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For The Record- 12. Apr. 2025
Sound Advice: 11. Apr. 2025
The flood of great records continues! Today we’re taking a quick look at the latest from Momma, The Miki Berenyi Trio, Rose City band, and more!
Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.
Good morning!
Today we’re taking a look at the latest from Momma, Research Vessel, Rose City Band, and more!
Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—
In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.
Let’s get into it!
Momma-Welcome to My Blue Sky
I’m gonna carbon date myself here, but when I was in school, we still had a smoking section, and that real estate was the where the coolest kids hung out.
Listening to Momma, it feels like Etta Friedman and Allegra Weingarten are the logical successor(s) to that crowd. I keep thinking that at some point Momma’s brand of rock will wear thin, and keep getting proven wrong. That’s obviously a good thing. With Welcome to My Blue Sky, the scoreboard shows ‘em at 4-0.
Listening with an ear for finding influences feels like going through the my glove box and CD binder from HS. Maybe they raided their parent’s music collection, or certain bands were just always on. I dunno, but it’s a good thing. There’s shoegaze, fuzzed out grooves, and more. Most importantly, this band can rock, and when they do, look out. Each of their records are solid, but has 1-2 outliers. Last time around, it was “Speeding 72.” This time it’s “Rodeo.”
Look, I’m aware that saying the only thing wrong with a record is that it’s too short is flimsy journalism, but it fits here. This isn’t the first time the band has featured here, and if we’re lucky, it won’t be the last. Summer’s coming. Open the windows and turn it up; your neighbors will thank you.
Research Vessel- Next Weekend EP
Shoutout to Janglepophub for tipping me off to this gem. Research Vessel is the project of Danny Rowland and is the follow up to March 2024’s Going Tomorrow Ep. Not much to tell you here other than if you like jangle pop and what Rowland describes as Casio flavored, jangly pop standards, you’re in for a treat. It feels a bit like Kiwi Jr. meets bedroom pop. Next Weekend is 5 light, jaunty tracks that wouldn’t be out of place in a Wes Anderson film. Grab your fixie and impossibly cool sense of style and put this on one.
Rose City Band- Sol Y Sombra
For Oregonian readers, I’ll make this one quick: picture the outdoor patio of a McMenamins on a sunny day in, say, Redmond circa 2010. You’ve got a Nebraska bitter in your hand, and Smith Rock in your view. Your Subaru is out in the lot wearing a fine coat of dust and least 6 state park stickers on the windshield—you’ve lost count. That’s t he vibe here.
For everyone else, the fifth release from Portland’s Rose City Band is more of the same from Ripley Johnson and co. There’s plenty of sun kissed grooves, and the pedal steel gets a good workout. They ramble and rove but get too far out into jam band land. this is a group that would make the Dead smile, but are so in the pocket, you feel like you owe them change. The album takes care to slow down in a few spots letting you take it all in along the way before picking back up with tracks like “radio Song.”
The record ends with “Walls,” a song that can’t help but make you feel like somehow all of this (waves hand around) shall pass. Sol Y Sombra is gorgeous record that will soundtrack your escape; be they literal trips down Highway 97 or just a field trip into your mind.
(Float down the Metolius here)
Also Awesome:
Art d’Ecco – Serene Demon: A little post punk, some new wave, some horns… this record puts it all in the mixer, and the results are some of the catchiest sounds to come out of Vancouver in recent memory.
Lilly Hiatt- Forever: Having music from one Hiatt is enough to be grateful for. Having two? What a time to be alive! In all seriousness, this feels like the record where the younger Hiatt has really hit her stride. If you liked Trinity Lane, or even Walking Proof, you’ll love this.
Miki Berenyi Trio- Tripla: Tripla is a record full of shimmering guitars, drum & bass for days, and electronica. And Lush fans? Fear not: there’s plenty of shoegaze for us too. There’s no mistaking the former frontwoman’s voice, but the latest from Miki Berenyi is anything but a rehash.
As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?
What’re You Listening To?
Good morning! Overwhelmed by algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.
As always, thank you to those who have recently upgraded your subscriptions. Your direct support fuels this community and makes a positive impact. Shares and reposts all help as well! Thank you!
When you’re ready, joining them is easy. Just click here:
On to the music:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is some of what I’ve had in heavy rotation. This week, we’ve got new sounds from Momma, The Miki Berenyi Trio, a few old favorites, and a gem from Fog Chaser.
Now it’s your turn.
What caught your ear this week? Any 2025 releases or shows you’re excited about?
Whatcha got? Share your thoughts in the comments!
For The Record: 06. April. 2025
And now for something completely different
Instead of the usual For the Record essay, I’m sharing a Q&A I recently did for the site I Have That On Vinyl. If you were on #MusicTwitter at all, you likely recognize that name, or rather Michele, the one-woman powerhouse behind it. She’s since moved to Bluesky, and when she’s not rooting for NYC sports teams, she’s shining a light on other people in the music community. People like us. Her website is a goldmine of great writers, artists interviews, and her own reflections on a lifetime of loving these wax circles we all hold so dear.
She’s also created a Patreon offering even more exclusive content. All of it is well worth your time and space in your content diet. IHTOV is one of my “must reads,” and it was an honor to be included.
We’ve had a lot of new folks join us recently (hello!), and I thought it would be a good time to pull the curtain back and share a little bit about the person on the other side of your screen…and, of course, some of the records that have shaped the way I think.
Q&A Remix is a frequent column on IHTOV in which people from all walks of life answer a set of questions about their vinyl collection. Today we welcome Kevin Alexander.
Have you ever bought a record just for the artwork?
Short answer: Yes. Longer answer: I will buy any variant of any New Order release I come across. “Oh, the leaf on this version of True Faith is just a little more yellow than all the others I already own? Sign me up!”
What is your most memorable vinyl buying experience?
Most record collectors have a holy grail: the one record they hope to find above all others. For years, mine was Pere Ubu’s 1989 album, Cloudland.
I’d first found the record not too long after it came out. In the late 80s, CDs were still a novelty, but someone at our city library decided to go “all in” on them (thank you, whoever you are). It was delightfully eclectic as a place trying to be something for everyone. You truly never knew what you might find and rarely came out with exactly what you’d gone in looking for.
They’d put a lot of effort into procuring them but not nearly as much into keeping them organized, settling instead for a brittle system of roughly sorting by genre and hoping for the best. It was all a wonderful mess purpose-built for happy accidents.
One of those collisions was my onramp to the band.
It was always easy to check this CD out. As much as I’d like to frame myself as some sort of tastemaker or just ahead of my time, the reality was that word traveled slowly from Cleveland. And the people who may have known them from work like “30 Seconds Over Tokyo” or their Dub Housing record were probably not hanging out in suburban Portland libraries.
This record has proven hard to find in subsequent years for a bunch of reasons. If I’m honest, had I known how many years I’d ultimately spend looking for this record, I might’ve just kept it, said I lost it, and paid the fine. Nevertheless…
I wasn’t looking for Cloudland when I walked into my local record shop a couple of years ago—in fact, I rarely know what I’m looking for when I go in. And even when I do, I usually either toss that list, come up with something different, or both.
But the universe has a funny way of gifting you things when you least expect them. In much the same accidental way I came across their CD all those many years ago, I came across a vinyl copy, misfiled under the wrong letter.
What’s the first area you head for in a record store?
The used section. In the store I frequent here, that’s downstairs. New arrivals are on the street level because, of course, they are. It feels a bit like having to go through the gift shop to get to the ride, but all of the gold is downstairs. That’s also where many of the new (used) arrivals are, and if you’re not sure what you’re looking for, that’s where you’re bound to find it.
What’s the most treasured album in your collection and why?
Probably Jawbreaker’s Unfun. They’re one of those rare bands for which I can remember exactly where I was when I first heard any of their records and/or when and where I bought them. I grabbed this after seeing them interviewed in Flipside magazine. I took two buses across the metro area to get there and another two back. I was excited to get home, and the return ride felt like a three-day trek. I put it on the turntable and…promptly had my mind rearranged. I feel like I’ve been chasing that high ever since.
What one record in your collection would you be most eager to share with new friends?
It’s either gonna be Tim or Don’t Tell a Soul by The Replacements. These are fantastic records but also fun (for lack of a better term). I have a hard enough time making new friends; the last thing I want to do is put on a record that’s tough to access or some dirge. I might also show them some of the first pressings I have. After that, I’d just ask what they’re into and see if I have something that meets the moment.
Are you a completionist when it comes to artists? Which artist do you have the most records from?
At the risk of undercutting everything I said about New Order in the first question, no. There are certain artists I will actively look for, but I don’t think things are bad if I’m missing a release or two. I mean, I’m not gonna buy a record I don’t like so that I can say I have ‘em all or anything.
Speaking of which; as many records of theirs as I have, the title of Most Records Kevin Owns belongs to none other than George Benson. Most I inherited, but a few I picked up on my own. A taste for his music is something congenital, I guess.
What is/are your white whale records? Something you have your eye on but haven’t been able to find?
I’m still on the hunt for original pressings of New Order’s Technique and The Cure’s Disintegration. I suppose with enough cash, anything’s possible, but thus far, both of these have managed to elude me.
What is your greatest “score?” Could be on value or just rarity or something you were looking for the longest?
Besides Cloudland, I spent a long time looking for Cheatah’s self-titled debut. Even forgoing my normal rule of trying to find it in the wild, I went to Discogs and even the band’s label. No dice. I recently went to a record sale here in town. I was on my way out the door when something told me to check out one last vendor. I got about three records in when I found it.
Do you have a favorite live record?
The granddaddy of ‘em all for me: Talking Heads’ Stop Making Sense. It’s one of those records that only takes about 30 seconds to tell you nothing will ever be the same again. All these years later, I still find something new just about every time I listen to it.
Who/what got you hooked on records?
My dad. He was never pretentious, but he took the care of his records seriously. Even as a young kid, I had to make sure I cleaned them just the right way before putting them on the turntable, made sure they were upright when I put them back, etc. He was incredibly passionate about music and passed this affliction on to me.
What are your first memories of listening to records?
We had the same stereo I think most people had in the late/early ’80s: turntable, tape deck, combo receiver, and amp. My parents would plug me in (i.e., put my headphones on), and then I’d pick a record for them to put on. Eventually, they’d leave me there to pick/play my own stuff. I’d be there for hours. It was a fantastic babysitter!
What’s your favorite record to listen to on headphones?
Anytime I get new headphones, AirPods, etc. I use New Order’s “Weirdo” to test drive them. The way the sound ricochets between both sides is a good way to see that everything’s working the way it should. After that, it’s usually Stereolab’s Transient Random-Noise Bursts with Announcements. I also inherited a bunch of jazz records, and I will occasionally put one of those on if I’m looking to check out for a while. I’m not a trained musician, so I can’t explain why they sound so good coming through a good pair of headphones, but they sure do.
Tell us a little about your favorite record store.
Growing up in Portland, I could often usually be found at 2nd Avenue Records. At one point, I should’ve just had my mail delivered there. I was down there any time I had a little extra cash. I live in Madison today, and my go-to shop is a place called Strictly Discs. It’s just far enough away from me that each visit is an event. It’s also near the UW campus on a street filled with cool, eclectic shops. As noted, the new records are on the street level, but the magic is at the bottom of some steep stairs; all new arrivals and used vinyl are in the basement. They also sell mystery bags, where you get five records for 2.99. You never know what you’re gonna get, and that’s half the fun. I never leave without at least one.
That’s all well and good, but the store’s real superpower is the employees. I’ve watched them keep 4 or 5 plates in the air at once without batting an eye, heard stories about the records I’m getting and how they relate to them, and more. And while they are most definitely the stereotypical record store people, they are anything but judgmental. No matter what you walk up to the register with, they’re just stoked that you’re excited to go home and play it. That alone keeps me coming back.
What’s the weirdest record you own?
One of my mom’s cousins spent years playing in a band. They would play all over Washington and Alaska. The stories she’d come home with were always entertaining. But I had no idea they’d recorded an album (mostly covers) until I was going through a box I’d brought back from my mom’s house. It was wild to find. I’d always seen her as the proverbial cool aunt—this just sealed it.
How has your record collection and appreciation for vinyl evolved over the years, and what has influenced your tastes?
I started by picking up punk & hardcore records and imports of new wave bands. This was when I was around 13-14. Then CDs came along, and there were years that these records weren’t played at all. As I grew older, I started collecting again, this time appreciating the intention playing a record takes. It’s tactile. It asks you to sit down and actively listen. There’s a friction there that makes it a much richer experience compared to just hitting play on Spotify.
My parents initially influenced my tastes—a default option, as they literally chose what I’d listen to, and even when they didn’t, I was limited to what was in their collection. In school, I was lucky to be surrounded by people with cool older siblings who would bring things home from college or wherever, and we’d be exposed to sounds I’d have never heard otherwise. I still feel like I’m always on the hunt for something new/novel, and as my tastes evolve, so too does my collection.
What’s the last record you played?
Fleetwood Mac’s Mirage
Thank you again to Michele for having me, and thank you for being here!
KA—
Now for some weekend reads:
Various Artists:
Get Me to God’s Country merch is being rolled out. Is this taking advantage of the moment, or was this something Wallen planned all along?
The New Pornographers and Stereolab each gifted us a new track this week. Wire did ‘em one better and announced a pair of releases as part of Record Store Day. And if that wasn’t enough, Bruce Springsteen is teasing a ton of new (to us) stuff as well.
From the Department of Lists: Some bar trivia about Tom Petty’s Damn The Torpedos LP
State of play: More musicians are joining Only Fans to offset the costs of making/performing music. What’s that say about us and the way we value music & the arts?
Listen: Remember King Missle? You probably do if you’re of an (ahem) certain age. Friend of On Repeat
Keith R. Higgons recently had them on his Center Stage: Abandoned Albums podcast. You can check it out here.
Longer read:
The Cuban people are extraordinarily genuine, kind, and welcoming people who love to talk. In the US and Europe, the art of conversation is a rarity, as most people have their heads buried in their phones. In Cuba, everyone seems to be chatting with each other. As you walk the streets, there is a musicality to the conversations that fills the air.
Speaking of music… I don’t own a lot of Cuban music, but I have a couple of excellent compilations and some Mongo Santamaría albums. However, the music you hear on the streets of Havana today is reggaeton. An electronic, dancey, clubby, Latin-infused form of hip hop that originated in Panama and has since gained popularity throughout the Spanish-speaking Caribbean islands, especially Puerto Rico.
Mongo Santamaría, undoubtedly, is a legend and one of the greatest exponents of 1970s Cuban jazz. My introduction to him was stumbling on his 1975 album, ‘Afro-Indio,’ and its stunning cover art, created by Ron Levine, which immediately sang to me. It’s reminiscent of Mati Klarwein’s glorious paintings for ‘Bitches Brew,’ ‘Abraxas,’ and the lesser known, ‘A New Generation’ by The Chambers Brothers. I bought the album solely based on its striking cover art. Bringing it home, I was not disappointed by the album’s deliciously smooth, groovy, and cinematic jams, and it is my favorite of the four Mongo Santamaria records I now own.
From the ‘Stack: Conversation, culture, SIM cards, and Mongo Santamaria; Michael K. Fell shares his experiences from a recent trip to Cuba.
AV CLUB:
We lost Val Kilmer this week. My first roommate out of school was what could politely be called a fanboy. He also worked at a video store, which meant that at least one VHS copy of one of his films could be found in our apartment at any given time.
I’m the wrong person to give any salient film critiques- my expertise lies mostly in offering up things like “It was really good” and “that sucked.” That said, the thing I most liked about Kilmer’s filmography, was it’s variety. He wasn’t afraid to take the odd role or gamble on a screenplay he found interesting. It takes real skill-and moxie-to do that.
Below are my top 5. I’m mindful these are incredibly Gen X coded. Feel free to laud my great taste in the comments. Or yell at me. Dealers choice.
1. Top Secret
2. Heat
3. Tombstone
4. Real Genius
5. Top Gun (ironically one of the first VHS tapes my family watched after getting a VCR)
Honorable mentions to The Doors, Thunderheart, and The Saint. I might also be the only one in my generation to have never seen Willow.
In Conversation: Tricia Halloran
The music supervisor stops by to talk about what a normal day looks like, delivering the right song for the right scene, and drivetime radio
Good morning!
We’re in for a treat today; Brave New World’s Tricia Halloran stops by to talk about being a music supervisor for film/TV, drivetime radio, and more!
We all have a favorite.
That one song from that one movie. A track that defined a scene or even the film. One that resonates so much that years later, it still transports you to another world. There are, of course, big examples. Play a few notes on Simple Minds’ “Don’t You Forget About Me,” and ask the closest Gen Xer what it reminds them of. Odds are good that they’ll tell you Breakfast Club before you’ve finished the sentence—same story with Singles, Reservoir Dogs, and more. Same story with your favorite TV shows and those commercials that are playing one of your favorite songs.
How we consume media may have changed, but how music can define what we’re watching has not.
So how does all that happen, anyway? Between the director’s vision and what we take away from it are a long line of choices, logical hurdles, and legal issues. Hitting all the marks takes someone with not only an encyclopedic music knowledge—music might be subjective, but what music to place where is a skill—but also broad knowledge of licensing and copyright laws, what channels to navigate, and more. It’s part science, part magic. It takes a music supervisor. It takes people like Tricia Halloran.
With a background in computer science, Halloran started in the corporate world and quickly burned out. She then pivoted to the world of radio, eventually leveraging her experience in both worlds into a career as a music supervisor. Her days are still spent in a universe of sound and the less-exciting-but-no-less-important legal world. Sometimes, this can be as simple as securing licensing rights. Sometimes, it can mean getting several people with very different interests all on the same page- a critical skill in its own right. Often, it means a mix of both.
Closer to home, Halloran has a talent for sourcing new music and shares it here with her Brave New World newsletter (her radio show’s namesake). She describes herself as a musical sherpa—more on that below—and she does a fantastic job of sifting through countless releases to bring only the best to her readers.
In a wide-ranging chat, Halloran shares how she got where she is, what a “normal” day looks like for her (spoiler: there’s no such thing), and some of her favorite tracks.
Make sure to give Brand New World a read!
Our conversation has been lightly edited for clarity and flow.
KA: I’m curious about your backstory. What got you to this point in your career? What spark kicked everything into motion? Later on, what made you make the jump from KCRW to being a Music Supervisor for TV/Film?
TH: This is kind of a long but worthy story. I was a computer science major in college. Very set on having a career at a big company and a secure future with a steady good income. (ha!) I worked at Xerox right after college, as part of a sales team programming their huge laser printers and training customers. It was great fun, but after several years, I looked around at the managers above me and thought, “I don’t want to be that.” Then, somewhat simultaneously, I had a really bad breakup. And I would sit in my office morosely and play Sinead O’Connor’s “Nothing Compares 2 U” on repeat. After a few days of this my friend came in and said “I can’t take it anymore, you need to do something new, why don’t you go down to that radio station you love so much and volunteer there?” So I did. I lucked into a great evening shift volunteering for Deirdre O’Donoghue, who became my mentor, and gradually, I was able to work on-air and then get better and better shifts. Through KCRW, I met somebody who worked at Capitol Records, and I was able to get a full-time job there that used my computer background. Eventually, I was hired full-time at KCRW by Chris Douridas to help run the music department and manage the physical music library.
Also through KCRW I met an indie filmmaker and he asked me to work on his film, it was my first project and I had no idea what I was doing but luckily one of my best friends (that I also met via KCRW) was a music supervisor, so she showed me the ropes. I left my full-time job at KCRW (but kept my evening on-air shift) soon after Chris left … mainly because they chose someone else to replace him, so I thought it best to look for other opportunities. I worked at a music website startup, and then I got a full-time job music supervising commercials, so I got some great experience there.
Again, through KCRW a TV project came my way, Men In Trees on ABC starring Anne Heche. After that, more TV projects were offered to me via word of mouth. My employer wanted to focus on commercials and not TV, so I went independent, and that’s where I am today! After several years, I got an agent, and she helped me get some film work and widened out my contacts in the TV and Film worlds. (She was just thanked by name at the Oscars, by the way, her composers Clement Ducol and Camille won Best Song for Emilia Perez!)
KA: What’s a normal day look like for you?
TH: No such thing as normal, literally! That is one of my favorite aspects of this job. Assuming for a moment I am mid-project on a TV show. There are generally three 2-person editing teams working on three episodes. They are filming an episode and writing episodes simultaneously. So the Executive Producers, the director, the writers, or any of the six editors might need songs for what they are working on. Once they ask, they generally need things immediately. So it’s a lot of responding to their needs. Somewhere in there, I also need to research song ownership, clear songs, keep a budget updated to let the Post Producer know our costs, and eventually create cue sheets.
KA: The Telecommunications Act of 1996 forever altered the radio landscape. Apologies if I have my timelines off, but In what ways did it affect you personally? How did you navigate those changes?
TH: That is a really interesting and deep question! By 1996, I was deep into my tenure at KCRW, which, being a public-owned radio station, wasn’t affected negatively by the consolidations. However, thinking about it, I’d say there was probably a positive effect for KCRW since they became the only independent choice left, right? Used to be there was a decent commercial alternative rock station in Los Angeles, and a really good “Adult Alternative” (AAA) station that would play Roxy Music and the BoDeans. But KROQ became much more commercial after that, and the AAA station was purchased by one of the conglomerates. So I’m speculating that, if anything, it drove curious listeners to camp out at KCRW. The mid to late 90s were really great times for KCRW, membership would increase year over year, and amazing artists would come by the station – perhaps this was assisted by the fact that they became the only indie radio left in town?
KA: Jumping back to the present: when you’re working on a TV/film project, what’s the process you use to find songs that fit? Do you come in later and maybe watch a rough cut of the film, or does it start at the beginning?
TH: It’s never too early to start! For example, let’s say there’s a Karaoke scene scripted. Once they film the scene with the actors singing a song, it’s married to the visual, and you have no choice about the song and no bargaining power over the fee. So it’s better if I can work with the writers when they are imagining the scene and suggest songs that I know will be both clearable and affordable.
Once the editors are working on a cut, I find it best to try to get them choices so they don’t go hunting around on their own, which is sure to turn up obscure things that are maybe difficult/impossible to clear or incredibly popular songs that are very expensive. Editors love to go on YouTube to find music, which contains a surprising amount of unreleased/unclearable music!
When an editor finishes their cut and turns it over to the Executive Producers, ideally, all the music in that cut is clearable and affordable. But the EPs may have their own ideas about the music, so sometimes I get requests to change music.
For example:
EP: “Tricia we need something different here.”
Me: “Different how?”
Them: “Just different, y’know.” !!!
As far as process, I wish it was more definable, believe me! Every placement is an equation with different aspects. If it’s a background in a bar, I’m looking more at libraries of pre-cleared music or indie artists that won’t cost a fortune. If it’s an ending song to accompany a montage, I’m looking up the food chain a little for something that might resonate with viewers, then the lyrics are really important. If it’s Karaoke, I’m looking for something vintage that is recognizable but won’t cost a fortune. Experience is the best teacher here!
KA: How much of your time is spent on the logistics side of things? I’m talking about securing licensing rights, etc.? What’s involved? Roughly speaking, how long does it take to “get” a song to use on any given project? What about costs? Is it a flat rate, or is every track/label different?
TH: Most people are surprised that I spend about 50% of my work hours securing clearances. It can be a pretty complex task, depending on the song. But I like research and right-brain stuff just as much as creative, so I don’t mind.
You first have to research who the rightsholders are. Who wrote the song? Do they have publishers that control their copyrights? Who owns the actual recording of the song – usually a record label and not the publisher, so that’s already at least two rightsholders. If there are multiple writers, there could be several different publishers and a record label. They all need to agree on the set of rights (which vary widely depending on the project) and the fee. So, it’s a combination of research, communicating, and negotiating.
I have a million crazy stories about clearances, but we don’t have the space! Costs also vary widely depending on the project and the rights. From a low of $1000 for a song to $150K, I’ve done every deal you can imagine in Film and TV. For commercials, the fees are higher, and a recognizable song can easily command $500K.
KA: You describe yourself as a “Musical Sherpa,” and if I’m honest, I wish I’d come up with a cool descriptor like that! To double-click on that for a second, when you say that, what do you intend for it to mean?
TH: I love being people’s guide to music. Most people who love music, especially indie music, are always looking for more new music to love. It’s hard to find these days (due to the radio consolidation you mentioned), and also streaming music platforms and DIY recording and distribution have provided so many more choices that it’s like we’re thirsty but drowning. Music fans can be overwhelmed! That’s why your newsletter and all the conversations you have in your chat about music are so critical for music lovers and what I’m trying to help with via my newsletter.
Maybe Substack is the new radio? My show on KCRW was always about guiding people to incredible music they might not know otherwise. So I’d play a little REM and then some Olivia Tremor Control. You like this? Then maybe you will like this. You like The Replacements? Let’s follow that up with some Buffalo Tom. So that’s where the Sherpa comes in, like a musical guide—to music fans, to filmmakers, to friends. It suits everything I do!
KA: Last one, just for fun: You’ve got an entire drivetime slot to play whatever you want. What’s coming through my speakers?
TH: Ooh best question ever! I do miss being a DJ. If you gave me one hour on the air this week, here are the 20 songs I would play.
I would begin with Hana Vu because I am obsessed with her! She’s an incredible visual and musical artist. My other current obsession is the Luke Sital-Singh song “Saint & Thief,” which is so well-written that I played it 10 times in a row the first time I heard it. He’s a genius.
Have you ever thought about the music behind your favorite movies or shows? Maybe thought about what the job entails? drop any questions, thoughts, or hot takes in the comments!
Thank you to Tricia Halloran for her time, and thank you for being here.
Kevin—
Sound Advice: 02. Apr. 2025
The flood of great records continues! Today we’re taking a quick look at the latest from Throwing Muses, Miscellaneous Owl, and Ministry
Longtime readers may recall that I reviewed 100 new (to me) records last year. Because I’m a glutton for punishment love music, I’m doing it again this year. This is the latest in the series.
Good morning!
Today we’re taking a look at the latest from Throwing Muses Miscellaneous Owl, and Ministry
Every year, I celebrate all the great music we’ve been gifted while worrying that next year will see the other shoe drop. I first did that in December 2020 and have been proven wrong every month since. Not only are there a ton of releases steadily coming out, but it also transcends genre or any other artificial guardrail we try and put up—
In other words, a ton of good stuff is coming out, and there’s something for everyone. It’s almost overwhelming— but in all the best ways. Below is another batch that caught my attention recently.
Let’s get into it!
Throwing Muses- Moonlight Concessions
The first time Throwing Muses rearranged my mind was in May of 1989. They were opening for New Order, of all people. Being labelmates makes for strange bedfellows, and their sound was unlike the headliners’ and a world away from anything else I’d heard at that point. It was enchanting, and I’ve never really stopped listening to them since.
Over 36(ish) years since Throwing Muses has lived many lives, and their sound has checked just about every box. There’s been melody. There’s been noise. There’ve been experiments that bordered on shoegaze. There was a stint as indie darlings.
The constant here is change, and for the band’s 11th record (and the first since 2020’s Sun Racket), they went back to the basics. Whereas its fuzzed-out predecessor was fueled by amps and electricity, Moonlight Concessions is human-powered. At its core, this is an elemental record. Throwing Muses aren’t exactly synonymous with excess, but even by their usual standards, this is a stripped-down record, with not a note or space to spare.
The opening track, “Summer of Love,” sets the mood early and would feel right at home soundtracking a noir thriller on HBO or the slightly sketchier side of New Orleans. Indeed, Nola gets a shout on “Drugstore Dramatic.” It might be just this writer, but in a lot of ways, Moonlight Concessions feels like a record Dr. John might’ve made if he was from Rhode Island and played guitar.
If you’re holding on for some bright sunny pop here, you’ll be disappointed. It’s in short supply. There is no “Not Too Soon” equivalent on this record. That’s a good thing. The best version of Throwing Muses is the one that’s just a bit off-balanced and just a little disorienting. This is a band that has never really concerned itself with the boundaries of convention.
At the show I mentioned above, the first thing I noticed about the band was how understated yet potent David Narcizo’s drumming was. I was still under the illusion that I, too, was a drummer, and watching him play (no cymbals!) was inspiring and intimidating. Here, his playing is even more minimalistic but no less fantastic. It’s much more percussion than drumming. Pete Harvey joins in, and his cello is a welcome addition. It all makes for a reserved atmosphere.
All these elements orbit frontwoman Kristin Hersh, her guitar, and plaintive vocals. The former is acoustic and understated. The latter are unmistakable and alternate between effusive and erratic. Sedate and snarling.
In an interview with Paste, Hersh stated:
“I don’t know why anyone else would know it was a return to form, but it is,” she shrugs, “because these songs—songs like ‘Drugstore Drastic’ and ‘Summer of Love’ and ‘Libretto’—were songs that Throwing Muses used to sound like before we made our first record. So, this is a return to form that no one would know is a return to form. But, you know, we used to sound like that!”
Muses’ sound has always been a bit off-kilter as if looking through a slightly distorted lens after having been in the sun for a few minutes too long. It’s a basic tenet of their sound, and in that regard, Moonlight Concessions is more of the same. And I’ll take all of that you got.
Back to basics…back to what they used to sound like. Both fit. Both make for a great record.
(Check out Moonlight Concessions here)
Miscellaneous Owl- The Cloud Chamber
Februarys here in America’s Dairyland are bleak. By that point, the novelty of winter has long worn off, and the world has descended into a monochrome of white (and salt). It’s enough to drive someone to drink. Fortunately for us, it instead inspired local artist Huan-Hua Chye (performing as Miscellaneous Owl) to take part in February Album Writing Month.
Things kick off with the upbeat (and this writer’s favorite) Tender and Laughing.
With lyrics like:
“Everything becomes a string of stars
Everything becomes the smell of rain
Everything we love will fall apart,
Everything we lose comes back again,”
“You and I Are Earth” feels like a love song to someone else and the seasons.
“The Wounded Moon” is a lilting, almost lullaby that showcases her vocalist strength. From here, we jump to “Oh Sister,” which sounds like a graduate of the same finishing school that gave us Depeche Mode’s Speak and Spell. It’s a treat. “In Clover” is a bop (albeit with some brutal lyrics) that will get stuck in your head before you know what’s happening. “Spooky Action at a Distance feels purpose-built to be closer.
Those jumps happen often throughout the record but are never jolting. The tracks vary from light and airy to softer and subtle, but they all fit well together and feel like part of the whole.
The latest in a sizeable discography, The Cloud Chamber shows Chye at her best.
Ministry- The Squirrely Years Revisited
In May of 1983, Ministry recorded With Sympathy. Frontman Al Jourgenson then spent the ensuing years telling anyone who’ll listen that it’s awful. If the “Make Ministry synthpop again “memes are anything to go by, many people never go to the memo. They’re also now getting what they want…kind of.
After With Sympathy, Ministry recorded Twitch and then began releasing a series of industrial and metal records, both as Ministry and with side projects like Revolting Cocks. All well and good until you make the same record several times in a row. The first time you hear a record like The Land of Rape and Honey, it’s amazing. But it only takes a few records to see that Jourgenson was on autopilot. For me, it was like the music version of the law of diminishing marginal returns.
If asked, I’m definitely on #teamsynthpop here, and that’s why I’m happy to see this record come out. Maybe Jourgenson is mellowing. Maybe he sees the appetite for this music (i.e., profit potential). That said, this isn’t just a remake of With Sympathy and Twitch The tracks have been redone and remodeled. I cringe anytime I hear the word “refresh” used as a synonym for update. But it fits here. You will know you’re listening to gems like “Work for Love,” but it’s not a 100% faithful cover/remake. Same with classics like “Over the Shoulder” and Every Day is Halloween.” Elements have been added, and others taken away. There’s less sheen than the originals and more groove. It’s a great blend of both worlds. This is a return to form for a band that had grown complacent in recent years.
The Squirrely Years is anything but. It’s energetic and alive. It might be a rework of old material, but it never feels stale or reheated. It’s a modern, well-done take on the band’s early work, and it’s their best release in years.
And therein lies the beauty of the record. The Squirrely Years has made Ministry synthpop again.
(Make Ministry synthpop here)
As always, I’d love to hear your thoughts on these records! Did I get it right, or am I way off the mark?
What’re You Listening To?
Good morning! Overwhelmed by algorithms? Looking for a place to share the music you love with like-minded people? You’re in the right spot.
As always, thank you to those who have recently upgraded your subscriptions. Your direct support fuels this community and makes a positive impact. Shares and reposts all help as well! Thank you!
When you’re ready, joining them is easy. Just click here:
On to the music:
For those of you who are new, we kick off every week by sharing what we’ve been playing.
The playlist below is some of what I’ve had in heavy rotation. This week, I’ve got new Superchunk, some squirrely Ministry, and a track about the show “Severance.” All that and more!
Now it’s your turn.
What caught your ear this week? Any 2025 releases or shows you’re excited about?
Whatcha got? Share your thoughts in the comments!
For The Record- 29. March. 2025
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3×2: Volume 3 | Records For Working Out
March 2025: Sam & I bring a few workout records to the table
Good morning!
Today Sam Colt and I are each sharing a few underrated records to listen to while working out.
Welcome to the third edition of our new series! For those of you who missed the kickoff post, here’s a bit of context:
In this monthly series, Sam Colt and I will each share our picks for titles that haven’t received their due. You’ll recognize Sam’s name from our On Repeat and Friends Best of Series and also our Top 100 of all-time series last fall. These posts will adopt the latter’s format; I will make my case for my three picks and my reaction to Sam’s. Sam’s page will do the reverse.
In the inaugural post, we noted that successive editions would narrow things down slightly. Maybe a specific genre…maybe a specific era…maybe a specific…well, who knows!
This month, we’re each making a case for a few underrated records to play while working out.
March is do-or-die time for most fitness goals. New Year’s resolutions and the heady rush that came with them are now collecting dust like that Peloton that’s now a clothes rack. The weather has so far made a good case for procrastination. There have been other things to do. Hygge is nice. Sore calves are not.
Spring has sprung, and it’s time to get after it. If you’re like me, you need some good music to keep going.
When you’re done here, check out Sam’s work at This Is a Newsletter!
Let’s get to it!
KA—
Talking heads- Stop Making Sense
Ok, hear me out here. The granddaddy of all live records isn’t exactly the first pick for a stint on her treadmill. But, like the band itself, you’re not always sure why it works; you just know it does. And who am I to question such things?
Loving this record helps (see below), but its superpower lies in its sequencing. It’s almost perfectly synced with the ebbs and flows of my routine. When I need to take my foot off the gas and level off my pace, there are the slinky grooves of “Slippery People.” How ’bout some rocket fuel? Bring on “Once in a Lifetime.” When I need to convince myself that this is all for a good cause? There’s “This Must Be the Place” — a song that never fails to lift my mood.
A couple of summers ago, the movie was brought back to theaters in a limited-run engagement. I took in a matinee with a handful of other people on a weekday. At one point, I noticed we were all kind of dancing. Well, more like bopping around in our chairs, hoping gravity will do the heavy work of keeping you in your seat. God forbid you have a good time in front of people you’ll never see again, right? I have no such qualms at the gym, and this record goes a long way toward helping me put the reps in.
Sam’s pick and my take: Kraftwerk-Autobahn
Not in a million years would I have seen this coming. My preference for workout sounds generally lean toward ‘the faster, the better’ or ‘podcast.’ But I also see huge value in the music accompanying you more than compelling you, as I need it to do. I also sometimes just want to check the f out while at the gym, and something like this–a record I prefer to play when not sweating–would just be what the doctor ordered.
New Order- Technique
At the beginning of January 2020, I blew out my knee. And just because the universe likes to use me as a punchline, I also broke my foot in a couple of spits on the way down.
0/10 do not recommend.
I had a decision to make: wait 6-9 months for surgery or try and rehab my knee and everything around it, give all of that about a year, and then reassess. I opted for the latter and was thrust into the world of physical therapy—or rather, what it looks like during a pandemic. I had a fantastic team and am lucky I could access care at a time when many people couldn’t. In any other “precedented” time, my days would’ve been filled with trips to the clinic doing leg lifts and jumping on & off boxes.
And I did most of those things—I just did them on my own, often filming myself so my therapist could assess where I was at versus where I needed to be. In many ways, we were both figuring it out as we went.
The pain was manageable, and the task list was doable. The hardest part? Motivation. My PT’s go-to was to tell me just to make it through the first couple of minutes—the hardest part was getting started. If I’d made it that far, the worst was behind me.
She was right almost all of the time.
Some people exercise as a proxy for religion. Others exercise to excise demons. I was relearning how to walk and then jog to reclaim some mobility, and I still needed every nudge I could find.
Enter New Order’s Technique.
With uptempo tracks like “Fine Time,” the pure pop of “Round and Round,” and even downbeat tracks like “Guilty Partner,” there was something for every literal step of my journey back to being ambulatory. It’s one of my favorite records- and let’s be honest; even with so much at stake, I still needed all the incentive(s) I could get.
“Oh, Kevin’s writing about New Order? That’s interesting news.” I can hear you rolling your eyes from here. And look, I get it. This isn’t the first time I’ve written about them, and there’s a greater than zero chance (okay, much greater) that it won’t be the last. Technique is a record that I literally grew up with. I have spent sweaty nights in packed clubs dancing to tracks like “Fine Time.” It kept me company on empty stretches of I-90 each time I switched coasts. Name a life event for me; this band is likely not far away. Soundtracking my rehab? Who else was it gonna be?
Sam’s pick and my take: DJ Shadow- Endtroducing
This record—and DJ– are responsible for shaping so much of what we know as hip hop, yet he rarely gets mentioned in the greater discourse. True heads know, and I guess that’s enough, but it seems like a shame. This record will turn 30 next year, and it still sounds like it’s being beamed back to us from the future. With addictive beats, variety, and killer overall sound, I get why Sam brought this to the table gym. “The Number Song” would make for an awesome walk-up song for any baseball player. Just sayin’.
The Chemical Brothers- For That Beautiful Feeling
Earlier, I mentioned the value of, if not disassociation, at least distraction while exercising. When I run, I have to do it on a treadmill. I must have been absent on the day they taught kids how to pace themselves in PE. Get me on asphalt, and I’m like a comet, burning fast but not for long. So I outsource that work to a machine. On the road, I kept my ears open for self-preservation more than anything else. A lot of people here were absent the day they taught attentive behavior.
That risk doesn’t exist at the gym–and if it does, you’ve got bigger issues–but there’s a different threat: boredom. Some have TVs you can watch, which, ok. Some people swear by that, but it’s never done much for me. I used to watch soccer games, but the running clock (no pun intended) just drove home how much longer I had left. Sometimes, I need a push, and sometimes, I just want to check out and get lost in the bass and BPM. Sometimes, I need both. This record’s got enough of each for all of those.
When I reviewed the record right after it came out, and noted:
Live Again is all gas & no brakes, with a woozy synth line that feels like it will spin right off the face of the Earth if it’s not careful. The Weight feels like Block Rockin’ Beats era Chemical Brothers. It would work as well on Dig Your Own Hole as it does here. The Darkness feels, well, transcendent with lofty vocals, beautiful keys, and a driving beat.
They have also reunited with Beck for Skipping Like A Stone, having previously collaborated on 2015’s Wide Open from their heir Born In the Echoes album. On a record full of strong candidates, this is my runaway favorite. The best music hits you at a gut level and elicits a visceral reaction. This will remind listeners of nights on a pulsing dance floor with friends and parties still going as the sun rose.
Everyone likes a pulsing floor more than the whirring of exercise machines, right? Next time the thought of working out makes you think F that, try this: cue up “Skipping Like a Stone,” and give yourself the first 2:14. Push through that far. If the bass drop at 2:15 doesn’t convince you to keep going, well, at least you tried.
Sam’s pick and my take: LCD Soundsystem- S/T
Hell yeah.
That’s it. That’s my take.
Great record. Big beats and deep grooves in equal measure. I’ve played individual songs by the band before while working out, but never a whole record. This has convinced me to change that.
Honorable mentions:
Mine:
Paul Keeley-Doormatica (EP): It’s worth noting that this (and industrial volumes of caffeine and nicotine) also got me through the last burst of classes I needed to earn my degree.
Metallica-Ride the Lightning: For times I haven’t had industrial levels of caffeine, this is my “break glass in case of emergency” record. As for the band? Trapped Under Ice is peak Metallica. I’ll take no further questions.
Sam’s:
The War on Drugs- A Deeper Understanding: If there’s a situation this record isn’t appropriate for, I don’t know what it is.
Metallica- Master of Puppets: Full throttle, molten metal. Sam’s a distance runner, and I can see using this to get through some of those final stretches.
Depeche Mode—Violator: You might remember this being one of my picks in the Top 100 list Sam and I did last fall. Violator came in at a solid 44. It has good, uptempo sounds, but it also has the added bonus of good sequencing, similar to Stop Making Sense.
That’s a wrap! What are your thoughts on these records? Do you own any of them? Share your thoughts in the comments! Rants, raves, and spicy takes are all welcome. And if you have any ideas on future themes, please share those as well!
Thanks for being here,
Kevin—
I Hear Pennsylvania is Lovely in the Fall
Kevin Sent 