Stereo Embers: The Podcast

“No Warning Shots Fired” Fang got their start in the early '80s in the East Bay. The Berkeley hardcore band’s early start was a little less hardcore and more experimental but that lineup, which featured future Glass Eye bassist Brian Beattie, only lasted under two years. The new lineup, with newly minted singer Sam McBride on vocals, became the punk rock powerhouse that blasted their way across the Bay Area with shows that were feral, wild and filled with rabid intensity and hardcore muscle. But feral as they were, Fang’s fans felt a part of a discernible community. As a friend of mine who never missed a Fang show once said to me: "Being at Fang concert was like being at a fistfight where everyone’s winning.” The band’s first two efforts—Landshark and Where The Wild Things Are—remain undisputed punk rock classics and although that lineup dissolved in ’85, McBride soldiered on with new personnel and as a result, Fangs’ legacy became firmly cemented in punk rock lore, with their songs being covered over the years by Nirvana, Green Day and the Butthole Surfers. Fang pretty much tore through the ‘80s on a pretty big winning streak, and although that streak came to an end when McBride ended up in prison, the band’s second act is a feral as their first and their new album No Warning Shot Fired is a raw and nervy blast of classic hardcore. www.fangofficialmerch.bigcartel.com www.bombshellradio.com www.stereoembersmagazine.com www.alexgreenonline.com www.emberarts.com Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

“I’m Not Sure At All” Bringing to mind a low-fi Kate Bush mixed with Cat Power and Beth Orton, the Kent-born Marlody is a revelation. Her debut album I’m Not Sure At All is a rich and lustrous affair, filled with confident songwriting about feeling unconfident. And that’s the beautiful thing about Marlody—her music is a delicious cauldron of contrasts that’s redolent with vulnerability and strength. The songs on I’m Not Sure At All ache with longing and uncertainty, yet then ring out with bursts of sure-footed courage, poise and tenacity. A trained classical pianist with an orchestral future set out before her, Marlody tossed traditionalism aside and immersed herself in indie noise rock like Shellac and Slint and found a through-line that linked the classical with the cacophonous. I’m Not Sure At All is one of 2023's great finds and Marlody’s music is a riveting and spellbinding listen. Bandcamp: https://skepwax.bandcamp.com www.marlody.bandcamp.com MARLODY: Instagram/Twitter: @_marlody_ SKEP WAX: Instagram/Twitter/Facebook: @skepwax Contact: info@skepwax.com www.bombshellradio.com www.alexgreenonline.com www.embersarts.com www.stereoembersmagazine.com Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

"Tender Years" The Brisbane-born Robert Forster is perhaps best known as a founding member of the legendary band The Go-Betweens. How legendary are they? Well, let’s just say this: There’s a bridge in Brisbane called The Go-Between Bridge. I was going to say they were one of the most critically-acclaimed bands of the last 40 years, but that falls short of the mark— they’re one of the most critically acclaimed bands ever. Their nearly ten-album discography is a rare one in that every entry is a classic. The band ceased to be after the death of Grant McLennan, but Forster has pressed on with a winning solo career that got started back in 1990 and has yielded a classics like Danger In The Past, I Had A New York Girlfriend and his new one The Candle And The Flame. The Candle And The Flame is astonishing work. Recorded after the news that his wife and musical partner Karen was diagnosed with Ovarian cancer, Forster’s normally meticulous process was put aside and he and his family—his son Lewis and his daughter Loretta and his wife Karen sat down and, unsure of the future, recorded the nine songs on the record with urgency and heart. The Candle And The Flame is a spellbinding listen. It’s filled with the wondrous poetic precision that Forster is known for, but it also showcases a raw and dynamic feel that make every song brim with and sonorous grace It’s truly wondrous work—an artistic and personal achievement that shows the power of art, the power of family and the power of hope. www.robertforster.net www.bombshellradio.com Stereo Embers: Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

“The Last Mile” The Scottish-born Chris Connelly got his start with the electronic outfit Finitribe. Championed by John Peel, the inventive band did a long and harrowing UK in '88 and so arduous that tour was, it led to the shedding of three members, including Connelly, who left for the U.S. and landed in Chicago, where he fell in with the Revolting Cocks and Ministry. Connelly had hung out with the latter’s Al Jourgensen in London so he knew him a bit, but once Connelly hit the states, he really immersed himself in the Wax Trax-powered industrial scene. Over the course of his career, Connelly has been affiliated with Pigface, Ministry, The Revolting Cocks, Die Warzau, Acid Horse, KMFDM, The Joy Thieves, PTP and The Damage Manual. And my friends, that’s a partial list. His almost thirty album-long solo discography is a knockout, containing classic albums like Whiplash Boychild Shipwreck and Graveyard Sex. His newest effort Eulogy To Christa is a moving, stirring and deeply satisfying homage to Nico. Comprised of covers and original compositions, Eulogy To Christa is a heartfelt tribute to a fascinating artist. www.chrisconnelly.com www.bombshellradio.com Stereo Embers The Podcast www.stereoembersmagazine.com www.alexgreenonline.com IG: @emberspodcast

Join Jim Kerr, the charismatic frontman of Simple Minds, as he reflects on the band's incredible journey since 1977, selling over 60 million records. He discusses their latest album, 'Direction of the Heart,' and the pressures of evolving with the music industry. Jim shares personal stories from his youth in Glasgow, his experiences balancing band life and personal priorities, and his newfound passion for construction. He emphasizes the emotional impact of music on relationships and invites fans to connect with their rich discography.

“I Hate Memory” Born in Budapest, Eszter Balint relocated to the United States and as a ten year old and found herself in New York living with the avant-garde Squat Theatre troupe, which was founded by her dad. Being surrounded by artists was no new thing for the violin-playing actress, who came from generations of artists. Her father was also a poet, her grandfather was a renowned visual artist and her great grandfather was one of the premier intellectuals and art critics at the turn of the century in Hungary. Balint acted in the troupe and living amongst writers, painters, actors and visual artists had an instant effect on her sensibility and her career path. In other words, it wasn’t likely she was going to be a realtor. By 15 she played violin on a song produced by Basquiat and not long after, she started appearing in movies like Jim Jarmusch’s Stranger Than Paradise, Woody Allen’s Shadows and Fog, Trees Lounge and The Linguini Incident. She also had a several episode arc on Louie CKs sitcom “Louie." She’s put out a handful of staggeringly great solo albums, including classics like Mud and Airless Midnight and her new one, I Hate Memory is a song cycle that explores Balint’s trajectory from communist Hungary to the vibrant non-stop life of lower Manhattan in the early '80s. This is such a stirring song cycle it gave rise to the anti-musical version that was staged at Manhattan’s beloved Joe’s Pub. The record rings with poeticism, artistry and conviction. It’s evocative, sonorous and truly unforgettable work. www.eszterbalint.com www.bombshellradio.com Stereo Embers www.stereoembersmagazine.com www.alexgreenonline.com IG: @emberspodcast

“Desert Flowers” The New Mexico-born Heather Trost is one half of the American Balkan Folk Band A Hawk And A Hacksaw, the other half being her husband, the accordionist Jeremy Barnes, who, by the way, also hails from New Mexico. Over the course of their career, A Hawk and a Hacksaw have put out seven marvelous albums, including Darkness At Noon, The Way The Wind Blows and their most recent effort, 2018’s Forest Bathing. I know 2018 isn’t that recent, but Trost and Barnes have been busy. Trost has put out four solo albums, including her brand new one, Desert Flowers and she’s played with everyone from Beirut to Swans to Thor and Friends. Desert Flowers is a stone cold stunner—filled with lilting strings, dreamy melodies and sonorous hooks, the nine-track album is stirring work. A hypnotic blend of deliciously dusty hymns and introspective indie rock with elements of metaphysics, cosmology and even a little desert surf, this is a powerful and internally evocative album. It’s a quiet and poetic revelation. This chat was recorded a while back before this record was born, but it’s a cool conversation. So here you go—me and Heather Trost www.heathertrost.bandcamp.com www.bombshellradio.com Stereo Embers www.stereoembersmagazine.com www.alexgreenonline.com IG: @emberspodcast

“Analog Holiday” Arielle is one of those rare talents that comes along where you look at what she’s capable of and it kind of knocks you out. A guitar virtuoso who also is blessed with a four-octave voice, Arielle has played on stage with everyone from Queen in the "We Will Rock You” musical to Cee Lo Green at Coachella. She’s opened for Guns 'n Roses, Larkin Poe and Heart, collaborated with Eric Johnson and Kings and Daughters' Talia Dean and appeared regularly on the TV show “Nashville." She studied at the Institute of Contemporary Music Performance in London, put out EPS and albums, including her latest—Analog Girl In A Digital World—and, along with Queen’s Brian May, she designed a guitar, the retro future BMG Arielle. May said of the instrument: "It’s a new dimension. To understand why this guitar was irresistible to me, you have to hold her in your hands. She’s light, smooth, agile and she sings like a bird.” An activist, an artist an engineer and a master technician, Arielle’s gifts are profound and powerful. And she’s a lovely human being. In this open and candid conversation she talks to Alex about her take on possessions, staying in touch with people and why a ride in an ambulance was deeply important to her as a musician. www.imarielle.com www.alexgreenonline.com www.bombshellradio.com Stereo Embers The Podcast: Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

“Cuando” Adam Topol doesn’t sit behind a kit the size of Alex Van Halen’s or Chad Smith’s, but he’s equally as mighty. Topol is like Charlie Watts in the sense that he just kind of sits in the pocket and holds it all down. Like Watts, his style looks super laid back, but looks are deceptive because laid back appearance aside, big work is getting done. Topol is a subtle player who’s inventive, tasteful and intuitive and he plays with a blend of finesse and muscle—he’s one of the best drummers on the planet. Subtlety aside, the Lake Tahoe born Topol was reared on punk rock and his teenage years were spent listening to bands like Black Flag and the Adolescents. The young drummer pounded away on his kit to the loud stuff, but he was also equally smitten by the quieter stuff like the music of Cat Stevens. Educated at USC and the Berklee College of Music, Tool’s formal education quickly gave way to knowledge that can only come from outside a university campus. In other words, real life. And in his real life, Topol soaked the world up. A fan of jazz and Afro Cuban percussion, Topol spent time in Cuba studying the discipline of drums. Although Topol might be best known as the longtime drummer for Jack Johnson, he’s sat behind the kit for Alana Davis, Ziggy Marley, Eddie Vedder, David Gilmour and Jimmy Cliff. He’s played in a band with Joey Santiago of the Pixies, been a part of the Culver City Dub Collective and put out great solo albums like 2019’s Cuando, which showcased his talents as a singer-songwriter. Adam is a practitioner who plays with fine drawn precision, rhythmic smarts and musical intuition. He’s a fabulous player and a very cool guy www.adamtopol.com www.adamtopol.bandcamp.com www.bombshellradio.com Stereo Embers www.stereoembersmagazine.com www.alexgreenonline.com IG: @emberspodcast

“Year Of The Tiger” Art Alexakis is one of the most dynamic frontmen in rock and roll. The L.A.-born musician's songs have power and sting and he plays them with equal parts muscle and heart. To date, his band Everclear, which got started in ’91, have put out nearly 15 fabulous albums, including Sparkle and Fade, So Much For The Afterglow, Welcome To The Drama Club and 2015’s Black is the New Black. Alexakis was weaned on everything from punk rock to Elvis Costello and his songs, as a result, have a dynamic sheen that have intensity and immediacy. Everclear have played all over the world, sold a few million records, been nominated for a Grammy, won Billboard’s Modern Rock Band of the Year, toured with the Foo Fighters and Stone Temple Pilots, had their songs in movies like Romeo and Juliet and Rock Star, played for the U.S. troops in Guantanamo Bay, Cuba, Hawaii, Abu Dhabi and Iraq. The Everclear resume is a several page affair. Alexakis has acted, produced, run his own label, hosted a radio show on Sirius XM, testified before Congress and now he’s on our program. www.everclearmusic.com www.bombshellradio.com Stereo Embers www.stereoembersmagazine.com www.alexgreenonline.com IG: @emberspodcast