On this episode I speak with Katie Crutchfield, the voice and person behind Waxahatchee. If you don’t know Waxahatchee, and clicked on this episode because you just like the name, that’s crazy. Waxahatchee is one of my favourite projects and I’d go as far as to say the last record Saint Cloud, from 2020 was my favourite record of

There were some problems with the audio recording, which sucks, but I’ve salvaged what I can from my interview with Katie and sort of mashed it together to get it to sound somewhat coherent. So if there are parts where there is an abrupt change of subject or something like that, I apologise, this is what I had to work with, but I figured something is better than nothing. Or maybe not. You can comment on

I am super excited to be sharing this episode – it is one of my favourite conversations I’ve ever had for this podcast. I speak with one of my favourite working artists, the American

Their music is is full of beautiful detailed stories that are painful and humourous in equal measure. They have written some of my favourite lyrics of all time, and the instrumentals that they make with collaborator Wolfy punctuate the poetry in always surprising and dynamic ways. Each song always tells its own story while also contributing to the larger picture of the record. They are such warm and intimate songs that also bring an anthemic energy.

They have released three records in the past and their fourth, UTOPIA NOW! will be released independently on March 22nd. Yes, Rosie is now an independent artist so if you like the music and you can afford it, I encourage you to purchase it here or here. It was a big event in my world when I got to speak with Rosie and it did not disappoint. I hope you enjoy our conversation as much as I did.

On this episode I speak with the American musician and multidisciplinary artist Roberto Carlos Lange, who makes music under the moniker Helado Negro. I first heard Helado Negro on the S-Town podcast, and then really fell in love with his record This Is How You Smile in 2019. Since then there have been two new records: 2021s Far In, which was one of my favourites of that year, and now the excellent Phasor, which came out on February 9th via 4AD.

I speak with the vocalist, songwriter and artist magician Rian Bobbitt-Chertock, who makes music under the name Maria BC. This was a particularly exciting conversation for me because I was not expecting to have the intensity of response to this new record as I did. It’s called Spike Field, and it comes out on 20th October via Sacred Bones. Along with probably one other record, it is tied for my album of the year so far. I love how surprising and unusual

Spike Field's Bandcamp description:

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil.

On today’s episode I have a conversation with Al Menne. Al came up in the music scene as the lead singer of Seattle-based rock band Great Grandpa, who’s 2019 album Four of Arrows was one of my favourites that year. Al has an amazing warbly voice that can switch

On this episode I have a conversation with Romy Madley Croft, also known just as Romy, about her first solo record Mid Air. Romy is perhaps best known as a guitarist and vocalist in the band The XX, but despite this being her official solo debut, she has been around as a solo artist for quite a while.

Mid Air hearkens back to her queer nightlife days in the 1990s and 2000s when she was listening to a lot of emotional dance pop music in clubs. I love this album because it’s one you can easily dance around to with 5 people or 5000 people, and at the same time it's an album you can lie back and close your eyes and get lost in. She collaborated with Fred Again... and Stuart Price to create this world - and it really is a world you step into as the listener.

It was very cool for me to get to talk to Romy because The XX’s debut album came out right when I was in my first year of uni, and it occupies a very particular place in my musical canon.

I speak with Neil Halstead from the band Slowdive. Slowdive are a legendary British shoegaze band that formed in Reading in 1989. They, along with My Bloody Valentine, are credited with pioneering the shoegaze sound: ethereal obscured vocals, swirling guitar distortion and effects, feedback, and overwhelming volume. The band's 1993 album Souvlaki has been recognized as one of the best releases of the 1990s and one of the greatest shoegaze albums of all time. The band broke up soon after the release of their third studio album Pygmalion in 1995, and reunited in 2014 to play Primavera Sound festival. In 2017 they released their first album in 22 years, Slowdive, which is perhaps the best music they’ve ever done. Their fifth and latest album, Everything Is Alive, came out on 1st September via Dead Oceans, and it is also excellent.

It was a true honour to get to talk with Neil, who is Slowdive’s primary songwriter. We got to talk about everything from his studio setup to the band’s early days, to his love of surfing. Support Slowdive by buying Everything is Alive here.

Buck Meek is an American musician from Wimberley, Texas, best known as the guitarist and backing vocalist of Big Thief.

His third solo album, Haunted Mountain, comes out on August 25th via 4AD.

In our conversation we talk about the relationship between emotions and environment, his songwriting process, and surfing with luminescent dolphins.

Today's guests are Kelcey Ayer and Taylor Rice from the band Local Natives, an American indie rock band based in Silver Lake, Los Angeles. They just released their fifth album, Time Will Wait for No One, on July 7th via Loma Vista and Concord.

They worked on the album while they were enduring a "time of metamorphosis" as individuals, citing in a press release a concert in Los Angeles which they described as "one of the most emotional concerts" of their career that made them uncertain of their future as a band and as individuals.

In our conversation we discuss being new parents, trying to write new music while separated from your band, the new sport pickleball, a tour bus fire, and more.

Today's episode features my conversation with Meg Remy of the Toronto-based experimental pop project U.S. Girls. U.S. Girls was formed in 2007, and she released music on a variety of independent record labels before signing to 4AD in 2015.

Half Free, her first record for 4AD, garnered a Juno Award nomination for Alternative Album of the Year at the Juno Awards of 2016, and was a shortlisted finalist for the 2016 Polaris Music Prize. Her next records In a Poem Unlimited (2018) and Heavy Light (2020) also received the same accolades. Meg collaborates with a number of Toronto-based musicians on both songwriting and music production.

In our conversation we discuss her eighth record Bless This Mess, which came out on February 24th. We talk about the creation of music while pregnant, as well as the documentation of the transformative effects of motherhood on her physical body, her personal connections, and worldview.