In Conversation: Tricia Halloran

by KevinLeave a Comment on 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

by KevinLeave a Comment on 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.

(Listen/grab your copy here)

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?

by KevinLeave a Comment on 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:

Help build the community!

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!

3×2: Volume 3 | Records For Working Out

by KevinLeave a Comment on 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—

Discussion: What’re you listening to?

by KevinLeave a Comment on Discussion: 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:

Become a friend of On Repeat today!

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 just some of what I’ve had in heavy rotation. This week, I’ve got another great single from Mama Manana Records, the latest from The Tisburys, an old favorite from my PDX days, 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!

An Album of the Month Event You Should Check Out

by KevinLeave a Comment on An Album of the Month Event You Should Check Out

We’ve got a great host and a killer record, all set to go. All we need now is you! Here’s how to join the fun.

Album art courtesy of Slash Records

Good Morning!

Today we’re talking Violent Femmes, and well, how you can talk about the band with other like minded people.

Note: As some of you know, I’m one of the editors for an online music publication called The Riff. Each month we host an album discussion (via Zoom), and this month’s is coming up on Sunday. To be clear, all credit goes to 

Terry Barr who facilitates the meeting, and 

Steve Goldberg, this month’s host. These two are doing the heavy lifting.

As you’ll see below, these are low-key affairs; all are welcome! If you want to share some thoughts, that’s awesome. Wanna just sit back & listen? That’s cool, too.

Either way, it’d be better with you there.

KA—

It’s that time again; it’s time for our monthly album discussion!

One of The Riff’s core tenets is sharing music. That obviously involves writing about it (we are on Medium, after all) but also talking about it together. We do that monthly here.

This Sunday (23. March. 2025) is that day.

Below is my boilerplate explanation of these discussions and the value you’ll get from joining us. Under that are both the record being discussed and the meeting log-in details.

  • Don’t know the record? Doesn’t matter.
  • Not comfortable speaking in public? Me either. And you don’t have to if you don’t want to. Heck, you don’t even have to turn your camera on. It’s a safe space, but you control what you share.
  • Ultimately, you’re part of The Riff; we want you to be a part of this, too.

So check out the “rules” below, and then plan to dial in.

What is this?

For new readers (hi everyone!), The Riff hosts an online discussion every month.

Here’s how it works:

  • A writer (more on that in a second) picks a record to discuss and writes a brief piece about their choice and the meeting details.
  • At the meeting, they discuss why they picked it, offer a bit of a backstory/context, and whatever else they’d like to share.
  • Everyone else on the call can share their own “hot take,” related story, or anything else you think is relevant.
  • At the end of the meeting, next month’s writer volunteers (or is chosen), and the process repeats itself.

NOTE FOR INTROVERTS: If you’d prefer to sit in and listen, that is 110% okay. Keep your video off…stay muted…it’s up to you. It’s a safe place; you can participate as much/as little as you’d like.

This month’s host:

This month’s host is a longtime contributor and friend of The Riff. Steve Goldberg is one of the platform’s leading music writers, and his expertise spans many genres. You can also find him here on Substack, where he writes the incredible Earworms and Songloops. It’s one of my “never miss” newsletters. If you’re not yet subscribed, I highly recommend it!

Cool! So, what are we talking about?

Steve has chosen Hallowed Ground by the Violent Femmes.

From his story announcing the pick:

It wasn’t just the lyrical content that shook me to my musical core. The instrumentation — snare drum, vibraphone, stand-up bass, jew’s harp, marimba, clarinet, saxophone, acoustic guitar — it wasn’t new wave, it wasn’t punk rock, it wasn’t folk, yet it had elements of each. I couldn’t place a label on it or even an easy reference point, and this scared and exhilarated me.

Musical adventure, exploring new sounds, and sharing great music with great people make these discussions a joy. Join us and see for yourself.

Listen:

(Click the record to listen on your platform of choice)

The face & neck of a small sculpture spotlit against a black background. Band name and record title are in block letters in the upper left corner of the cover.
Cover art courtesy of Slash Records

I’m in! How can I join?

Here ya go:

When: Sunday, March 23rd: 4 PM Eastern/ 8 PM GMT

Where: Join Zoom Meeting

Join our Cloud HD Video Meeting

ID: 87634124892
Passcode: Q0=YVbE@

Thanks for being here,

Kevin—

In Conversation: Eric Arsnow of Seances

by KevinLeave a Comment on In Conversation: Eric Arsnow of Seances

The Seances front man stops by to talk about their new record, the Milwaukee music scene, and one of the wildest mashups you’ll ever see.

Eric Arsnow of Seances. Photo: Betsy Arsnow

Good morning!

We’re in for a treat today; Eric Arsnow of Milwaukee-based Seances stops by for a chat!

If you’ve been reading this newsletter for more than a few days, my love of new wave & post punk will not be a surprise. Bands like The Cure, Wire, and New Order all get a lot of column inches here.

I’m also a fan of underrated local scenes that too often get lost in the shadows of places like LA, London, and New York—places like Wisconsin.

So when a record described as [sounding] more like Joy Division than Joy Division does from Milwaukee landed on my radar, I was intrigued. When I pushed play, I was sold.

Like the bands above, Seances have seen their share of (well-earned) ink here lately. “Hours” was featured on ORR playlist #286, and I reviewed the album as part of the March 15th edition of Sound Advice.

Seances is a DIY new wave project fronted by singer and bassist Eric Arsnow, but he’s not solo. Rather Seances is a collective of area musicians from groups like Tigernite, Devils Teeth, Fight Dice, and Faux Fiction.

The presser describes the record in part as:

“…conjuring charming post-punk anthems who lyrically found its inspiration from horror films, the supernatural, and by intense experiences of déjà vu – the inexplicable feeling of emotionally recognizing a place even though you’ve never been there before, in different parts of the world and the people those experiences are shared with.”

That checks a lot of boxes, but I was especially intrigued by the project’s origin story. I’ll let Arsnow tell that story, but the short version is he went into a show, and walked out with an outline for a record. Another case of inspiration striking where/when you least expect it.

In a wide ranging chat, Arsnow shares the record’s orgin story, what the Milwaukee music scene is like, and what’s next for the band. He also dropped one of the wildest mashups I’ve ever heard of into the chat, so make sure to read to the end for that! While you’re here, make sure to give Power is a Phantom a spin.

Our conversation has been lightly edited for clarity and flow.

Help us spotlight great bands like Seances!

Congrats on the new record! For those who don’t know the story, can you walk us through how Seances came together?

Thank you! I’ll definitely dip into this a bit more in more depth in a follow-up question, but simply put, this has been a dream project for me to make.

Seances began as voice memos, and they sat around on my phone for like 6 months with me debating if it would be worth pursuing. At the time, I was rather busy with a couple of bands I was in. I reconnected with my buddy Jason Kartz, who is a killer guitar player. He contributed to the song “Fade,” and I quickly saw the potential in the record.

I love making DIY basement records and eventually pulled everything together from writing, recording, and mixing in a few months. Jason continued to contribute guitar to several of the tracks, and eventually, I asked Bex to join in with some of her vocals, taking over some of my parts.

Many of the records I was inspired by were recorded rather quickly, so by design, I wanted to work quickly, I didn’t want to camp out in my studio and let my intuition be my guide.

One of the quotes I saw described your sounds as “…sounds more like Joy Division than Joy Division does.” Agree? Disagree?

Ha! Yes, a generous quote indeed, and I’ll totally own it. Bass guitar has been my primary instrument for the past 20+ years, and Peter Hook has always been my top influence. I’ve often found myself in 3-piece bands (Devils Teeth, Tigernite) and found myself in a position where I needed to be a rhythm guitarist as well as a bass player, so Peter Hook’s ability to create amazing and memorable melodies has always been a point of reference for me.

As far as the vocal comparisons I’ve been getting to Ian Curtis, it’s such an honor, and I’m glad to represent the “Midwest Manchester” vibe.

Double-clicking on that for a second, what are some of the bands that have influenced your sound?

There are certainly the easy ones, like The Cure is one of my all-time favorites, New Order, Echo and The Bunnymen, Gary Numan etc. For a few less obvious answers, there’s Fischerspooner’s album #1, 14 Iced Bears’ album Wonder, and James Figurine’s album Mistake Mistake Mistake Mistake. I’m obsessed with production on records, and those in particular served as creative inspiration when working on Power Is A Phantom. I love paying attention to things like transitions, dynamics, and playing around with stereo channels to create some cool listening experiences.

The rough outline for this record came together in just a few hours after seeing The Chameleons in concert. What happened there? Were these ideas brewing for a while, or was the show itself the catalyst?

Yeah, it was wild. I saw The Chameleons for their first Milwaukee show, and I was mesmerized by the wall of sound. I locked into how Vox (formerly Mark Burgess) approached his bass playing and singing. His ability to be a melodic anchor was truly inspiring, while Reg Smithies painted these larger shoegaze vibes with his guitar lines.

When I got home from the show, I grabbed my bass, and the songs started pouring out. It was a true creative flash point, and I just let it all spool out over a couple of hours, making composition notes and capturing bass melodies. It was also super weird for me because it’s the first album I’ve ever written where the foundation was bass guitar. I later found out that Gary Numan wrote Cars on bass guitar and took it as an omen that I was on the right path.

So everything but “Weighted” (that one came together on a road trip) was captured that first night. I actually have some demos that I haven’t even touched yet.

Milwaukee (and Wisconsin in general) aren’t the first places people think of when it comes to music—especially genres like new wave and post-punk. What’s the scene like there? For people outside of our part of the world, what would you want them to know about it?

I LOVE being a part of the Milwaukee music scene. It’s a real badge of honor for me. The Milwaukee scene is truly special and it just keeps growing. We have a large swath of genre representation, which is incredible. Everything from punk to rap to Latin music, and all of it is performed at such a pro level. There are so many good songwriters in this city, and I think being surrounded by your friends who put out good records motivates and pushes you to grow. I’d also be remiss not to say that our music scene also owes a lot to the healthy support from our local radio stations, record stores, and venues. All of that contributes to why Milwaukee’s music scene is such an exciting part of Milwaukee’s culture.

What’s next? Any shows coming up? Touring? What does the rest of 2025/early 2026 look like for you?

I’m currently putting together an amazing band of Milwaukee musicians. Being a part of the post-punk genre also allows me to dip into my love for horror and Halloween visually, so I am creating a big, haunted experiential show for October that will also double as a fundraiser for my favorite local radio station, WMSE 91.7FM. More details to come on that, but it will be a lot of fun. I’m producing a lot of cool video and audio components for the show. I want whatever the live band does to feel more like a larger event; I want it to be super theatrical.

Outside of that, one of the exciting parts of Seances existing as a collective is it evolves. I’m hoping to get some recordings of the band and put out a companion piece to Power Is A Phantom that documents the live interpretations of the songs.

About half of the 2nd record is completed, so I hope to have that ready later in 2026.

Last one, just for fun: I run into you on your way out of Rushmor Records. What’s in your bag?

Ha, I don’t have to pretend at all. I’m a big fan of Rushmor, and am there at least once a month.

Some of my recent vinyl acquisitions:

  • Wugazi – 13 Chambers – Yes, Dan managed to track down some copies of Cecil Otter and Swiss Andy’s insane mash-up of Wu-Tang Clan and Fugazi tracks.
  • The Cure – High 12-Inch Single – This was a must for me because the B-side to this single is Twilight Garden; top of my list of favorite Cure tracks.
  • Sad Lovers & Giants – Lost In A Sea Full Of Sighs – Rushmor has a well-stocked section for the Dark Entries label. This is a great collection of early Sad Lovers & Giants 7-inches.
  • Lhasa de Sela – The Living Road – Ask Dan about this record. He has a great story about bringing copies back to Milwaukee from his trip to Canada. Very cool Latin folk singer-songwriter vibes. Tragically left this world too soon in 2010.

Click the record to listen on your platform of choice.

Power is a Phantom is out now. You can grab your copy here.

You can also connect with the band via Instagram and Facebook.

Thank you to Eric Arsnow for his time, and thank you for being here.

Kevin—

From the Archive: The 7 Latest Additions to My Record Collection

by KevinLeave a Comment on From the Archive: The 7 Latest Additions to My Record Collection


AT THE RECORD STORE SERIES

Note: I’m bringing this series back for 2025, and as part of that, dusting this one off from just pver a year ago. I love seeing what people pick up on their crate digging excursions, and assume (hope?) many of you feel the same way.

P.S. The Matty C. show I mention below was fantastic. If he’s comin’ to your town, make a plan to be there!

You know that old joke about garage sales, “Everything you want and nothing you need?” I think it’s similar with records. We don’t know we need something until we see it. Then, we can’t imagine life without it.

You’re not looking for most records when they find you.

I wasn’t looking for a record sale this past weekend, either. I was on the Harmony Bar’s website, making sure I had the right date for 

Matty C’s show this fall when I saw a sale happening. Tomorrow.

Ten minutes earlier, I had no idea it was going to happen. Now, I was making sure I could make it. Funny how that works.

Like the bar, the sale itself was lowkey. One small yard sign out front was the only hint that something was going on. I hadn’t been here in a while, but not much had changed. The door still creaks, as do the floorboards. The paint is the same. It still smells vaguely of beer and fried cheese curds—just as nature intended. This is, after all, the house that Rollo Steele built.

The crates were in the back room, sharing space with the regular bar stuff- it was Saturday in Wisconsin, after all. The Badger game was on TV, with people keeping one eye on the overhead screens and one on the crates. The jukebox was silent (see previous). Right next to us, a lady loudly recounted her impending divorce hearing to sympathetic girlfriends. If things went down as she described, this guy had a really bad Monday. A toddler dropped a record on the floor.

There was also a family eating lunch, oblivious to everything around them. I didn’t eat.

Four vendors had their crates set up in a U-shape. The first of the four had far and away the biggest selection and highest quality stuff. Worth noting that he had a LOT of jazz records. Not my specialty, but this would’ve been a field day for the right person. Everything was priced to move at $5 or 5 for 20 unless otherwise marked.

The dB’s Like This was the first record out of the gate. It’s a classic, and for my money, ‘Love is For Lovers’ is the quintessential pop song. I already own it, but this one was in better shape. It’s also almost impossible to find their music online (which is, I suppose, ultimately a good thing, but that’s a story for another day).

Did I really need a second copy? After spending some time in my pile, I decided I did not.

I also came across a copy of R.E.M.’s ‘Life’s Rich Pageant.’ Some of you may recall my looking for this for a while. Several months ago, I excitedly grabbed a copy at a nearby secondhand store, only to get home and realize it was a different record inside. That’s what I get for not checking. On the plus side, the (now empty) sleeve looks nice on my wall.

This time, I did check, and while in great shape, it didn’t seem worth the $125 sticker price. The show must go on. Quite a few other records spent time in my hands but were put back for one reason or another.

Below is the list that made it out the door with me.

Tom Verlaine- Words From The Front (BSK-3685, 1982)

Verlaine’s solo work is a bit of a blind spot for me. I know Television, and I know his self-titled debut. But after that? Nada. So, this was a low lift risk, and it paid off. I’ve only spun it once so far, but my early impression is that it’s on brand for him and in line with his other work. For those well-versed in all things Verlaine, I’d love to hear your thoughts on where this sits with you.

Romeo Void- Benefactor (ARC 38182, 1982)

The story of Romeo Void can be summed up in three and a half words: What might’ve been.

The band was on a rocket ride to the top, with a unique sound and fantastic frontwoman in Deborah Lyall. They had a hit on their hands with ‘Never Say Never’ and its risque (for 1982) line of ‘I might like you better if we slept together.’ All systems were go. Until they weren’t.

So what happened?

We’ve talked about it here before, but the short version is MTV happened.

Video Killed The Radio Star might’ve been the first video played on MTV, but Romeo Void was a band that would end up living that narrative.

The group had every ingredient for success; critical praise, great storytelling, a dynamic singer, a fantastic sax player in Benjamin Bossi, and an EP produced by Ric Ocasek.

They checked a lot of boxes. So what happened? MTV happened. And unfortunately, that sent labels looking for bands with a certain look. Singer Deborah Iyall didn’t fit that mold, and the band’s label made the decision to stop supporting them. The term ghosting didn’t yet exist, but looking back, it certainly fits.

Today, most people only know this track. A few more will recognize “A Girl In Trouble.” but they were so much more than one-hit wonders—a point again driven home while listening to Benefactor later that afternoon. An incredible new wave record from start to finish.

The Pretenders- Get Close (92-54881, 1986)

Get Close is the fourth outing by the third iteration of the band. And while (to my ear) it lacks some of the grit & spark of the first couple of releases, it’s nonetheless solid. Plus, it has “Don’t Get Me Wrong,” one of my favorites and one many of us contributed as a suggestion for last summer’s crowdsourced wedding playlist.

Nancy Wilson/Cannonball Adderley-S/T (T-1657, 1961)

As noted, there were a ton of jazz records, most of which I flipped right by. Cannonball Adderley always stops me in my tracks. This was no exception.

The hype sticker notes that it’s “41 mins 59 seconds of jazz!” That’s my kinda odd specificity. Couldn’t they squeeze out an extra note to make it an even 42 minutes?

Aztec Camera- Backwards & Forwards 10” EP (1-25285, 1985)

I’m not that big of Aztec Camera or Roddy Frame fan. I love ‘The Crying Scene,’ but that’s pretty much where it begins and ends. The vendor noticed my looking at the album and mentioned that this was the one where they take on Van Halen’s ‘Jump.’

Sold.

O.M.D.- The Pacific Age (SP-5144, 1986)

By 1986, OMD were on their 7th record, The Pacific Age. Produced by Stephen Hague, it bears much of his hallmark style and took the band in a more sophistipop-y direction. It was my on-ramp to the band (thanks, Columbia House!) and is also home to “We Love You,” my favorite track by the group. Critics hated it. So did the band, with Andy McCluskey calling it the band’s ‘musical nadir” and describing it as one that just doesn’t sound like them. I hadn’t heard the whole thing in probably 30 years, but I remember really liking 3-4 tracks and fast-forwarding through everything else. It can’t be that bad, right? For $5, I’m willing to find out.

John Hiatt-Bring The Family, (SP-5158, 1987)

This was in the $1 bin, which is a crime. I could’ve sworn I already had a copy1, but there was no way I was going to let this languish in any defacto cut-out bin. Not on my watch. Any record with ‘Memphis In the Meantime,’ ‘Thing Called Love,’ and ‘Have A Little Faith in Me’2 deserves a forever home. And now this copy has one.

So how about you? Found any good records lately? Have any thoughts on the ones I picked up? Share your thoughts in the comments!

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