"From Georgia To New York"

Nainnoh has been a model of adapting ever since she left her home in Georgia and moved to New York. Not the Georgia where its unlawful to have a glass of water when you’re standing in line to vote—the other Georgia. The one located at the intersection of Eastern Europe and Western Asia and bounded to the west by the Black Sea. Nainnoh will explain the rigors of such a move at a young age—so I’ll leave that to her. But what I will tell you is that she started music lessons at 7, getting her start on the piano, and by 11 she was crafting her own compositions. Influenced as much by the folk music of her homeland as she was by Nina Simone and Joni Mitchell, Nainnoh’s work captures a cosmological intellectualism wherein she contemplates the mysteries of the universe through the complex lenses of physics and astrology. Yeah, her work is pretty deep—both in lyrical scope and instrumentation. Her self-titled debut album is a riveting and mesmeric blend of undulating rhythms, lush pop textures, dreamy psychedelia and heartfelt poetry, The songs are both nostalgic and forward thinking and it’s some of the most unforgettable music you’ll ever hear. In this conversation we talk about the disorienting reality of coming to a new country at a young age, perfectionism, having parents who supported her creative freedom and a childhood of playing chess...

Alex's Album

Stereo Embers The Podcast 0200: Nainnoh

“Beast Of Eden”

Our guest today on the program is a real artist. The Jersey born J Hacha De Zola is hard to categorize—he’s wholly original and unlike anything out there today. A feral blend of David Johansen, Screaming Lord Sutch and Nick Cave,over the course of his five album career, J Hacha Zola has delivered some of the most captivating, fascinating and  utterly infectious music around. Like a junkyard DaVinci, Hacha De Zola has demonstrated that he knows how to take rusty horns, scrap metal saxophones, guttered guitars and battered drums and turn them into 
pure gold. And that gold not only sparkles under the moonlight, it was spun by a dark figure lurking in the alley and prowling through the abandoned avenues of a city that everyone knows but is too afraid to name. Filled with ragged melodies, rabid rhythms and corruptive carnival stomp, the music of J Hacha De Zola is the real deal. It’s spellbindingly brilliant in every turn. The enigmatic singer’s new album East Of Eden is a startling departure from his previous work. East of Eden is an aching collection of dark and dreamy doo-wop, street soul and urban R&B. It’s J Hacha De Zola in his most unvarnished and purest iteration. Or is it? Yes, it is, but this guy is a moving artistic target—you never know where he’s going to go next. In this conversation Hacha and Alex talk about having an alter ego, keeping his artistic identity a secret from his family and what it’s like being in touch with his shadow self...

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Stereo Embers The Podcast 0216: J Hacha De Zola

“Sparkle Up”

Raised in Cork, Sean O'Hagan got his start with the beloved Irish indie outfit Microdisney in 1980. Microdisney put out five marvelous albums in eluding The Clock Comes Down the Stairs and Crooked Mile, before calling it a day in 1988. Two years later O’Hagan put out the High Llamas solo album and then he put together a band of the same name. Atmospheric, harmonic, melodic and rife with texture and nuance, the work of the High Llamas summons the musical complexity of everyone from Brian Wilson to Ennio Morricone. Therese’s even a dash of XTC in there.  The High Llamas' brand of summer psychedelia summons the surf, the summer the joy and isolation of island life and the complex contrasts of any coastal city where high rises and blindingly beautiful beaches occupy the same space. The High Llamas have put out ten stellar records, including Gideon Gaye, Hawaii, Santa Barbara, and Here Come the Rattling Trees, and you would think that would keep O’Hagan busy enough, but his CV proves otherwise. He’s collaborated with everyone from Will Oldham to Cornelius and not only was he a member of Stererolab in the early '90s, he’s appeared on many of their albums. A producer, a gifted guitarist, and a real sonic architect, O’Hagan is intuitive, instinctive and blessed with the kind of musical aptitude that ranks him among the very best. 

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Stereo Embers The Podcast 0224: Sean O'Hagan (The High Llamas, Microdisney)

“Fretted And Moaning”

The British-born Andy Summers started loading up his musical CV at the age of 16 when, inspired by seeing Thelonious Monk and Dizzy Gillespie live in London, the young guitarist set out on the road and the road welcomed him warmly. After a few years playing live in local clubs, he moved to London and helped form Zoot Money’s Big Roll Band. From there, Summers joined Soft Machine and toured the U.S. for a few months, then joined the Animals for one record, 1968’s Love Is. He took a break from the rock and roll lifestyle to study classical guitar fat Cal State Northridge. After graduation, he moved back to London, played with Kevin Coyne, Joan Armatrading, Neil Sedaka, and Keven Ayers. Summers joined the Police in 1977 and Summers life was, putting it mildly, never the same. The Police put out five albums, sold 80 million of them, won six Grammys, toured the world and at one point in 1983 they were arguably the biggest band on the planet. They went on hiatus in '86, came back 22 years later for a massively successful tour, then officially called it a day in August of 2008. The Rock and Roll Hall of Fame inductees remain one of the most successful bands of all time. As for Summers, he never stopped working. He’s put out close to 15 solo albums, collaborated on record with with Robert Fripp, John Etheridge, Toni Childs, Carly Simon and Sting, did the soundtracks for The Wild Life and Down and Out In Beverly Hills, put out several books of photography, and published a fabulous autobiography called One Train Later. Andy’s new book Fretted And Moaning is a fabulous collection of short stories where the main character, common denominator, thematic through-line, hero and villain is the guitar. Filled with  the ego-driven, the confident, the unconfident, the winners, the losers, the girls, the boys, the hopes, the dreams, the disappointments, the hilarious and the tragic, Fretted and Moaning is written with the kind of narrative velocity that will make you finish it in one sitting. It’s hilarious, it’s hopeful, it’s sad, it’s comforting and it’s alive with aspiration, inspiration and heart. It also showcases Summers’ brilliant ear for dialect and dizzying narrative control. In this discursive and engaging chat, the legendary musician talks to Alex about his new book, and they veer effortlessly off course to chat about Kraftwerk, reggae and reading The Odyssey….

https://andysummersbook.com
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Stereo Embers The Podcast 0233: Andy Summers (The Police)

“Never Say Never”

Formed by classmates at the Art Institute in San Francisco at the sunset of the 70s, Romeo Void  were one of the most dynamic, inventive and singular outfits around. Fronted by singer Debora Iyall, the classic Romeo Void lineup was Iyall on vocals, Peter Woods on guitar, bassist Frank Zincavage, saxophonist Benjamin Bossi and drummer Aaron Smith. They toured nationally, had fans that ranged from Ric Ocasek of the Cars to Ann Wilson of Heart and they signed to a major label. Things were happening. The band put out three perfect and critically acclaimed albums—It’s a Condition, Benefactor and Instincts--before calling it a day in 1984. A captivating singer, Iyall had the street mart snarl of Jim Carroll and the poetic finesse of Patti Smith and she inhabited each number with strength, vulnerably and wisdom. The songs were frank and honest and their post-punk purity and new wave muscle still sounds as vital today as it did back then. And if you want to check to see if I’m right—the band has just put out LIVE FROM MABUHAY GARDENS: NOVEMBER 14, 1980, THE BAND'S FIRST OFFICIAL LIVE ALBUM. This is a searing eleven song set that’s dynamic, urgent and rippling with power. 

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Stereo Embers The Podcast 0335: Debora Iyall (Romeo Void)

“The Unspeakable Milo Binder”

Milo Binder put out one brilliant album in 1991 and then, that was that.
He was gone. Alias Records was an indie rock label that had folks like Too Much Joy and The Sneetches and when they put out Milo’s album
was a huge departure from their roster. A eleven song folk album, Binder’s self-titled release was one of those rare instances where
the artist arrived fully formed with no need to take three or four albums to find their musical footing or narrative voice. Songs like "Donald Thorn" and "A Boy And His Career" were wise and observational and his guitar playing was rich and assured, his delivery confident and brimming with belief. He called into my college radio show Bedtime With Alex on KSMC and he was gracious enough to play two songs while his girlfriend held the phone for him—Donald Thorn from the first album and the song you just heard Skywriters, which would be from the second. But the second one never came until now, 32 years later it’s about to arrive.
Titled The Unspeakable Milo Binder, the two tracks you’ll hear in full on today’s episode demonstrate that Binder not only still has the magic, he’s never sounded better. And he’s been deeply missed. I can’t think of an an artist with as much musical dexterity, poetic exactitude and narrative finesse.  Sit back and join in me as I welcome back Milo Binder.

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Stereo Embers The Podcast 0340: Milo Binder

“Dynamic, Kinetic and Unexpected”

So a quick introduction to the principal members of the 3 Clubmen will give you a foundational understanding of what this band is all about. Or will it? It won’t, because their sound  is so unexpected and fresh and inventive, that a little background can’t prepare you for what they sound like, but introductions are part of our job, so let’s get that out of the way. Andy Partridge is one of the greatest songwriters to ever walk the planet.  His work with XTC pretty much cements that statement, but his work outside of XTC with Robyn Hitchcock and Martin Newell 
just give further evidence that Partridge is a first-rate talent whose discography is comprised of classic upon classic. The Swindon-Based producer/musician and Professor Stu Rowe has played with everyone from Paul Weller to Future Sound Of London to Shriekback
and the L.A.-born Jen Olive has an extensive resume, including writing and recording for A&M Records, putting out her own albums
and contributing music to various American Film Institute projects. Okay, so what about the 3 Clubmen? Well, the 3 Clubmen are an energizing and kinetic blend of experimental pop, jagged and  racing percussion, bent jazz and inventive production. What does this add up to? Putting it simply, one of the most refreshing EPs of the year. Or, any year. This self-titled four song effort is filled with the unexpected and it keeps delivering pop surprise after pop surprise. The sonic angles
of The 3 Clubmen are sharp and dynamic and although the arrangements are textured blasts of idiosyncratic beats and rhythms, there’s a shimmering pop center to these songs that makes them utterly irresistible. We feel the same way about this chat.


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Stereo Embers The Podcast 0341: Andy Partridge, Stu Rowe, Jen Olive (The 3 Clubmen)

"Messages To God"

The New Zealand-born Sarah Mary Chadwick fronted the deliciously feral post-Grunge outfit Batrider in the early 2000s. She made
her first solo foray with the riveting 2012 album Eating For Two and from there she’s moved from strength to strength with records like Please Daddy and Me And Ennui are Friends, Baby. Her new one Messages To God is nothing short of stunning. An aching blend of Jonathan Richman, Mark E. Smith of The Fall and Rid Of Me-era PJ Harvey, Chadwick has never sounded better. The album is spare and savagely beautiful featuring brilliant songs like Shitty Town and I Felt Things In New Zealand. Chadwick’s raw emotional precision is singular and stunning and she’s one of our favorite musicians ever.

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Stereo Embers The Podcast 0351: Sarah Mary Chadwick

"Ozark Symphony"

Born in Memphis into a musical family, Kelly Hunt grew up listening to classical, folk and Delta Blues. She sang in the choir and played the piano, but it was the five-string banjo that stole her heart. Hunt was both a traditionalist and a modernist, blending old-time picking with her own brand of improvisation. After graduating from college she explored farming, the visual arts and French breadmaking and then she settled in Kansas City and got to work on the songs that would make up her debut album Even The Sparrow. Even The Sparrow is a stunner of a debut, garnering a nomination for the International Folk Music Award. Her sophomore effort Ozark Symphony ups the ante' and makes the case that Hunt might very well be one of the most spellbinding forces in folk music. Summoning philosophy, poetry and the legacies and stories of the American South, Ozark Symphony brings to mind Joni Mitchell, Walt Whitman and Rhiannan Giddens. From the soaring glory of Top Of The World to the gentle percussion of On The Bayou, Ozark Symphony is a stunner. The songs are played with precision and finesse and the lilting melodies and achingly beautiful hooks are emotionally exact. Now, I've interviewed Jesse Malin while he was running errands, Xavier Boyle from Tahiti 80 talked to me while he was on a date, and Kelly Hunt? Well, she did this whole interview on a swing. Seriously. So let's swing!!

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Stereo Embers The Podcast 0355: Kelly Hunt

"When We Rise"

Over the course of her career, the New York born Jess Klein has put out nearly fifteen perfect albums. From her Rykodisc debut Draw Them Near in 2000 to other winning entries like 2006's City Garden and 2014's Learning Faith, Klein has demonstrated she's a singer/songwriter of tremendous strength and heart. Blessed with a natural penchant to write hook-filled songs with burning emotional center and big scruffy hearts, her new album When We Rise is another winning entry in her brilliant discography. Redolent with hope, resolve and stability in a world that doesn't stop shaking, When We Rise is a rousing call to arms--from the defiant "You're Never Gonna Break Me" to the stirring "Safe Harbor," this album is a blast of sonic comfort that's fiery, affecting and reviving.

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Stereo Embers The Podcast 0357: Jess Klein

"Breathwork"

The Hawaii-born, New York raised and London Royal Academy of Music-educated Lara Somogyi is one of the most gifted harpists on the planet. A traditionalist and a modernist, Somogyi is an inventive instrumentalist who isn't afraid of exploring new creative possibilities for her instrument. As a composer, Somogyi has experimented with blending electronica and pedal effects and the results have yielded the boldest and most dynamic sonic leaps in the history of the harp. She has single-handedly recontextualized an instrument whose last great leap forward was probably during the Middle Ages and the Renaissance, when its popularity led it to evolve into different iterations. Somogyi has emerged in recent years as the most in-demand session harpist around--she's not only recorded for movies like The Lion King and Coming To America 2 and television shows like Bridgerton and Little Fires Everywhere, she's played with John Legend, Kelly Clarkson, Ariana Grande, Josh Groban and Rufus Wainwright. Awarded as an honorary Associate of the Royal Academy of Music (ARAM) for her contributions to her field, her latest effort is an expanded edition of her exclamation mark album. That's right, it's just a single blast of punctuation, which is perfect, because it's a very singular album. Redolent with thrilling textures and virtuoso playing, ! is a stirring blend of sweeping soundscapes, moving crescendos and poetic subtlety. It's just gorgeous work. Lara is a thoughtful and fascinating musical practitioner, and she also happens to be an incredibly nice person.

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Stereo Embers The Podcast 0359: Lara Somogyi

"Follow The Leader"
 So, Rain Phoenix first was on my radar back in 1991 when she and her brother River had a band called Aleka's Attic. They had a marvelous song called Across The Way on this compilation Tame Yourself, which also featured The Pretenders, Michael Stipe, the Indigo Girls and K.D. Lang. The Texas-born Phoenix acted in TV shows like Family Ties and Amazing Stories and in movies like Even Cowgirls Get The Blues and Hitch. She fronted Papercranes, who put out three really great albums and she was in the Galactic Country band Venus and the Moon with Chris Stills. She also put out a really stunning solo album called River, which was named after her late brother, in 2019. A native of Southern California, Kirk Hellie is like a music archeologist because he knows how to dig sounds out of the deepest of grounds. A lover and studier of Avant Garde music, was in bands like Hellie Siblings, Death Loop Detonator and Pink Noise Test. Hellie played with Steve Jones of the Sex Pistols, and toured with The Cramps and Iggy Pop.Together, Phoenix and Hellie are Escape Artist Lovers, who play a dizzying blend of sonorous and scruffy indie rock that sounds something like Beth Orton fronting the Jesus and Mary Chain. The interplay between these two musicians is pure magic and the songs, whether they're stripped back or coated in layers of fuzz and groove, are delicious slices of melodic bliss.  

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Stereo Embers The Podcast 0360: Rain Phoenix and Kirk Hellie (Escape Artist Lovers)

"Silent Highway"

Formed out of the ashes of the post-punk outfit Finger Printz, the Silencers' core was comprised of two members of that band--guitarist Cha Burns and singer Jimme O'Neill. The Silencers quickly signed to RCA and hit the ground running, putting out three brilliant albums in under five years. They toured with Squeeze, The Pretenders, The Alarm and at one point, when opening for Simple Minds at Wembley, they played in front of 80,000 people. And they crushed it. O'Neill is one of those frontmen you can't take your eyes off--he's a dynamic performer who's loaded with energy and charisma, making every second of a Silencers gig a thrilling experience. The Silencers have put out nearly fifteen albums, including A Letter From St. Paul, A Blues For Buddah, A Night Of Electric Silence and their latest effort Silent Highway, which marks their first album in fifteen years. And they haven't lost a step--O'Neill remains one of the most thoughtful songwriters around and Silent Highway is a thrilling return to form. Although Burns passed away in 2007, O'Neill is carrying the torch proudly along with a crack band that includes two of his kids, Aura and James O'Neill. This is an expurgated history of a brilliant band, but Jimme will fill in the gaps and then some--he's got some amazing stories and profound insights. This guy is the real deal.

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Stereo Embers The Podcast 0361: Jimme O'Neill (The Silencers, Finger Printz)

"Everything On Memory"

The Fresno-born, Modesto-raised Jim Fairchild got his start on guitar as a teenager and in the mid-nineties became the lead guitar player for the indie rock outfit Grandaddy. That would be enough to make a resume’ shimmer, but Fairchild was just getting started. He was the touring guitar player for Giant Sand, he worked with everyone from Hawaii to Dappled Cities and he took over for Johnny Marr in Modest Mouse in 2009 and played lead guitar for them until 2021. Fairchild fronted the band All Smiles, he was selected to lead a project at the San Francisco Museum of Modern Art in 2010 and started a new project called Grace Meridian in 2020. But that’s not all—Fairchild currently is the Director of A&R for Dangerbird Records and he’s scoring films like the documentary Common Ground and Bee The Change, which is narrated by Ellie Goulding. And we haven’t even talked about Small Isles yet. Their new EP Everything On Memory has been described by Fairchild as, "written as the imagined score to a Christopher Nolan-directed movie I dreamt about in which Donald and Steven Glover wrote a script in response to Modest Mouse's "Third Planet”. To my ears, Small Isles’ new release is a moody blend of spellbinding cinemascapes, arching crescendos, soaring distant melodies and futuristic percussion, all of which adds up to one of the most spellbinding releases of the year. Fairchild recently scored the documentary film Common Ground (Donald Glover, Laura Dern, Woody Harrelson, Rosario Dawson, Ian Somerhalder) which won the Tribeca Film Festival “Human/Nature” award. He is currently working on the follow up, Bee The Change narrated by Ellie Goulding, which will premiere at COP 28 (United Nations Climate Change Conference).

Small Isles on Instagram:

https://www.instagram.com/smallislespicturemusic

Bandcamp: https://smallislesmusic.bandcamp.com/album/the-valley-the-mountains-the-sea

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Stereo Embers The Podcast 0362: Jim Fairchild (Modest Mouse, Grandaddy, Small Isles)

“Forwards”

For more than 40 years the Welsh band the Alarm have been one of the most consistent acts on the planet, playing songs with conviction, heart and belief. With almost 20 studio albums under their belts, along with a discography that includes live albums, box sets and EPs, The Alarm are one of those bands where you pretty much want everything they put out. From albums like Declaration to Strength to their brand new one Forwards, The Alarm are a completist’s band. Speaking of Forwards, it’s a remarkable record—singer/songwriter Mike Peters has never sounded better, his voice alive with muscle and belief. The Welsh band have had a remarkable career that’s filled with endless highlights-- they toured with U2 and Bob Dylan, played at Queen’s Live at Wembley concert in 1986, been on IRS’s the Cutting Edge and American Bandstand, had hit singles all over the world even cracking the Billboard Top 50 here in the States, and wrote a song that became the official Welsh anthem
for Euro 2020. This is a band that’s all about community, support and they remain as vital as ever.

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Stereo Embers The Podcast 0363: Mike Peters (The Alarm)

"Movement"

There’s nothing about Peter Hook that I can tell you you don’t already know, so let’s just do a refresher run through his musical CV. In the late '70s Hook formed Joy Division with childhood pal Bernard Sumner after the two friends saw the Sex Pistols play in Manchester. The band only put out two albums and one of those albums, the legendary Closer was put out two months after the band had ceased to b,e due to the suicide of singer Ian Curtis on the eve of Joy Division’s debut US/Canada tour.
Rechristened New Order and consisting of the remaining members of Joy Division plus keyboardist Gillian Gilbert, New Order blended jittery post-punk rhythms with dance music. The result? Well, you know the result. They were one of the biggest bands of the '80s, spawning hits like True Faith, The Perfect Kiss, Subculture and Blue Monday, which was the biggest selling 12-inch of all time. It might still be. New Order dominated the '80s, but the '90s weren’t too shabby—they had a #1 UK hit with World In Motion in 1990 and they had their biggest US hit with “Regret” in 1993. They kept crushing it, putting out Get Ready in 2001 and collaborating with Billy Corgan and Bobby Gillespie of Primal Scream. They were given the Godlike Genius award at the 2005 NME awards and got nominated for a Grammy in 2006 for Guilt Is a Useless Emotion. Then things got a bit sour, with Hook leaving the band in 2007 and forming his own outfit Peter Hook and the Light, a band that featured his son Jack and much to his fans delight, revisited the Joy Division and New Order songbooks. Over the course of his career Hook has worked with The Stone Roses, and Perry Farrell, he toured with the Durutti Column, put out albums with Revenge and Monaco and wrote one of the best music books ever: Substance; Inside New Order. This is a partial list, btw. Almost a partial partial list because when it comes to Peter Hook, there’s a lot of ground to cover. But these are the basics. Do a deeper dive after you hear the show—the guy is a titan. As for his split with New Order and his boyhood pal Bernard, we don’t have time to go over the legal end of that dissolution, so let’s just say this. If you’re hoping for a reunion you’re wasting your good hope energy. Not going to happen. As a bassist, he plays with an authoritative blend of prowl and sting and not only is he one of the all time greats, he also happens to be a nice guy. This chat covers his fractured friendship with Sumner, why the New Order/Joy Division songbooks appeal to fans across generations and what Hooky has learned from his old material.

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Stereo Embers The Podcast 0364: Peter Hook (Joy Division, New Order)

"A Family Album"

The California-born and Washington-raised Holly Palmer has had quite a career. Signed to Reprise in the mid-nineties, Palmer garnered well-deserved critical-acclaim and toured with the likes of Paula Cole, k.d. Lang and Shawn Colvin. David Bowie asked her to sing background vocals on his Hours album and then he asked her to join his 1999 world tour as a singer/percussionist. Some career highlights: she joined Gnarls Barkley on their World Tour, recorded a duet with Michael Buble', sang background and played acoustic guitar on Idina Menzel's I Stand Tour, wrote the theme to the television show Mob City, and formed the musical duo Bubbles and Cheesecake with Ailee Willis who wrote September and Boogie Wonderland with Earth, Wind & Fire. She's worked with Jellyfish's Roger Manning Jr, Dr. Dre, Don Was and Dave Navarro--how's that for range? She can do anything. Holly Palmer has put out five perfect solo albums including her 1996 self-titled debut, 2007's Songs For Tuesday and 2017's A Family Album. A graduate of the Berkelee College Of Music Palmer has since gone on to explore the nuances of voice and music composition. Her phrasing, her timing and her beautiful timbre make her one of the greats. She's a mom, a wife, an artist and a student all at once and she just keeps crushing it. 

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Stereo Embers The Podcast 0365: Holly Palmer

"Chaos And Wonder"

Donnette Thayer went west for college and when the Colorado-born Thayer arrived at UC Davis with veterinary aspirations she found a thriving arts community that she fell right into. She'd played classical music growing up, but suddenly found herself fronting alternative bands like X-Men, The Veil and No Matter What. She guested on Game Theory's Blaze of Glory and then joined the band full-time in 1986. She was in the band for the Lolita Nation and Two Steps From The Middle Ages albums before she left in 1988. That same year she formed Hex with Steve Kilbey of The Church and put out two marvelous albums--the self-titled debut and the swooning follow up Vast Halos. Thayer put out a solo album called Chaos and Wonder and then what? Well, I'll have her fill in the gaps and bring you up to date. But let me say this about Donnette--her voice is a breathtaking blend of beauty and finesse and it swirls through the compositions with a beguiling and airy command. She's a marvelous musician and an absolutely lovely person.

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Stereo Embers The Podcast 0366: Donnette Thayer (Game Theory, Hex)

"Angles And Ordinary Men"

Back in the late '90s Wendy Lands' debut album Angels and Ordinary Men landed on my desk in the form a package from Canada and I dove right in. Falling somewhere between Beth Orton's Trailer Park and Sade's Stronger Than Pride, the album was a revelation. It was soulful, it was atmospheric, it was melodic, it was rich, and it was filled with musical finesse and jazzy textures that made repeat listens more and more rewarding. So who is Wendy Lands and what in the devil has she been up to
since her marvelous debut album? She's going to fill you in far better than I ever could, but let me give you some quick details: In the early '90s the Montreal-born, Toronto-raised Wendy Lands
cut her musical teeth doing theatre adn playing in a pop band called Double Dare. Her debut album spawned two top 40 hits and landed her a Juno nomination for Best New Solo
artist in 1997. She toured with Jann Arden, grabbed two Canadian Radio Music Award nominations and as a side hustle, she recorded a series of commercial voice overs. Remember that last bit...She moved to LA to be a songwriter, writing numbers with Paul Williams and Melissa Manchester, then moved back to Canada where she released two more fabulous albums Mumble and Altitude. This is a partial list, Wendy is going to fill in the blanks, but her main gig now is being a widely respected voice actor. Is there new music simmering? Of course there is, but I'll defer to her on that one, too. Look, Wendy Lands is wonderful. Her voice is smooth and stunning, her vocal poise is otherworldly and aside from her gifts behind the mic, she's one of the nicest people ever.

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Stereo Embers The Podcast 0368: Wendy Lands

"I Will Never Let You Down"

Marcellus Hall has been doing so much, his resume it'll make you look at your resume and think What have I been doing? Let's back up: The Minnesota-born Marcellus Hall went to the Rhode Island school of design then moved to New York after graduating to form the band Railroad Jerk. Railroad Jerk put out four perfect albums for Matador, thought they recorded a fifth called Masterpiecemeal, that didn't come out but is available now on Bandcamp. After the band broke up, Hall formed White Hassle with Railroad Jerk's Dave Varenka, who were awesome and they put out a handful of brilliant albums like National Chain and Death of Song. After White Hassle called it a day in 2006, Hall put out phenomenal solo albums like The First Line, Afterglow and now his new one I Will Never Let You Down. But what about those ten years? You're probably still wondering.  He's been illustrating. As an illustrator, Hall's work has appeared in The Atlantic, New York Magazine, Fortune and he's done several New Yorker covers. He did the weekly comic strip Bill Dogbreath that appeared in The Onion and Baltimore City paper, among others, and he illustrated books--lots of them, like Sherry North's Because You Are My Baby, Lee Bennet Hopkins' City I Love and Karma Wilson's The Cow Loves cookies. Keep in mind, this is a partial list. Another partial list: books that Hall wrote and illustrated, like Kaleidoscope City, Everyone Sleeps, Virtual Reality, and Multiplicity. As for his new album, it's a stunner. A breezy blend melodic muscle and musical finesse, this is an instant classic. Hall plays with a kind of freewheeling precision, and his songs are the kinds of songs you will carry with you for the rest of your life. Trust me. Have I ever let you down? Okay, maybe once or twice, but Marcellus Hall will never let you down.

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Stereo Embers The Podcast 0369: Marcellus Hall (Railroad Jerk, White Hassle)

"Natural Magick"

Formed in the mid '90s in London, Kula Shaker emerged as one of the most dynamic and engaging musical acts around.
Mixing psychedelia with traditional Indian music and pop, Kula Shaker tore it up right out of the gate, with their debut album K hitting #1 and making them immediate superstars. Over the course of their career they played Glastonbury, T in the Park, the V Festival, and they supported Oasis at their legendary Knebworth shows. Singer Crispian Mills is the grandson of the Academy Award Winning actor Sir John Mills and the son of director Roy Boulting and actress Hayley Mills, who you might remember from the 1961 film The Parent Trap. Mills got into ancient Sanskrit texts as a young man and carried their wisdom into his adulthood. He also got into psych music as well as The Doors. He's played with X-Ray Spex and appeared on the Prodigy's The Fat Of The Land album and when Kula Shaker were on hiatus, he played in a band called The Jeevas. Also, he's a writer and director; he wrote and helmed the Simon Pegg film A Fantastic Fear Of Everything and has other projects in the works. With Kula Shaker he's put out six marvelous albums, including K, Pilgrim's Progress, 1st Congregational Church of Eternal Love and Hugs and their brand new one, Natural Magick. A riveting return to form, Natural Magick finds the original Kula Shaker lineup reunited and the results are stunning--this album is an energetic blast of psych pop redolent with rich hooks, textured instrumentation and melodies galore. It's fabulous work.

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Stereo Embers The Podcast 0370: Crispian Mills (Kula Shaker)

"Shane O'Mara Wore Mascara"

Okay, so let's not be ridiculous--it's impossible to tell you a little bit about Lindy Morrison because there's so much to tell. But for the sake of time I'll condense what I can about this remarkable woman--just keep in mind this is a partial and very expurgated description of her accomplishments. My suggestion is that you read My Rock And Roll Friend, by Everything But the Girl's Tracey Thorn, who writes about her friendship with Morrison while offering a contextual explanation about why she's such an important musician, drummer and artist. The Sydney-born Morrison played in the all-female Aussie punk band Zero before joining the Go-Betweens in 1980. She was with the Go-Betweens until 1989, playing on such classic albums as Tallulah, Spring Hill Fair and 16 Lovers Lane. In addition to being a drummer, Morrison is an activist, a social worker and a humanitarian. She's worked on behalf of Aboriginal rights, women's rights and the rights of musicians with mild intellectual disabilities. Her extensive writing about gender issues in the music industry
is peerless. She was awarded The Order of Australia Medal for services as a performer and advocate, and back in 2007 she was appointed as an Honorary Lifetime Member of the Music Council of Australia for her services assisting community music initiatives and guidance around performer's rights. She's a rockstar, yes, but she's also a rockstar as a person. Over the course of her career she's collaborated with everyone from Nikki Sudden to Nick Cave, and currently she's playing with Alex the Astronaut and the SnarskiCircusLindyBand with Rob Snarski of the Blackeyed Susans. Morrison is a subtle and smart drummer, whose sneaky percussive fills roll with rhythmic grace and steady muscle. And she's a blast to talk to--you're going to love her.

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Stereo Embers The Podcast 0372: Lindy Morrison (The Go-Betweens)

"I See You"

Led by the Bay Area born Destani Wolf, Destani's Piece is a sonic healing project whose compositions are lush and layered affairs, boasting rich textures that conjure vast heavenly landscapes. Filled with dreamy musical nuances--like rolling angelic harps, harmonic pianos and Wolf's otherworldly vocals, the music of Destani's Piece is reflective and meditative and each composition serves as a balm for a world, that, let's face it, can be a bit raw. The Grammy-nominated Wolf has emerged as a brilliant sonic architect and this music is restorative, comforting and healing. As for Wolf, she's been in the game since she was 15 and found herself playing live at the Great American Music Hall in San Francisco. Since then, she's been packing her resume' with achievement after achievement. Her voice has been heard on over forty albums, and she's worked with everyone from John Cale to Bobby McFerrin to The Pharcyde. You've heard her on video games like Call of Duty, soundtracks like Disney's The Descendents, Kevin Hart's Laugh At My Pain and Fox's So You Think You Can Dance. She's traveled the globe singing for Cirque du Soleil, is a current member of Bobby McFerrin's MOTION and she collaborates and tours with the Bandaloop Aerial Dance Company. Keep in mind, this is just a partial list. But you get the idea. She's incredible. 

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Stereo Embers The Podcast 0373: Destani Wolf (Destani's Piece)

"Starting Over"

With close to thirty albums under his belt, the Iowa-born Dan Bern is one of the great iron men of rock and roll. I guess he's kind of the Cal Ripken of modern music--why? Because he keeps showing up with high quality work. From albums like Fifty Eggs to to the newly re-mastered New American Language, Bern is one of the very best we have. His music is observational, clever and poignant, and it always comes with a melodic center that makes each number
he writes more impossible resist than the last. He's collaborated with Emmylou Harris, opened for The Who, written songs for the movie Walk Hard, authored two books, recorded children's albums, created and hosted two podcasts, and painted countless portraits of sports figures. If you're getting the idea that Dan Bern is busy creating things you're right. Part traditionalist, part punk, Bern has proven over and over that he's one of the best and most durable songwriters on the planet. His 2001 album New American Language has been re-mastered and issued on vinyl for the first time and his new album is on the way. Glad to grab Dan for this chat in between his busy schedule....

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Stereo Embers The Podcast 0374: Dan Bern

"Let Go"

Formed by braintrust Sascha Konietzko in Germany and Paris in 1984, KMFDM got their start as a performance art project but
it didn't take long for their propulsive industrial rhythms to establish them as one of the most dynamic bands around. Over the course
of their career they've toured the world, sold millions of records and unleashed an uninterrupted string of classic albums like 1986's What Do You Know, Deutschland?, 1990's Naive, 2002's Attak and their brilliant new one Let Go. KMFDM's albums are always a blast of unbridled energy and Let Go is no exception--it's a dynamic blend of crunchy electronica, cascading metal riffs and lashing industrial beats and all combining to make one of the most ferociously danceable albums of 2024. As far as branding consistency goes, it gets no better than KMFDM, whose unmistakable and inimitable sleeves have been done by artist Aidan Brute Hughes, whose work captures the ferocious energy and belief system of the band. And what of that belief system? Well, let's just say it's a continued railing against oppression, censorship, war and violence. Not too shabby, right? Now, KMFDM are really a musical collective so they've
had a revolving door of members; the Long Island-born singer Lucia Cifarelli joined the band in 2002 and close to 25 years later, she's still there. Married to Konietzko, the two have forged an enduring creative and romantic partnership. A singer of tremendous power and range, Cifarelli was the former singer of Drill, whose lone album for A&M in the '90s was one I listened to a lot. She's one of those performers who was put on this planet with instant artistic force--she sings with muscle and finesse and like a great baseball pitcher, the best way to describe her is as someone who's got the stuff.

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Stereo Embers The Podcast 0375: Lucia Cifarelli (KMFDM)

"Highlander"

Born in Short Gap, West Virginia, the Grammy-nominated Missy Raines is one of the most legendary bluegrass musicians on the planet. A ten-time winner of the International Bluegrass Music Association Bass Player of the Year and the first woman to win the award--a feat nobody has even come close to--Raines is a virtuoso musician who plays with unmatched dexterity and heart. She's not just a bass player--she's a singer, songwriter, teacher, sideman, and bandleader as well. Raines started her career at a very young age but what's really interesting is that she started her solo career in 1998 nearly twenty years after touring non-stop and making records with Cloud Valley, Mac Wiseman, and Bill Evans. Raines' new album Highlander is a stirring song-cycle dedicated to her native soil--is it a concept album about West Virginia? Well, kind of, but more accurately, it's a tip of the hat to the textured nuances of rural Appalachia. Produced by the marvelous Alison Brown, Highlander is a musical tribute to the geography of West Virginia and the emotional geography of the concept of home.  Long story short: it's stunning work.

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Stereo Embers The Podcast 0376: Missy Raines

"Primrose Was In Season"




The Florida-born Mackenzie Shivers is a singer/songwriter of tremendous sensitivity and strength. Her new album Primrose Was In Season--and her fourth overall--

is a layered blend of moving compositions that summon joy and loss with dexterity and finesse. Produced by Kevin Salem, the album, which is the follow-up to

2021's Rejection Letter, brings to mind the stirring textures of Emmylou Harris' Wrecking Ball and Joe Henry's Trampoline. Now living in the Hudson Valley, the

song-cycle on Primrose Was In Season braids together themes of healing, struggle, resilience and resolve and in the end, provides one of the most stirring listens of 2024. Shivers' career

has found her acting off Broadway and touring Japan as a musician--and as an artist she's brave and bold and unreasonably wonderful.




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Stereo Embers The Podcast 0377: Mackenzie Shivers

"I Just Want To Go Home"

I've been obsessed with the Trashcan Sinatras since 1990 and for good reason--the Scottish outfit's winning discography featuring albums like Cake, I've Seen Everything, Weightlifting

and In The Music is a perfect body of work. From the punchy pop of "Obscurity Knocks" to the

sweeping rush of "All The Dark Horses," the Trashcan Sinatras' sound is shimmering and pastoral.

They've toured rather extensively over the years and have an international fanbase that cherishes

every note. The recent reissue of Cake found their debut album hitting #2 on the charts and a new album is around the corner. In the meantime, guitarist John Douglas has just put out his debut solo album and it's a stunner. A riveting 11-song collection featuring original material, a few Trashcan numbers and a Prefab Sprout cover of We Let The Stars Go, it's a stirring song-cycle that's nostalgic, achingly beautiful and emotionally precise. Douglas' delivery is gentle and thoughtful and his phrasing is redolent with subtle flourishes that end up being unforgettable and deeply moving.

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Stereo Embers The Podcast 0378: John Douglas (Trashcan Sinatras)

"Revolución to Roxy"

Yes, the London-born guitarist and producer Phil Manzanera is part of one of the greatest bands of all time, but that really isn't the story. It's just part of it. Like, 10% of it. Which is crazy when you think of the cultural impact of Roxy Music, but the fact is, Manzanera has lived an interesting life that goes far beyond his tenure in an influential rock and roll band. His book Revolucion to Roxy explains everything and after you hit the first chapter you'll see his origin story isn't a simple one. He covers being multi-racial, traveling around the world as a kid and witnessing actual revolutions in Cuba and Venezuala, being sent to a posh boarding school,
and the sudden death of his father. And all that happened before he was fifteen. An old story is a guy picks up a guitar and his life
changes and that's for sure a big part of the story here, but the long-time history buff only started to understand why he was drawn to music in the first place years later. It turns out that Manzanera is a direct descendent of an Italian opera singer. And a Jewish pirate. I'm not joking. But the more he digs, the more answers start to show up that form an historical polaroid that's still coming into focus. Revolucion To Roxy is a brilliant read, filled with narrative velocity and authorial poise, but it's also the story of a guy who's figuring out who he is in real time. And the reverse engineering is as surprising to him as it is to us. For example, his dad worked for the British Overseas Airway Corporation. Or did he? Being drawn to music was free will. Or was it? You get the idea. Revolucion To Roxy is a marvelous blast of biography and self-examination and it really explores the idea that history is shooting through our DNA and even if you ignore it, it's going to tap you on the shoulder and point you wherever it wants.

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Stereo Embers The Podcast 0379: Phil Manzanera (Roxy Music)

"Good Thing"

Her new album might be called The #1 Zookeeper (Of The San Diego Zoo) but
Abby Hamilton does not hail from San Diego. The singer/songwriter was born and raised a little over two thousand miles away in Wilmore, Kentucky. Hamilton's family was a musical one--so much so, in fact, that she has aunts who sang in a Southern Gospel group called The Hamilton Family. But lineage aside, what Abby started to realize when she was in college is that artists
like Bruce Springsteen, Kris Kristofferson, Bonnie Raitt and Jason Isbell have been having musical conversations with each other through their art and she wanted in on that dialogue of collective consciousness. Well, she's in. Her album is a startling and thoughtful blend of rootsy swagger, blissful Americana and lyrical smarts. It's one of the most riveting and fully-formed debuts
in recent memory. 

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Stereo Embers The Podcast 0380: Abby Hamilton

"The Clocks Are Out Of Time"

The East London outfit The Jack Rubies may have gotten their start in 1987 and quickly fired off two brilliant albums--1988's Fascinatin' Vacation and 1990's See The Money In My Smile--but that was it; they literally dropped off the musical map. And it was a weird disappearance because they were poised for big things--they had critical acclaim, they'd toured with The Triffids, They Might Be Giants, Modern English and the Blow Monkeys and were fan favorites on MTV's 120 Minutes. So what happened? Where did they go? Well, the short answer to the first question is, they went on hiatus. And the short answer to the second question is New York, North Carolina and England. That clears nothing up, right? Let me help a bit: The musical landscape was changing, things got weird with their record company, they were young men acutely aware of getting older and it just didn't seem to make sense to go on. I'm oversimplifying, but that's kind of the gist of it. The band's singer Ian Wright will fill in the gaps. Bummed as fans like me were that they were gone, the good news is they're back. Firing with the same melodic accuracy and pop smarts that endeared them to fans in the first place, the Jack Rubies' third album Clocks Are Out Of TIme is a startling and welcome return to form. Filled with unforgettable hooks and lyrical smarts the Jack Rubies are not only back, they're back with their original lineup. And this isn't just unfinished business--there's more music on the way.

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Stereo Embers The Podcast: Ian Wright (The Jack Rubies)

“Ride The Waves As They Present Themselves”

In many ways that’s what KatieJane Garside has been doing her whole life. She traveled the world by sea with her parents and sister as a kid and now, all these years later, she’s doing the same thing with a family of her own. Great poetry, great novels and great art has been inspired by the ocean and Garside’s new musical project Liar, Flower can be added to that list. An extension of her beloved band Ruby Throat, Liar, Flower’s arresting debut Geiger Counter is delicious poetic menace that's filled with bees, birds, badgers, and blood and it’s all delivered by way of Garside’s inimitable growl and purr. Part feral folk and part raw rock and roll, Geiger Counter is one of the most affecting albums you’ll ever hear. In this engaging conversation, Garside sits down with Alex and they talk about her lifelong devotion to the creative process, why she doesn’t recognize herself on video, how her dedication to mediation helps free and gather her stream of consciousness and why she doesn’t listen to the news…

Stereo Embers The Podcast 0144: KatieJane Garside (Liar, Flower, Ruby Throat, Daisy Chainsaw)

Hosted by Alex Green, Stereo Embers: The Podcast is a weekly podcast airing exclusively on Bombshell Radio (www.bombshellradio.com) that features interviews with musicians, authors, artists and actors talking about the current creative moment in their lives. 

A professor at St. Mary's College of California, Alex is the Editor-In-Chief of Stereo Embers Magazine (www.stereoembersmagazine.com), the author of five books and has served as a Speaker/Moderator for LitQuake, Yahoo!, The Bay Area Book Festival, A Great Good Place For Books, Green Apple Books, and The St. Mary's College Of California MFA Reading Series. 

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