Talkhouse Podcast

On this week’s Talkhouse Podcast we’ve got a couple of old friends who’ve both been trying new things lately: Hannibal Buress and Kristian Mercado. Hannibal Buress just celebrated his 40th birthday, which means he’s spent more than half his life making people laugh for a living. He started out doing stand-up in his hometown of Chicago, winning audiences small and then eventually very large by telling pointed jokes with a sort of super laid-back style. He briefly wrote for Saturday Night Live and 30 Rock, and you’ve almost certainly seen him on The Eric Andre Show or Broad City, or maybe one of his many stand-up specials. In the past few years, though, Buress has turned his attention to music, releasing a bunch of hip-hop tracks under the name Eshu Tune. Though rumors of his retirement from comedy seem to be exaggerated—he talks about that here—he is taking music seriously. Or maybe seriously isn’t exactly the right word, but it’s his focus. Check out the Eshu Tune song “Knee Brace” right here. The other side of this chat, Kristian Mercado, is best known as a filmmaker; he’s made music videos and directed stand-up specials for Michael Che, Taylor Tomlinson, and Ilana Glazer—and of course Hannibal Buress, with whom he worked on the weird and wonderful Miami Nights. Mercado is about to take the biggest jump a director can: He just directed his first feature film, called If You Were The Last, which will have its world premiere at this year’s South By Southwest festival in Austin. I haven’t seen it, but it stars Anthony Mackie and it’s a sci-fi love story, so I’m in. Mercado has also started dabbling in stand-up comedy, inspired by the many comics he’s worked with over the years, including, of course Hannibal. These two chat about how they work, and Buress drops the news that he’s working on a feature-length script of his own—Mercado can’t wait to see it. Buress also quizzes Mercado on the most important people on a film set, and Mercado talks about the joys of experiencing the Sundance Film Festival under the influence of psychedelics. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Hannibal Buress and Kris Mercado for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff we’ve got going 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!

On this week’s Talkhouse Podcast, we’ve put together the drummers from two of the UK’s biggest bands in recent memory: Dave Rowntree and Philip Selway.Rowntree came to fame with Blur, one of the original Britpop bands of the early 1990s. I probably don’t need to give you much biography on Blur, but in the band’s couple of long hiatuses, Rowntree has lived about a dozen lives. He’s been an amateur pilot, a professional lawyer, an elected politician, and a social activist. On the music front, he found yet another career creating soundtracks for TV and film, starting with the Bros documentary After the Screaming Stops. Blur is back together for some massive shows in 2023, but during the pandemic Rowntree got together—virtually, of course—with producer Leo Abrahams to make his proper solo album. Freed from the constraints of both his bandmates and showrunners, Rowntree did his own thing, and the result is Radio Songs, a delightful 10-song album that flirts with Britpop here and there, but flirts with other interesting sounds as well. Here’s “London Bridge.”Philip Selway is best known as the drummer for another huge British band, Radiohead, with whom he’s been making music since 1985. Though he always had the itch to write his own songs, it wasn’t until 2010 that Selway actually took the leap and released his first solo album, the gentle Familial. In between Radiohead duties, he’s found the time to release another one—the more sonically expansive Weatherhouse in 2014—and work on some soundtracks as well. Selway is now gearing up for the release of his third and most ambitious album yet: Strange Dance comes out toward the end of February, and it features a bunch of Selway’s musical friends on a very cinematic-yet-personal-sounding set songs. You can preorder various formats here; in the meantime, check out “Check for Signs of Life." In this conversation, these two drummers sound immediately chummy, though they were only passing acquaintances beforehand. They talk about stepping away from bigger bands to do your own thing, including the process of finding your own voice. “What if it’s rubbish?” laughs Rowntree at the top of the chat, proving that even the biggest stars can have doubts. Enjoy.Thanks for listening to the Talkhouse Podcast, and thanks to Dave Rowntree and Philip Selway for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all we’ve got to offer 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!

On this week’s Talkhouse Podcast, we’ve got a pair of multi-hyphenates who have recently joined music-world forces: Justin Tranter and Jake Wesley Rogers.Tranter first found music-biz fame with the band Semi-Precious Weapons, which had a decade-long run starting in 2004, and whose biggest claim to fame—besides their music itself—was opening for Lady Gaga’s Monster Ball tour. But Tranter pivoted after Semi-Precious Weapons split up, and started writing songs for and with other artists—but not just any artists. Tranter has written for and/or with Justin Bieber, Imagine Dragons, Selena Gomez, Gwen Stefani, and many, many more—chances are good you’ve heard a Justin Tranter composition on the radio, even if you didn’t know it. Tranter has also written a bunch of songs for the upcoming Grease prequel series, Rise of the Pink Ladies, and seven songs on the brand-new album by the massive Italian band Måneskin. Tranter has also been an incredible activist in the LGBTQ+ community and beyond, and their next move is becoming, as you’ll hear in this chat, a mogul. That’s where the other half of today’s Talkhouse Podcast comes into the picture: Jake Wesley Rogers recently signed on with Tranter’s new record label, Facet, and the two have plans to conquer the world together—I wouldn’t bet against them. Rogers is from a younger generation, having grown up with the instant gratification of social media. He even appeared on America’s Got Talent at 15, and started writing songs even earlier than that. But Rogers really finds his voice with a couple of recent EPs, Pluto and Love. Tranter and Rogers also recently co-wrote a song called “Hindsight,” which plays over the end credits of Bros, the first gay rom-com ever released by a major studio—they talk about that here a bit as well. Check out that song below.In this conversation, Tranter and Rogers talk about their daily processes, including The Artists' Way, they talk about great pop songs, great middle school teachers, destroying the patriarchy, and the dangers and joys of social media. Enjoy.Thanks for listening to the Talkhouse Podcast, and thanks to Justin Tranter and Jake Wesley Rogers for chatting. If you like what you heard, please check out all the goodness on Talkhouse.com and subscribe to our weekly e-mail newsletter. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

On this week’s Talkhouse Podcast, our guests begin as strangers and end their conversation as family: It’s Pamela Adlon chatting with Tegan and Sara Quin.Adlon has had an incredible career over the past 40 or so years; no matter what your pop culture diet, she has probably sneaked into your consciousness one way or another. Maybe you have vague memories of her character on The Facts of Life from the early ‘80s, or perhaps her roles on Californication and Louie in more recent years. Adlon has also had an incredible shadow career doing voices in animated shows, where she’s best known as Bobby Hill on King of the Hill. But perhaps the culmination of all that fantastic work is Better Things, the show that Adlon created, executive-produced, starred in, and let’s face it, gave birth to. Better Things just concluded its fifth and final season, and it stuck the landing so well. It’s one of those shows that hits that rare mixture of funny and true—and it definitely struck a nerve with the other half of today’s Talkhouse talk: Tegan and Sara.Tegan and Sara started making music as teenagers, and given that they’re twin sisters, it’s no wonder that they were immediately in sync with each other. The duo were sort of flung into the big time immediately, being signed to Neil Young’s record label and opening for him when they were basically still kids. But some sage advice that you’ll hear about in this chat helped Tegan and Sara navigate what’s become a fruitful and varied career: They’ve made a ton of great music, stuck their heads into the mainstream here and there, and kept their vision intact. They’ve also written a memoir called High School, which was recently adapted into an Amazon TV show. They’re unabashed with their love and respect for Better Things, which may have seeped into their own show. Their latest album is called Crybaby, the memoir and TV show are both called High School, and they’ve got a new graphic memoir called Junior High coming out later this year. Check out “Yellow” from Crybaby.In this delightful conversation, Tegan and Sara gush a little bit about Better Things and Adlon in general, and in turn Adlon offers to join their family. They talk about their various creative endeavors, the niceness of Neil Young, Sara’s recent parenthood, the “hairy edge” that Better Things walked, and lots more. Enjoy.Thanks for listening to the Talkhouse Podcast, and thanks to Pamela Adlon, Tegan Quin, and Sara Quin for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff on our website and our podcast network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

For our first brand new Talkhouse episode of 2023, we’ve got a short but great chat with three guys from the rollicking Australian rock scene: Ambrose Kenny-Smith, Jack “Cool Breeze” Crowther, and Elliot “Dr. Love Wisdom” O’Reilly.Yes, they have excellent names, and so do their bands. Kenny-Smith is part of the super-prolific King Gizzard & the Lizard Wizard, which since coming together in Melbourne in 2010 has released an incredible 23 albums—three of those in October of 2022 alone. The band has built up a manic following along the way, building up a whole universe—people call it the Gizzverse—of characters and sounds that range from extended rock jams to jazz to microtonal exploration. If you’re not already familiar, there’s no perfect place to start, though last year’s Ice, Death, Planets, Lungs, Mushrooms, and Lava is accessible in its own way. In addition to non-stop touring and recording with King Gizz, Kenny-Smith also leads another band, The Murlocs, which put out their sixth album, Rapscallion, just last year as well. To borrow a funny line from Pitchfork, being a King Gizzard fan can feel like a full-time job, but seems like a fun one to me. Check out “Iron Lung” from that album I mentioned above with the really long name.The other two gents in this conversation, Jack Crowther and Elliot O’Reilly, are part of Babe Rainbow, another hardworking Australian band. Though not quite as busy as King Gizzard, Babe Rainbow has managed to release five full lengths in just the last five or so years as well—including one produced by a member of King Gizzard. Theirs is a slightly more focused take on psychedelic rock—no less spacey but a bit more structured. Here’s “Inner Space” from their latest album, The Organic Band.In this conversation, these three friendly guys talk about recent flooding in Australia that involved some cat rescuing, as well as fashion, having babies, surfing, and lots more. Enjoy.Thanks for listening to the Talkhouse Podcast, and thanks to Ambrose Kenny-Smith, Jack Crowther, and Elliot O’Reilly for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out Talkhouse.com for tons of great written pieces and other podcasts in our network. This episode was recorded and produced by Keenan Kush, and the Talkhouse theme is composed and performed by the Range. See you next time!This episode was recorded live at Desert Daze 2022. Special thanks to Desert Daze and to Dad Grass for making this episode possible. 

Happy Holidays. While we're on break, we'd love to share with you a recent addition to the Talkhouse Podcast Network, Noble Champions with Santigold.This episode originally aired on Nov. 7, 2022, and is titled "Questlove, Angela Yee and Tunde Adebimpe." Subscribe to Noble Champions with Santigold. In this episode, Santi rallies her longtime friends Questlove, Angela Yee, and Tunde Adebimpe, who are fellow artists, industry insiders, and cultural critics, to try to tackle the question, 'What exactly is Black Music?'. They discuss complex issues like what happens when you step out of the genre box - specifically when Black artists are making music that’s left outside the 'Black Music' box, who built the box, and what’s the bigger impact of caging in or boxing out music and the artists that make it? All this while geeking out about some of their favorite seminal recording artists like Bad Brains, Nina Simone, Fela Kuti, The Last Poets and more.

Happy Holidays. While we're on break, we'd love to share a preview of another podcast on the Talkhouse Podcast Network, Craig Finn's That's How I Remember It.This episode originally aired on Sept. 1, 2022, and is titled "Adam Duritz (Counting Crows)." Subscribe to That's How I Remember It. Adam Duritz is my guest on this week’s That’s How I Remember It and I am quite psyched about it. Adam is obviously the singer and songwriter of platinum selling band Counting Crows, and has been making thoughtful and great music for decades now. I met Adam when Counting Crows took THS on tour in Europe/UK in 2009 and was so excited he agreed to do this. We talked about how the details matter so much in songs, each of our first trips to Asbury Park, loving Christmas music, that dog., last year's fantastic Counting Crows EP, bootlegs, and the way that light attaches to a girl. That’s a wrap on season one of That’s How I Remember It; we’ll be back with season two before long. Listen, subscribe, and keep your eye on this space for tour updates, etc. Stay Positive!

On this week’s Talkhouse Podcast we’ve got a pair of guys who don’t know each other well, but who’ve crossed paths a few times over the years—most recently at the Desert Daze festival, Nick Allbrook and Josh Conway. Allbrook is the frontman of the Australian psychedelic rock band Pond, which is sort of inextricably linked with another Australian band, Tame Impala. Allbrook was actually a member of Tame for years while also playing with Pond—which includes some current members of Tame Impala. But Pond, which has been around about as long, has built a sound of its own, much more hard charging than that other band, and released a whopping nine albums of frenetic, fun, fuzzy rock. If you’ve never heard the band, their album titles give a hint as to what they’re all about, from Corridors of Blissterday to Man It Feels Like Space Again. Pond’s latest album has a much simpler title, it’s called 9, and among its fantastic tracks is this one, “Lights of Leeming.” Josh Conway is a huge fan of Pond, though his own band, The Marias, approaches music with a much gentler soul. Conway started the group with his significant other, the band’s namesake Maria Zardoya. Their beginnings are kind of funny: They tried to write songs for film and TV placements, none of which—as you’ll hear in this chat—were ever picked up. But, happy with what they’d written, Conway and Zardoya ended up releasing them anyway, and the Marias was born. Their alt-pop is miles from our other guest’s on today’s episode, with elements of jazz and even reggaeton sprinkled throughout a great debut album called Cinema. Check out “Hush” from that album right here. In this conversation, Allbrook and Conway talk about the work hours of Australians versus Catalonians, about how even a deliberate attempt to sell out can result in great creative work, and how taking a walk under the influence of molly and Outkast changed Conway’s outlook. Also, they declare, cheekily, that God is dead, and art is too. Enjoy. Thanks for checking out the Talkhouse Podcast, and thanks to Nick Allbrook and Josh Conway for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcast platform. This episode was produced by Keenan Kush, and the Talkhouse theme is composed and performed by The Range.

On this week’s Talkhouse Podcast, we’ve paired the frontmen for two gruff-sounding, kinda scary noise-rock bands, but who as it turns out are a couple of sweethearts: David Yow and Andrew Falkous.David Yow began his music life in the Texas band Scratch Acid, which built its own legend before burning out in the mid-1980s, and then took his maniacal presence to The Jesus Lizard. That band built a following in the next dozen years both for its confrontational music and for Yow’s intensity in their live shows. You’d often find him drunk and half-naked, howling into the faces of stunned crowds. First you were scared, and then you loved it. The Jesus Lizard benefited from the grunge explosion in the mid-1990s, but they were always too weird and scary for the mainstream—even when they got an inexplicable major-label deal with Capitol. (You know, home of the Beatles.) The Jesus Lizard split in 1999, but have reunited a few times since then, with demand for Yow’s insanity peaking every few years. There hasn’t been a Jesus Lizard show in a few years, though—or a “reenactment” as he calls their reunion shows—but Yow has been out recently singing for the early noise-punk band Flipper. You may also have seen him in bit parts in a few movies; the guy has led a varied, full life so far.Andrew Falkous unfortunately just had to postpone his own US tour-slash-reenactment with his band Mclusky, which was originally active from the mid-90s until 2006. An illness has affected his Falkous’ ability to sing, but he’s planning to reschedule very soon. In the years after Mclusky, Falkous made similarly brutish-but-incredible records both as the frontman of a band called Future of the Left and as a sort-of-solo artist under the name Christian Fitness. But as the legend of Mclusky snowballed and the 20th anniversary of their absolute classic of a second album Mclusky Do Dallas approached, he was coaxed to relaunch the name and to play those old songs again. Here’s hoping for a quick recovery and new dates soon. Here’s a little taste of what was certainly Mclusky’s biggest song, the charmingly titled “Lightsabre Cocksucking Blues.”In this spirited conversation, Yow and Falkous start by talking about Falkous’ recent battles with his own voice. They get into the nervousness of playing your first-ever show as a singer: Yow dealt with the jitters by handing out tabs of acid to the crowd, while Falkous wore a yellow T-shirt. They talk about beer and whether Australian children should be forced to live in wells. Yow casually slaughters some sacred cows of the alterna-rock world. And lest you think they’re too tough for their own good, you should know that I edited out 15 minutes where they talked about how much they love their cats. Enjoy.Thanks for listening to the Talkhouse Podcast, and thanks to Andrew Falkous and David Yow for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting service and check out all the goodness at this very site. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

On this week's Talkhouse Podcast we’ve got a lively conversation between two guys from different generations and geographical backgrounds, but some similar stories and experiences: Titus and Angelo Moore.Angelo Moore is the legendary frontman of the legendary punk-funk-ska-soul-etc. band Fishbone, which has been a frequently mutating unit since 1979. Fishbone were peers and friends with a who’s-who of that era’s Los Angeles scene, including Red Hot Chili Peppers, Jane’s Addiction, and plenty of others, and they’ve been a huge influence on innumerable bands over the years. It hasn’t been the straightest journey, and there’s a pretty great documentary about the band that came out about 10 years ago called Everyday Sunshine. In addition to fronting the band, which still plays shows worldwide, Moore has embarked on tons of other projects over the years, releasing music as both Dr. Madd Vibe and with a group he calls the Brand New Step. Beyond that, he’s been touring as a vocalist with a David Bowie tribute tour that’s led by Todd Rundgren and Adrian Belew.Titus, aka Randolph Newman, was a fan of Fishbone’s—no surprise for a guy who loves to blend genres, and who’s a person of color in a scene that isn’t known for a ton of diversity. Though they’re from different generations, they share some life experience, having grown up Black in largely white areas—and having ended up playing Warped Tour, though years apart. Titus’ music is less a stew than Fishbone’s: His two most prominent ingredients are pop-punk and hip-hop, with nods to titans of those genres like Taking Back Sunday and Lil’ Wayne. His latest release is an EP called Damned if I Do, and he also recently released a cover of Kate Bush’s Stranger Things-bolstered track “Running Up That Hill,” which is covered in this chat. Check out “Saddest Song” from Damned If I Do right here.Moore and Titus talk about their experiences on Warped Tour, their experiences growing up as outsiders, and drugs. Titus talks about the recent loss of his mother, which has understandably had a profound impact on him, and Moore talks about his days trying to kick some ass in the mosh pit. Enjoy.Thanks for listening to the Talkhouse Podcast, and thanks to Angelo Moore and Titus for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform and check out all we’ve got on offer 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!