The Sad Dad Radio Hour

With Fall officially here, the guys examine Left and Leaving by Winnipeg mega-stars, The Weakerthans. It really is the perfect fall weather album. If you didn't know, the Weakerthan’s are fronted by John K. Sampson, who left his job as bassist for punk rockers, Propaghandi, to play much more introspective and emotional music. "Left and Leaving" sounds pretty much exactly how you’d expect a Canadian indie-rock album called “Left and Leaving” to sound. The lyrics are evocative, the melodies capture a certain cold-weather nostalgia, and the result is the kind of record that makes you enjoy being lonely. So sit back and relax, as we go over some crisp indie tunes

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In episode fifteen of season two, the guys discuss the Pixies’ 1989 record— Doolittle. Which in the words of journalist Ben Sisario, Doolittle is “one of the most violent pop albums ever recorded, if not in body count then in the starkness of its calamities.” And obviously, said dude is not wrong, The guys are talkin' Old Testament brutalities alongside guns, eyeball slicin' and people being crushed to death by tons of sludge from New Jersey. Yet, despite all its death and destruction, it’s an album that’s been enjoyed by decades upon decades of music fanatics thanks to some delicious pop tunes. Hell, modern music would be where it is now without the gigantic influence the Pixies had

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In episode fourteen of the second season, the guys attempt to break down Sir Elton John's Tumbleweed Connection. Released in 1970, Bernie Taupin and Elton explore a loose concept album over America's western frontier. As the dynamic duo "come down in time" to the late-nineteenth-century, they discuss guns, sons, and soldiers. Yeeee-oooo... it's a rootin' tootin', sarsaparilla sippin' one heck of a time. So pour yourself some country comfort, stick some straw between your teeth, and spend an hour with us as we figure out what makes this album a "Sad Dad" classic

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The guys are back to talk about one of the most mysterious voices in indie rock with (Sandy) Alex G’s DSU. Since his early days on MySpace, YouTube and Bandcamp, Alex Giannascoli has been a student of the Sad Dad canon; however, while most artists simply pay tribute to their influences, Alex pushes the envelope and reaches new sonic boundaries on each project he releases. Dream State University, more commonly referred to as DSU, was no exception when it came out on Orchid Tapes (home of Soccer Mommy and Ricky Eat Acid) in 2014. On the project Alex G. muses about life in his early twenties, as he gives listeners a peek into the world surrounding him via his home recordings.

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In the latest episode, the Dads discuss what could easily be argued as the best album of 2014 with Sun Kil Moon’s Benji. Frontman Mark Kozelek is no stranger to the indie rock scene due to his years with the Red House Painters, solo material, side projects, and cover albums (we’re looking at you Tiny Cities). Yet, despite the success of his previous works, Benji was an important milestone which relaunched Mark’s career in the public eye. The album serves as a continuation of his first foray into stream-of-conscious lyrics that were heavily featured on his previous album--Among the Leaves. On this album in particular, Mark returns to his Ohio roots and explores his fragile family tree. It’s an album filled with death and despair, as Mark reflects upon the recent passing of his second cousin, Clarissa, and the history of his hometown

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Today, the guys are "shining a light" on one of critics' favorite indie rock albums to come out of the early aughts with Wolf Parade’s studio debut-- Apologies to the Queen Mary. Released in 2005 on Sub-Pop records, and produced by none other than Modest Mouse’s own Isaac Brock--the Victoria, B.C. band crafts a sonic ruckus that summons a fusion of indie pop and prog. rock. In fact, in the words of Sub-Pop’s own press release, they make “music that sounded like burnt toast, or like two pinball machines in a slow motion bareback horserace." So, sit back, relax, and enjoy

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In the tenth episode of season two, the Duke Boys are at it again as they break down Everclear's So Much For the Afterglow. Released in 1997, the Portland based act, headed by Art Alexakis, was trying to prove that they were no one hit wonder after their previous album-- Sparkle and Fade. Briefly produced by Jim Rondinelli (Weezer's Pinkerton and Wilco's Being There) who was quickly replaced, and after having the original draft of the album deem "half baked" by the label, the band returned to the studio and crafted their most successful album to date. The rest, as we say, is history

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In the ninth episode of season two, the guys discuss Galaxie 500's 1989 record-- On Fire. The Harvard indie rock band released this project just one year after their 1988 debut, “Today” (which Thurston Moore dubbed "the guitar record of 1988"). With the help of their producer, Kramer, this album in particular double downs on dazed and dreamyness of their first album with great results despite the interpersonal drama that always haunted the band. In fact, if you didn't know, Pitchfork ranked it as the 6th best album of the 1980s. Needless to say, it’s an album with a great history. So sit back, and relax

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In episode eight of the second season, the Sad Dad Radio Hour discusses the tragic history of Jason Molina with Songs: Ohia’s “The Lioness”. Originally released on Secretly Canadian back in 2000, Molina’s voice delivers a powerful sermon over love and work. In addition, on this particular project, Jason’s unique delivery is bolstered by relatively sparse instrumentation provided by the members of Arab Strap. Needless to say, the albums is powerful, haunting, and unique as the man that made it

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In the seventh episode of the second season, the guys tackle one of the best albums to come out within the past twenty years with Bright Eye’s 2005 release— I’m Wide Awake It’s Morning. It’s an album that begs to be heard again and again, as Conor Oberst and Company deliver an intimate and introspective take as they explore the struggle of what it means to be human in this beautiful, terrible world that we all find ourselves surrounded by. As Andy Dufraine says in Shawshank Redemption, “there are places in this world that aren't made out of stone. That there's something inside... that they can't get to, that they can't touch. That's yours.” Clearly, this is one of those albums

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