jim Anderson
🥁 Guest: Richard Ploog

🎧 Listen to Groom Epoch on Spotify
💿 More from The Well (Peter Koppes)
📺 Follow Post-Punk Heartstrings for more artist conversations.

• Richard Ploog
• The Church
• Groom Epoch
• Iboga Gazebo

👉 Follow Post-Punk Heartstrings for more deep dives into the sounds that move us:
• Facebook
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• Spotify

In this first part of our conversation with Richard Ploog, legendary drummer for The Church, we trace his journey from early musical beginnings to the band’s breakout years in the 1980s.

Richard shares stories of his Scottish pipes and drums roots, his early punk days with The Name Droppers, The Brats, and Exhibit A, and his transition into the shimmering, atmospheric sound that defined The Church. We explore his first recordings with the band, the evolution through The Blurred Crusade, Seance, and Starfish, and his reflections on collaboration, creativity, and departure during Gold Afternoon Fix.

If you’ve ever wondered what it was like behind the kit during the making of The Church’s classic era—or how Richard’s musical curiosity led him toward later projects like Iboga Gazebo and Groom Epoch—this episode dives deep into the rhythms, inspirations, and evolution of one of post-punk’s most distinctive drummers.

🕰️ Topics & Highlights
• Early fascination with bagpipes and marching drums
• Joining his first punk band, The Brats / Exhibit “A”, and “Life on the Dole”
• Auditioning for The Church and recording “Too Fast For You”
• Reflections on The Blurred Crusade as the band’s first masterpiece
• The “fashion clash” behind Seance’s production
• Collaborations on Heyday and Starfish
• Insight into the creative process and learning “by osmosis”
• The Gold Afternoon Fix sessions and his departure
• Post-Church work with Iboga Gazebo and the album Dose Age

🎧 Songs Featured
“Fraulein” – The Church (Too Fast For You)
“Life on the Dole” – The Brats
“Almost With You” – The Church (The Blurred Crusade)
“Electric” – The Church (Seance)
“Monday Morning” – The Church (Gold Afternoon Fix)
“Visualize” – Iboga Gazebo (Dose Age)

🔗 Connect & Explore More
Richard Ploog – https://en.wikipedia.org/wiki/Richard_Ploog
The Church – https://thechurchband.net
Groom Epoch – https://groomepoch.bandcamp.com
Iboga Gazebo – https://ibogagazebo.bandcamp.com

👉 Follow Post-punk Heartstrings
Facebook – https://www.facebook.com/postpunkheartstrings
YouTube – https://www.youtube.com/@postpunkheartstrings
Spotify – https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ?si=203dac51c4f84f9b

In this episode, we sit down with brothers Chris and Pat Bradley of June Cleaver and the Steak Knives—a band whose music hovers between tongue-in-cheek satire and fearless experimentation. With roots in post-punk, art-rock, and a love of found sounds, their sound pulls from an eclectic range of influences: Wall of Voodoo, They Might Be Giants, Devo, The Residents, The Cure, and beyond.

✨ We talk about:
🎵 The evolution from early instrumental records ➡️ albums with more vocals
🎚️ How they craft an album’s flow despite genre-hopping tracks
🥁 The use of unusual instrumentation, sampling, and found sounds
🎨 Their love of album artwork & immersive vinyl listening
📀 The concept and storytelling behind Short Tales of Science Fiction and Family Dissonance (2024)

🔥 Song Spotlights:
• ⚡ Completely Lose All Self Control – machine-gun vocals, sharp guitar licks
• 🎻 Infantile Dreams – Radiohead textures + violin layers
• 🎸 This Mess – raw early post-punk, in the spirit of Wire & Magazine
• 👁️ With Her Eyes – quirky Devo-like satire (“brass knuckles on her lashes” 🔥)
• ⏳ Multitasking – ominous choruses on tech’s speed & distraction
• 🎹 Quarantined – layered vocals, pandemic reflections, haunting piano & synths
• 🚫 Xenophobia + John – no subject matter is off-limits

💡 From 2003’s Cleavage to 2024’s Short Tales of Science Fiction and Family Dissonance, June Cleaver and the Steak Knives prove that every track can be a strange, satirical, and cinematic experience—like a little David Lynch movie in song form.

🎧 Explore more music from June Cleaver & the Steak Knives:

• Spotify

• Apple Music

• Bandcamp

• Official Website

• YouTube Channel

👉 Follow Post-punk Heartstrings for more deep dives into the sounds that move us:

• Facebook

• YouTube

• Spotify

In this episode, we sit down with Peter Koppes, founding guitarist of The Church, to explore the deep currents of his musical life—from early influences to legendary albums, solo works, and new collaborations.

What we cover in this conversation:
• 🎹 Early beginnings: Why Peter’s first love was the Hammond Organ, how he wound up on drums, and the Beatles’ surprising link to bossa nova.
• 🎸 Forming The Church: The transition from Precious Little → Baby Grande → The Church, and setting the record straight on Steve Kilbey’s “firing” from Baby Grande.
• 🌌 The Church’s legacy: Recording Starfish, the happy accidents behind “Under the Milky Way,” and Peter’s reflections on key tracks like Almost With You, Reptile, and A New Season.
• 🥁 Behind the music: Richard Ploog’s contributions, producers pushing drummers to click tracks, and what changed between Starfish and Gold Afternoon Fix.
• 🎼 Solo artistry: Manchild & Myth and From the Well—his painterly approach to songwriting and the role of collaborators.
• 🌀 Syncretism project: A creative partnership with Dave Scotland, the track “I Live,” and weaving cultural/ambient elements into new soundscapes.
• 🌱 Family & future: Reflections on boxing lessons as a child, the spirit in music, and his daughters’ project Rain Party.

A candid, wide-ranging conversation with one of alternative rock’s great sonic architects.

👉 Follow Peter’s music:
Website: https://peterkoppes.com/
YouTube: https://www.youtube.com/channel/UCdn2kYdQR2yQJ6YcU0QluJQ/featured
X: https://x.com/peterkoppes
Facebook: https://www.facebook.com/peter.koppes.3
Spotify: https://open.spotify.com/artist/5ENOFSRHD8RnVWRp4gQJha?si=pU-8kinsTBiteH-ciPTG8g

👉 The Church:
Shadow Cabinet: https://shadowcabi.net/

👉 Snow Koppes:
Bandcamp: https://snowkoppes.bandcamp.com/album/supastar

👉 O and Shea:
Spotify: https://open.spotify.com/artist/2vw6GFtH8CBLQmXATwArqW?si=rny5tquYQ2qkmlBzFGQMkg
Bandcamp: https://oandshea.bandcamp.com/

👉 Follow Post-punk Heartstrings for more deep dives into the sounds that move us:
Facebook: https://www.facebook.com/PostpunkHeartstrings
YouTube: https://www.youtube.com/channel/UCjKWsuzqWiSY0vln1Py5ahg
Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ?si=8c5782e8d30e4258

Floodland by The Sisters of Mercy: Choral Doom and Drum Machines in the Twilight

With special guest Jerry Ossevoort

In this episode, we wade through the sonic fog of Floodland, the 1987 landmark from The Sisters of Mercy. With personal stories, deep dives, and a few laughs, we unravel the gothic myths, machines, and melodrama behind one of the most iconic albums of the era.

We open by sharing our first brushes with The Sisters of Mercy:

• Jimmy first heard “This Corrosion” but didn’t love it—so he never explored the rest of the album

• Jim recounts his own discovery story and first impressions

• Jerry came to SOM from a very different starting point: 1950s music

• Airdale’s track “Space Is Falling” comes up, with a reference to SOM that caught our attention

📌 And yes, the band’s name comes from a Leonard Cohen song featured in the 1980 film The Gun Runner—a literary touchstone that fits Eldritch’s brooding, poetic aesthetic.

We revisit the band’s early days and explore the Floodland era mythos:

• The Sisters formed in 1980 in Leeds, England

• Patricia Morrison’s role in the Floodland sessions remains one of rock’s more elegant mysteries

• SOM trading cards and other cult fan artifacts spark memories and conversation

• Jerry shares a concert story involving a flying cigarette from Andrew himself

• The “Dominion” video was filmed in Jordan and gives off major Hellraiser or Indiana Jones vibes

• And yes, they once toured with Public Enemy

We also talk about the striking contrast between Andrew Eldritch’s singing voice and his regular speaking voice—both equally iconic, in very different ways.

Dr. Avalanche isn’t just a drum machine—it’s a character in the band’s lore.

• From early hardware to upgraded samplers, this unblinking rhythm section keeps time with eerie consistency

• Brendan (of The Mourning) even has a tattoo of the band’s Merciful Release label logo, joining Chris from JC&tSK in paying tribute

• We share our own experiences using drum machines and discuss whether Avalanche feels cold and mechanical—or oddly emotional and essential

We discuss how Andrew Eldritch brought in producer Jim Steinman to co-write and co-produce “This Corrosion.” That move helped secure a £50,000 advance, and the result was one of the most over-the-top, anthemic tracks in goth history.

Jimmy admits that “This Corrosion” didn’t click with him at all when he first heard it—and that kept him from giving the rest of the album a fair shot for years.

We also explore the possible meaning behind “Lucretia My Reflection,” often read as a tribute—or critique—of Patricia Morrison.

Here comes the eternal question: Is Floodland a goth album?

• Eldritch has famously rejected the goth label for decades

• Yet between the cover art, the tone, the themes, and the fanbase… the case for “yes” is hard to ignore

• We explore how Floodland compares to work by Bauhaus, Siouxsie, or The Cure

• Does the album define goth, transcend it, or parody it?

We break down the songs that make Floodland such an enduring and unusual experience:

• “Dominion/Mother Russia” opens with a Cold War flourish

• “Flood I” introduces the spiritual, apocalyptic tones that echo throughout

• “Lucretia My Reflection” is taut, cryptic, and endlessly cool

• “1959” closes the core album with stark minimalism

• “This Corrosion” is either high drama or pure camp—or both

• “Flood II,” “Driven Like the Snow,” and “Neverland” deepen the mood further

We also touch on bonus tracks “Torch” and “Colours,” added on the remastered version of Floodland, and give a nod to follow-up album Vision Thing. Despite the acclaim, Floodland marked the beginning of the end for SOM's studio albums.

🖤 Thanks for listening to Post-Punk Heartstrings.
Subscribe for more tales of eyeliner, machines, and majestic melancholy.

🎙 Post-punk Heartstrings – Episode 042
Guest: Kevin Bianchi of Vanishing Shores
Special Guest: Mark Feldbush
Title: Ghosts, Maps, and Enduring Hope

In this intimate and far-reaching conversation, Kevin Bianchi—frontman of Cleveland-based indie rock/Brit-pop outfit Vanishing Shores—shares the story behind the band's formation, his personal musical journey, and the emotional and lyrical depth that defines their sound.

Kevin reflects on:
• 🎸 The spark that led to forming Vanishing Shores and his path into music
• 🧭 Early projects that helped shape his current sound
• 🎧 Influences from Paul McCartney, Neil Finn, Elvis Costello, Bruce Cockburn, and Mark Heard

We dive deep into Kevin’s lyrical world:
• 👻 The recurring presence of ghosts in songs like “In Between” and “Monologue + Transcript” as metaphors for memory, loss, truth, and the Holy Spirit
• 📝 The personal significance of lines like “We want the truth like ghosts” and “Hope is a dark train”
• 🌊 Reflections on Bande-son pour la survie and Maps, and how isolation and introspection informed their creation
• ⭐ Favorite lyrical lines from “Long Gone” and “First Light”, and the stories behind them

Kevin also pulls back the curtain on the Vanishing Shores sound:
• 🎙 The role of collaborators and layered vocal harmonies in crafting emotional impact
• 🥁 The intensity and energy brought by the rhythm section, both in studio and live
• 🎹 The atmospheric use of synthesizers to shape mood and texture
• 🌅 The meaning behind the band name Vanishing Shores and its thematic resonance

💿 Later in the episode:
We’re joined by Mark Feldbush to discuss the upcoming benefit compilation album No Distance Between Us: A Benefit for Ukrainian Refugees, supporting the humanitarian work of the International Rescue Committee. Kevin shares his motivation for contributing to socially conscious projects and how music can be a vehicle for empathy and action.

This conversation is a journey through the poetic and sonic world of Vanishing Shores—a band rooted in introspection, spiritual yearning, and emotional honesty. Whether you're a longtime fan or discovering their music for the first time, Kevin Bianchi’s insight offers a rich and rewarding listen.

You can find the music of Vanishing Shores at the following links:

Vanishing Shores website: https://vanishingshores.com/

Bandcamp: https://vanishingshores.bandcamp.com/

Facebook: https://www.facebook.com/vanishingshores

YouTube: https://www.youtube.com/@vanishingshores5514

Spotify: https://open.spotify.com/artist/4o1hUb6mX2C3QpeF8r8lzX?si=l1x02d9YSdSOGOo2lv3HHw

Please look the band up and support!

You can find Post-Punk Heartstrings on Facebook: https://www.facebook.com/PostpunkHeartstrings

Post-punk Heartstrings can now be found onYouTube at https://www.youtube.com/channel/UCjKWsuzqWiSY0vln1Py5ahg

Please come by and follow the page and say,“Hello!”