The Last Podcast On The Left covers all the horrors our world has to offer both imagined and real, from demons and slashers to cults and serial killers, The Last Podcast is guaranteed to satisfy your blood lust. 

QUEEN OF THE TAR
Mesmerizing with her command of the tar, setar and shoorangiz, Sahba Motellabli captivates audiences globally with music born from centuries of Iranian tradition, interpreted through a contemporary lens, creating brand new music rooted in the past. She takes the listener on a journey of enchanted song, through a flurry of rhythmic chord hits and punctuated finger-work. Her hands dance across the strings, agile and flexible, effortless even at lightning speed. Known as "Queen of the Tar," or "Jimi Hendrix, but on Tar," Sahba invites us into a terrain of perfected sound with nuanced harmonics and siren-like whispers.
Born into a Baha’I family in Tehran and later relocating to Sari near the Caspian Sea, Sahba began her musical career at age 11 by learning the setar. Three years later, her talent earned her a place at the prestigious Tehran Conservatory of Music. She defied societal norms by moving to Tehran in 1992 where she lived independently and studied music despite the fact that women were not allowed to be seen carrying instruments in public. She experienced a life-altering moment when she was introduced to the tar at age 15 which led her to study with Master Fariborz Azizi and Master Ostad Hossein Alizadeh. She began practicing 8 hours a day, learning the "radif," systems of Persian music. At the Conservatory, she earned the award of Best Tar Player from 1993 – 1996. Then Sahba surpassed all expectations and won first prize for all levels, ages, and genders as the "Best Tar Player" in all of Iran for four years in a row in all festivals and competitions, from 1995 - 1998. In 1999, Sahba was invited to join the Iranian National Orchestra and began her international career. She also founded the first all-female Iranian band ever called "Chakaveh" despite the rule that women were not allowed to perform without men in Iran. At the time, women weren’t even allowed to perform with men in the main concert hall.

THE SOUND OF THE UNDERGROUND. 

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Since his earliest self-produced CD-Rs, Philadelphia psych-pop master Kurt Vile has referred to himself as "Philly's Constant Hitmaker"—and while he gave himself that name with a sly wink, he was also nodding toward the songwriting prowess that would result in him becoming one of his home city's most celebrated rock artists. "I’m always thinking about catchy music, even though it’s fried, or sizzled, out," he says. "It's my own version of a classic thing—it's moving forward and backward at the same time." 
On his latest album, (watch my moves), Vile pulls his talents as a singer, songwriter, multi-instrumentalist, and producer in unexpected directions—and the result is a vibrant, yet meditative album propelled by Vile's laid-back charm and curious spirit. Every lyric has been chiseled down into an aphorism, every bloom of distorted guitar or murmuring synth helping create that "fried" pop. "It's about songwriting. It's about lyrics. It's about being the master of all domains in the music," he says of his ninth album and first in partnership with a major label, Verve Records.
(watch my moves) comes from a period when Vile, whose touring and recording schedule during the 2010s was seemingly constant, stayed in one place. His mind was always swirling, though, puzzling out pointillistic lyrics, dreaming up spit-shined choruses, and checking in on other dimensions. "My favorite pastime these days is sitting drinking coffee in the morning post-breakfast by the window, reading and listening to Sun Ra, sun shining through the forest trees," says Vile. "In that moment, it's all the traveling I'll ever need. This record encapsulates all that—letting two years roll by and staying in my zone, traveling all the while in my brain, at the piano or in my guitar."

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