On this week’s Talkhouse Podcast we’ve got a pair of incredible songwriters who’ve also been frequent Talkhouse guests and contributors over the years: Emily Yacina and Greta Kline.

Follow along here, as this could get confusing: Frankie Cosmos used to be Greta Kline’s stage name, but now it’s the name of the band that she fronts. Maybe that wasn’t too confusing. In any case, the sixth and latest Frankie Cosmos album, Different Talking, came out earlier this year, and it’s a stunner. Kline has been writing smart, wry, literate indie-pop for a decade, and this one feels both like a nod to her bedroom-pop past and a bold look forward. Check out “Vanity” from Different Talking right here.

Emily Yacina also came up in the DIY/Bandcamp era, and has been releasing music for the last decade or so as well—she collaborated with Alex G early on. Yacina’s latest album is the heady, expertly crafted Veilfall, which was at least partially inspired by a series of “death salons” she hosted while making it, where participants would share stories about grief and dying. The resulting album isn’t nearly the downer you might expect, considering that fact—it’s up there with the best she’s done. Check out “Holy for a Moment” from Veilfall right here.

In this lively conversation, recorded while Emily and Greta were in the middle of a tour together, they chat about being connected to your inner child, tearing up for Talkhouse, and how sometimes releasing music feels like “shitting into the void.” Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Emily Yacina and Greta Kline for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got two Canadian songwriter/performers with similar outlooks but pretty different results—both great. It’s Ada Lea and No Joy.

Though it used to be more of a band, No Joy has become the solo province of Jasamine White-Gluz in recent years. She just released the first No Joy record in five years, Bugland, and it’s a whiplash-inducing delight. There’s an undercurrent of classic shoegaze, but no limits on where else things can go. So one minute you’ve got nods to ‘90s bands like Curve or even Garbage, the next minute the guitars are grunting and crunching. Bugland, which recently got the Best New Music nod from Pitchfork, was created with help from Chicago producer/musician Fire-Toolz, and the collaboration was fruitful. It’s funny, because it doesn’t sound at all like music that would be made by somebody who recently moved to a positively rural area—they chat about that move in this episode. Check out the title track from Bugland right here.

The other half of today’s chat is Alexandra Levy, who records more spare songs than her friend under the name Ada Lea. Where No Joy takes a more kitchen-sink approach, Ada Lea leaves more breathing room, sometimes adding just touches of acoustic color to her voice. The third Ada Lea album, When I Paint My Masterpiece, also came out earlier this year, and its unfussy, live-in-a-room approach makes it feel engagingly up-close and personal, not to mention beautiful. Check out “Baby Blue Frigidaire Mini Fridge” right here.

In this engaging chat, Levy and White-Gluz talk about living largely off the grid, the various mini-scenes that populate their home country, and a little bit of astrology. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Jasamine White-Gluz of No Joy and Alexandra Levy of Ada Lea for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme was composed and performed by the Range. See you next time!

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got a pair of singer-songwriters who exist in a sort of post-genre world: Evan Honer and Wyatt Flores.

Honer first came to wider attention with a cover of Tyler Childers’ “Jersey Giant,” but kept people’s attention with a rapid succession of progressively more polished albums, all tied together by his own solid songwriting. For his latest, Everything I Wanted, Honer found himself a new home city, Nashville, where he built a studio in his garage and—as you’ll hear in this conversation—locked himself away to make something bolder than he had before. The result is shiny pop with a gritty heart, and just a touch of country influence. Think Jason Isbell or Pinegrove, two artists Honer cites as inspirations. Check out “Curtain” from Everything I Wanted right here, which I should mention was released by Honer’s own very active independent label, Cloverdale Records. He’s a busy dude, and he’ll be touring the US early next year, so keep an eye out for that.

The other half of today’s conversation is Honer’s friend Wyatt Flores, who travels a similar musical ground but you can hear a bit more country in his flavor profile—maybe that’s his roots growing up in Oklahoma. If you’re of the TikTok generation, you may have seen him there; if you’re a bit longer in the tooth, you may have seen Flores on Stephen Colbert, NPR’s Tiny Desk Concert series, or even a recent Austin City Limits appearance. Part of the story behind his debut album, last year’s Welcome to the Plains, was Flores’ struggles with his newfound fame and a sense of imposter syndrome. While it’s brave of him to put that stuff out in the open, it’s pretty clear from the record that he’s the real deal.

In this lively conversation, these two young dudes talk about making music, about an impromptu road trip in a busted up trailer, about the strong coffee and rowdy crowds down under, and much more. Enjoy.

0:00 – Intro

Thanks for listening to the Talkhouse Podcast, and thanks to Evan Honer and Wyatt Flores for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stories at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by the Range. See you next time!

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.

On this week’s Talkhouse Podcast, we’ve got two guys from different generations who’ve collided with big riffs in recent years: Tom Morello and Jordan Benjamin.

Tom Morello is best known as the guitarist for Rage Against the Machine, which smashed together heavy music and activism in the 1990s, inspiring countless bands—some good, some bad, as he’ll freely admit—to sprinkle some hip-hop into their rock. Morello went on to form Audioslave with Soundgarden’s Chris Cornell and find a whole other area of success, but he didn’t stop there: Morello goes wherever the muse takes him, from playing with Bruce Springsteen to doing acoustic sets as The Nightwatchman. He’s always working on new music—and always outspoken politically.

Morello tapped Jordan Benjamin to contribute to his 2021 single “Hold the Line,” which makes perfect sense, because the music that Benjamin records under the name Grandson is certainly inspired by Rage, among other artists of course. Grandson has been releasing records for the past decade or so, fusing hip-hop and alt-rock elements with unabashedly political lyrics. For his latest album under the Grandson name, Inertia, Benjamin leaned into a more organic rather than electronic sound—you’ll hear him talk about the transition in this chat. Check out the song “God is an Animal” from Inertia right here.

In this lively conversation, Morello and Benjamin talk about working together, about the magic of band chemistry, and about the “technological hellhole we find ourselves in.” It’s still fun, though, check it out.

Thanks for listening to the Talkhouse Podcast, and thanks to Jordan Benjamin and Tom Morello for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great shows in the Talkhouse Podcast Network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.

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On this week’s Talkhouse Podcast, we’ve got two British gentlemen who made big waves in the past couple of decades and who’ve collided just recently for a celebratory remix: It’s Tom Vek and Gus Unger-Hamilton.

Tom Vek released his instant-classic debut We Have Sound back in 2005, putting his own spin on post-punk and dance and riding the wave of so-called “indietronica” with catchy tracks like “Nothing But Green Lights.” He hasn’t exactly been prolific since then, releasing quality albums every few years while also working hard in other areas of the industry: Check out both supercollector.com and his upcoming music player, Sleevenote. But in celebration of We Have Sound’s 20th anniversary, Vek asked a bunch of friends and fellow musicians to remix each of the album’s tracks, including folks like Baths, Glass Animals, and the other half of today’s conversation, Gus Unger-Hamilton of the band alt-J. Check Unger-Hamilton’s remix of Vek’s song “Cover” right here.

It’s unsurprising that Unger-Hamilton put his own spin on Vek’s song: alt-J has been scribbling in the bombastic, weirder corners of indie-rock and art-rock for since 2007, though they didn’t release their big debut, An Awesome Wave, until 2012. They’ve since embraced their oddness on a string of records, with the latest being 2022’s The Dream, which was hailed at the time as a return to the power of their debut. New music is likely on the horizon, though as you’ll hear in this chat, alt-J is currently without a label home. 

Label homes are one of many things these two chat about in this lively conversation: They’re both into the logos of their favorite record companies, they’re both really into fancy watches, and they’re both back into the lost art of reading a good book. Though Gus admits he hasn’t read a particular novel that his band famously borrowed a title from. Listen and find out which one.

Thanks for listening to the Talkhouse Podcast, and thanks to Tom Vek and Gus Unger-Hamilton for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by The Range. See you next time!  

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.

On this week’s Talkhouse Podcast we’ve got two old friends who’ve worked together on such culture-crushing songs as “Dick in a Box”—one of whom is known more for the music, and the other for the funny. It’s Andy Samberg and Asa Taccone.

Samberg you surely know for his years on Saturday Night Live and Brooklyn Nine-Nine and tons of big movies. Before all that he was part of the trio The Lonely Island, which blew up on SNL with “Dick in a Box,” among other hilarious jams. The Lonely Island also features Jorma Taccone, and when Samberg and Taccone needed some musical help for their SNL shorts, they would often call Jorma’s brother Asa, who helped them shape “Dick in a Box,” “Motherlover” and plenty of other songs.

But Asa’s less inclined toward the funny stuff that his childhood friends are known for; he’s been making his own decidedly less silly music since 2011 in collaboration with Matthew “Cornbread” Compton under the name Electric Guest. The duo just released their first album since 2019, and it’s called 10K—you’ll hear the meaning behind the name in this chat. As you’ll hear, there’s no jokey rap to be found, just a compelling mix of soulful pop: You might not be surprised to learn that in recent years Taccone has also collaborated with the likes of The Weeknd and Carly Rae Jepsen. Check out “Play Your Guitar” from 10K right here.

As you’ll hear, Samberg and Taccone are pretty comfortable with each other, because their friendship goes way back. They talk about Samberg’s decision to take a swing at the big time, Lonely Island deep cuts, and the alternate name that Electric Guest briefly considered. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Andy Samberg and Asa Taccone for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan and the Talkhouse theme is composed and performed by The Range.

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.

On the latest episode of the Talkhouse Podcast’s spin-off series, host Nick Dawson sits down with actor turned writer-director Crispin Hellion Glover, who is currently starring in both the Kafka-esque drama Mr. K and his third directorial feature, No! YOU'RE WRONG. or: Spooky Action at a Distance, which also stars his father, Bruce Glover, who passed away earlier this year. In a wide-ranging conversation, Glover talks about the acting job he’s still mad he missed out on at 13, supernatural goings on at the chateau he bought in the Czech Republic, his very imaginative alternative to traveling by car, plus his hopes for the future of AI (which is not what you’d think) and his understandable reservations about self-cloning. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

On the latest episode of the Talkhouse Podcast’s spin-off series, host Nick Dawson sits down with actor, writer-director, playwright and novelist Tim Blake Nelson, who can currently be seen in the boxing drama Bang Bang and whose new play And Then We Were No More is now at La MaMa in New York City. In a personal, profound and often surprising conversation, Nelson opens up about everything from his morning routine to his recurring dreams, from his earliest childhood memories – some of which are truly remarkable – to a pivot point in his life that was transformative. For more filmmakers talking film and TV, visit Talkhouse at talkhouse.com/film. Subscribe now to stay in the loop on future episodes of the Talkhouse Podcast.

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On this week’s Talkhouse Podcast we’ve got a pair of singers who both look to classic sounds for inspiration—and one of whom happens to also be the creator of one of the biggest animated shows ever. It’s Liz Gillies and Seth MacFarlane.

Now even if you don’t know his name, you almost certainly know Seth MacFarlane’s work and voice. He’s the creator of the animated comedy Family Guy, which will enter its 24th season next year. He also co-created American Dad and The Cleveland Show, plus directed the movie Ted, among many other TV and film accomplishments. If that weren’t enough, MacFarlane has a second career as a musician, a pursuit born out of his love for big band music of days gone by: It’s not a lark or a joke, either. MacFarlane is a serious student of classic songwriters, which led to his ninth and latest album, Lush Life: The Lost Sinatra Arrangements. As that title suggests, MacFarlane was given access to a massive number of songs that had been arranged—often by big names—for Frank Sinatra to sing, but that had never actually been recorded. MacFarlane recruited an A-team to get them in shape, and he sang the hell out of them. Check out “I Never Felt This Way Before” right here.

The other half of today’s conversation is MacFarlane’s friend and sometime musical collaborator Liz Gillies, who’s also a multi-hyphenate. You may have seen her on TV—going all the way back to Nickelodeon—in movies or on Broadway. She even provided voices on a couple of MacFarlane’s shows. But the two really found their working spark during the pandemic with Songs From Home, and that collaboration continued in 2023 with a holiday album called We Wish You The Merriest. As you’ll see from this conversation, Gillies and MacFarlane have a friendly rapport.

In this lively conversation, Gillies grills MacFarlane on the origins of Lush Life, a fascinating story in which MacFarlane is deeply invested. They also talk about how Liz likes to go out when they’re on tour but Seth prefers the comfort of a hotel room, how to pronounce Rudolph the Red-Nosed Reindeer and more. Stick around for the end, when they get a little silly coming up with podcast names.

Thanks for listening to the Talkhouse Podcast, and thanks to Seth MacFarlane and Liz Gillies for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform. This episode was produced by Myron Kaplan, and the Talkhouse theme was composed and performed by The Range. See you next time!

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.