Talkhouse Podcast

This week’s Talkhouse episode is a special deep dive for me, as it features two bands whose records from the ‘90s I was super into, talking about a really important record label, their various successes and failures, the steamroller of a bigger band called Oasis, and much more. It’s Mark Gardener and Pete Fij.

Mark Gardener was—and is, in fact—one of the two singer-guitarists for the band Ride, whose legendary status was cemented in the early 1990s with the advent of shoegaze. Their first two albums, Nowhere and Going Blank Again, are rightfully considered masterpieces of the genre. Things got a bit messy for Ride for a while after those records, though, as Gardener and his musical partner Andy Bell drifted apart, making a pair of wildly different records before eventually splitting up in the mid-'90s. But the Ride story has a happy ending: The increased interest in shoegaze led to a reunion tour in 2014, which led to some great new Ride records. Oh and not for nothing, but Bell actually joined Oasis on bass in 1999, and he’s been on tour with them playing massive shows recently. Here's a Ride classic, in case you're not familiar.

The other half of today’s conversation, Pete Fij, was also the singer of a highly touted band that signed to the legendary Creation Records label in the ‘90s and looked ready to conquer the world… but then didn’t. But despite the fact that things didn’t work out commercially for Adorable, their records are absolutely amazing—some of my favorite of that entire era, like a poppier Jesus and Mary Chain. It just goes to show that sometimes the best songs can get left behind when circumstances aren’t right. After Adorable’s breakup, Fij went on to release more great music with the band Polak, then entered a musical partnership with another Creation Records alumnus, Terry Bickers of House of Love. Now, 30-ish years later, Fij has just released his first proper solo album, called Up’s The New Down. It comes after a lot of downcast music in various guises, and feels like a reaction to it: It’s much more guitar-centered, upbeat, and positive. Those sentiments are reflected in this song: Check out “Love’s Coming Back” right here, and the album is out now.

This conversation starts with some catnip for Creation Records fans: Gardener and Fij talk about their experiences signing with the legendary label, specifically about their interactions with the notoriously enigmatic label head Alan McGee. And of course both bands were making records right when Creation Records signed Oasis, so that juggernaut changed things for everybody. Beyond that, these two chat about what they’ve been up to since—and how they feel differently about those times, even if they wouldn’t necessarily change a thing. Enjoy.

0:00 Intro

3:00 Start of conversation

3:19 On meeting Alan McGee and Creation Records

07:55 On developing trust with Alan

10:37 On Creation’s unique office

12:57 On Oasis’s impact

15:18 On feeling competitive with Oasis, and seeking guidance

19:13 On success and falling out with bandmates

23:05 On solo work vs. collaborative work

26:04 On 80s and 90s bands, making new music, and the creative process

30:41 On Shazaam, listening to each other’s new music, and younger generations finding their music

33:22 On the first songs they learned, music that influenced them, and band roles

36:48 On seeing gigs and playing with their heroes

39:20 On songwriting and emotion

41:53 On Adorable reuniting

48:33 On Ride’s comeback and what comes next

51:35 On rediscovering chemistry, and reflecting on why they love music

54:11 On defining success

56:53 On bands being nice to audiences

58:00 On Pete’s first solo album, and the experience of solo tours

1:01:23 On vocals, feeling nostalgic in Oxford, and Pete’s Coventry days

1:04:23 On historic sites and DJing together

Thanks for listening to the Talkhouse Podcast, and thanks to Pete Fij and Mark Gardener for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and be sure to check out all the other great shows in our network. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

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On the first episode of the new season of Nobody’s Ever Asked Me That, Nick Dawson sits down with the hugely gifted actress Vicky Krieps, who is currently starring in Ryan Murphy’s Netflix true crime series Monster: The Lizzie Borden Story. In a fascinating conversation largely focused on Krieps’ unique perspective on life and the world, she talk about the restorative value of time in the wilds with her guitar, what her shoes say about her, how she created her own version of Jesus as a child, her dream in which she and Johnny Flynn removed their heads, how a banana split changed the course of her life, and much more.

Nobody’s Ever Asked Me That now has a Substack, so head there to check out all of our past episodes, plus subscribe to get access to exclusive audio and video content!

On this week’s Talkhouse Podcast we’re doubling the usual number of speakers for a two-on-two battle of wits between Joe and Greg of the band Protomartyr and Jeremy and Brohan of Kiwi Jr. They are all pals, and there was sass exchanged.

Protomartyr is a Detroit band that’s been around for about 15 years, sharpening their literate post-punk attacks over the course of seven great albums—a number that includes the brand new Hotel Usona, which offers a layered look at the depressing times we’re living through. The focus as always is on Joe Casey’s words and speak-sing: His voice has been a source of inspiration to other bands, to put it nicely, over the past decade. For Hotel Usona, Protomartyr linked up with producer Dave Fridmann, who’s made classic records with the Flaming Lips and MGMT, among many others, and he helped them create something almost overwhelmingly big and pointed. It can be a lot to take in, but it’s rewarding. Check out “Sounds We Cannot Hear” from Hotel Usona right here.

The other half of today’s conversation, Jeremy Gaudet and Brohan Moore from the band Kiwi Jr., play decidedly catchy indie-pop that’s tickled fans of Pavement for years, though Kiwi leans toward the poppier side of things than that comparison might imply. The Canadian band just released their fourth album, though it’s their first for the legendary K Records label. For my money, Blowin’ Up is their best yet: It’s smart and arch and easy to sing along with, but it’s also fun to dive in and parse what Jeremy Gaudet is singing about. Check out “Photos of The Reenactment” from Blowin’ Up right here.

In this funny chat, these four dudes—Jeremy and Brohan representing Kiwi Jr, Joe and guitarist Greg Ahee on the Protomartyr side—talk about old band photos, the ways their songs come together, and they reveal a secret about Joe Perry’s guitar. That’s Joe Perry from Aerosmith, not Steve Perry from Journey, as you’ll learn. It’s a fun one, enjoy.

0:00 Intro

02:54 Start of conversation

03:21 On Protomartyr’s new album, if they like Dune, The Odyssey, and bad tv

07:27 On album covers and The Eagles

10:34 On band photos and wigs

12:44 On the gap between Kiwi Jr’s records, delivery dates, and the recording process

15:46 On Joe Perry’s guitar, and playing other people’s guitars

19:09 On lyrics and poetry

21:11 On “sing talking,” rapping, Insane Clown Posse, and Danny Brown’s green room

24:16 On Dude Wipes and full-body deodorant for butts

26:53 On recording studios, the perfect milkshake, and Canadian billboards

29:51 On Bulk Barn, off-brand candies, buffets, and Big Boys

33:16 On collaborating together, song mixes, J Mascis, and more on Big Boy

35:30 Playing instruments vs. lyrics and vocals, and coming up with song titles

40:35 On working with producer David Fridmann, writing the music for Protomartyr’s album, and demoing with MIDI

Thanks for listening to the Talkhouse Podcast, and thanks to Joe, Greg, Jeremy, and Brohan for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.
Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more.
Sign up for our newsletter.
Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, ⁠⁠⁠Facebook, and Letterboxd.

On this week's Talkhouse Podcast we’ve got two guys who stepped away from their bigger bands and made an incredible record together 10 years ago. The occasion for this conversation isn’t just that album’s anniversary, but also the announcement of the duo’s first real tour behind it later this year. It’s Hamilton Leithauser and Rostam.

In 2016, when I Had A Dream That You Were Mine was released, Leithauser had already released one post-Walkmen solo album, and Rostam had just left Vampire Weekend. But the pair had known each other for quite a while before that: The Walkmen brought Vampire Weekend out as openers on one of their first tours, which you’ll hear about in this chat, back in 2008. Rostam, a guy well into production and songwriting in his own band, had even contributed to Leithauser’s first solo album, Black Hours.

So it seemed natural for the two to link up for a whole album, and between 2014 and 2016 they wrote and recorded I Had A Dream That You Were Mine, sometimes linking up in their shared hometown of Washington DC—parts of the record, as you’ll hear, we recorded in Rostam’s childhood home. Freed at least partially from the expectations associated with their other bands, the duo crafted a gorgeous pastiche that ended up sounding timeless: Sometimes it’s got early rock and roll vibes, sometimes it’s the Bob Dylan/Leonard Cohen energy Leithauser often hinted at, writ larger. It’s fantastic.

But because these guys had busy separate lives, they never really toured these songs together. That will change this November, with a band featuring, as you’ll hear in this chat, Rostam’s young guys. It’s a brief tour hitting mostly bigger U.S. cities, and I imagine it’ll be one of your only chances to see these songs performed live. You can find dates below, but in the meantime, check out the big single from I Had a Dream That You Were Mine. This is “A 1000 Times.”

In this delightful chat, Hamilton and Rostam talk about the few shows they played together—including an embarrassing flub that Rostam had forgotten. They also go through the writing process for most of the songs, which is fascinating, but not before a brief conversation about playing tennis. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Hamilton Leithauser and Rostam for chatting.

Tour Dates:

5 Washington DC - 9:30 Club

6 Philadelphia PA - World Cafe Live - Music Hall

7 Woodstock NY - Bearsville Theater

9 Brooklyn NY - Music Hall of Williamsburg

10 Brooklyn NY - Music Hall of Williamsburg

11 Somerville MA - Somerville Theatre

13 Toronto ON - The Concert Hall

14 Detroit MI - Saint Andrew’s Hall

15 Chicago IL - Thalia Hall

18 San Francisco CA - Castro Theatre

19 Los Angeles CA - Pacific Electric

If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme was composed and performed by the Range. See you next time!

Chapters:

0:00 Intro

02:44 Start of conversation

3:03 On hotels, visiting each other, and memories of recording

04:13 On writing “The Morning Stars”, and songs that didn’t make the record

6:00 On when they became friends, “the worst studio mates of all time,” and smoking

8:37 On the first Vampire Weekend tours, opening for The Walkmen, and Pepperjack

11:19 On The Walkmen running out of gas on tour, dependable tour vans, and driving in Europe

13:33 Their tour announcement, recent shows, and Rostam’s embarrassing moment

15:48 On their Williamsburg Music Hall shows being released on streaming, and “In a Black Out”

17:19 On the BBC and Brits, upcoming European dates, and Hamilton’s plans for September and October

19:37 On playing tennis and restringing rackets

21:04 Reflecting on all of their collaborative songs in order, their processes and recording sessions, and their favorite instruments

28:47 On the journey of “The Morning Stars, the Bruce Springsteen song they wanted it to sound like, “Peaceful Morning,” and looking forward to the tour

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.
Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more.
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On this week’s short but sweet Talkhouse episode—I might even call it a mini-sode—we’ve got a couple of guys at interesting points in their interesting careers. Both have been flirtatious with the mainstream, but not exactly in it. It’s Jakob Nowell and Yelawolf.

Jakob Nowell was still an infant when his dad, Bradley Nowell, died at just 28. Bradley was the frontman for the Southern California band Sublime, whose music would go on to reach a much wider audience not long after his death. The other two members of Sublime continued with a different singer, with varying degrees of success, while Jakob Nowell grew up and starting making music on his own. A couple of years back, Jakob got together with his dad’s old bandmates and reignited Sublime again—and the fact that his voice sounds remarkably like his dad’s made it a welcome transition for the band’s fans. This new Sublime recorded an album, which they say will be the band’s last, and they tour and play like crazy, including owning their own festival packed with reggae and punk-tinged fellow travelers.

Those fellow travelers include the other half of today’s conversation, Yelawolf, who will play a bunch of shows with Sublime this year, including the band’s cruise in November and a big amphitheater in Alabama next week. There aren’t many musicians who can claim collaborations with Ed Sheeran, Eminem, Travis Barker, A$AP Rocky and Tech 9, but the Nashville-based rapper can. He’s been around for a long time, and has always seemed like a musical seeker. His next album, 45, is coming out later this year, and it reportedly features no rapping at all. Check out the single “My Country” right here and see for yourself.

I caught these guys on a busy day and they didn’t chat very long, but I still felt like there was enough there to share: They chat about hanging out backstage with superstars at the Aftershock Festival, about potentially collaborating in the future—they even have a dream third member of their trio in mind—and about Jakob’s emotional trips to the last venue his father ever played. Check it out.

Thanks for listening to the Talkhouse Podcast, and thanks to Jakob Nowell and Yelawolf for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff we’ve got going at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

0:00 Intro

02:40 Start of conversation

02:48 On Sublime’s cross-genre appeal, and on Jakob joining Sublime

05:21 On Jakob visiting the last theater his dad ever played at

06:49 On Yelawolf’s current tour and experiencing different music scenes and crowds on tours

08:34 On wanting to collaborate together and mixing genres

09:35 On touring together, how they met at Aftershock, and meeting music legends at the festival

11:37 On wanting to play with Les Claypool

12:05 On their plans for the rest of 2026 and 2027, and wanting to visit each other

Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠.
Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more.
Sign up for our newsletter.
Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, ⁠⁠⁠Facebook, and Letterboxd.