Episódios

  • Jason Williamson (Sleaford Mods) with Andrea Arnold

    Jason Williamson (Sleaford Mods) with Andrea Arnold
    Apr 9 2026
    On this week’s excellent Talkhouse Podcast episode, we’ve got one of my favorite film directors in conversation with the vocalist of one of the last two decades most engaging bands—who also happened to appear in her latest movie. It’s Andrea Arnold and Jason Williamson. Andrea Arnold is a visionary British filmmaker who doesn’t make movies very frequently, but she sure makes them count. Her first to really make a splash was 2009’s Fish Tank, a coming-of-age story—that’s a recurring theme—that was the first place I remember seeing Michael Fassbender. She’s since directed three more features: an adaptation of Wuthering Heights (though not the gaudy new one), the visceral American Honey, and last year’s magical Bird, which stars Barry Keoghan as the deadbeat working-class dad to newcomer Nykia Adams. It’s flown under the radar for sure, but please seek it out and let me know what you think. I loved it, and it’s got one of the greatest soundtracks you’ll hear all year, with Fontaines DC, Blur, and Sleaford Mods, which leads me to the other half of today’s conversation, Jason Williamson. Williamson is the lyricist and vocalist—he doesn’t exactly sing—for Sleaford Mods, which has created an unforgettable, fully individual kind of post-punk for the past two decades, characterized by Williamson’s witty, confrontational words. Like Arnold, Williamson has roots in the working class, and his music offers an unvarnished reflection of those roots. When she got in touch with him about playing a small but important role in Bird, he admitted that he wasn’t familiar with her movies—but quickly became a fan. So he was in her movie, and she in return directed a video for the song “No Touch” from the latest Sleaford Mods album, The Demise of Planet X, which came out earlier this year. Check out that song right here. In this open and generous chat, Arnold and Williamson talk about their shared backgrounds, about shooting Williamson's pivotal scene in Bird, and about Arnold’s career as a dancer and TV presenter for various BBC shows. I’m a fan of her work and I had no idea about this entirely different part of her career. Jason also reveals his unique post-show ritual, and laments—sort of—the fact that you can’t just simply get drunk anymore and hit people. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jason Williamson and Andrea Arnold for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out Talkhouse.com for all kinds of great written pieces and other podcasts in our network. This episode was produced by Myron Kaplan, and the Talkhouse theme was 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. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    51 minutos
  • Music Person: Dry Cleaning (Florence Shaw)

    Music Person: Dry Cleaning (Florence Shaw)
    Apr 2 2026
    This episode originally aired on March 25, 2026. Subscribe to ⁠⁠Music Person. Florence Shaw of Dry Cleaning from South London, England. Florence and Dylan discuss the difficulties of international touring, what your brain feels like on art school, black plastics, wanting to become a horse, reaching an associative songwriting state, and riding the bus as an idea-generating machine. + Florence gets something off her chest. Artists we mentioned: Cate Le Bon, Ryan Davis, Black Midi, bar italia, Jeff Tweedy, Elton John. Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    1 hora e 25 minutos
  • King Tuff with Morgan Nagler

    King Tuff with Morgan Nagler
    Mar 26 2026
    On this week’s Talkhouse Podcast, we’ve got a songwriter with a long and varied history who’s somehow just now making her solo debut alongside the musician and producer who helped her make it: it’s Morgan Nagler and King Tuff. You could be excused for not knowing Morgan Nagler’s name; she’s been on the fringes of the L.A. music scene for the past couple of decades, co-writing songs with Phoebe Bridgers (the remarkable “Kyoto”) and HAIM, among others—as well as fronting the band Whispertown. She’s also had another career on-screen, from Punky Brewster to American Pie 2, but that’s not relevant for today’s conversation. Just this month, Nagler released the first album under her own name, and it carries the all-time great title I’ve Got Nothing to Lose and I’m Losing It. If you love melodic, heartfelt pop with a bit of that Laurel Canyon twang, you will find something to love on this record. Check out the song “Hurt” right here, which features a cavalcade of talented backing singers, too. Kyle Thomas has been making music under the name King Tuff for the past 20 years or so, cranking out rollicking, straightforward rockers that fit perfectly with his moniker. For his new record Moo, Thomas went back to basics after spending what he felt like was too much time cleaning things up. The result is a garage-y, thoroughly catchy set of songs that never try to overcomplicate the desire to rock. Think GBV or Ty Segall or Mikal Cronin. Check out the song “Invisible Ink” from his new album Moo right here. It’s out this week. In this fun chat, Nagler and Thomas talk about the fun of writing lyrics together, Thomas’ move back to the snowy woods of Vermont, and what they plan to eat on their upcoming tour together. There’s also white weasels and Cadbury creme eggs, so pay close attention and enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Morgan Nagler and Kyle Thomas aka. King Tuff 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. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    38 minutos
  • Jordan Klepper (The Daily Show) with Langhorne Slim

    Jordan Klepper (The Daily Show) with Langhorne Slim
    Mar 19 2026
    On this week’s Talkhouse Podcast, we’ve got a great conversation between two friends and tourmates, one a musician, and one whose job title is slightly harder to pin down: It’s Langhorne Slim and Jordan Klepper. Langhorne Slim has been making music for the past two decades, and while it’s plenty varied, it also fits nicely into that wide bucket called Americana. For his new album, The Dreamin’ Kind, Slim hooked up with a couple of guys from Greta Van Fleet and ended up dedicating some time to rocking in a way he hadn’t really done before. Parts of the record offer a more polished sound than he’s made in the past—it’s the sound of a guy who’s always loved to go for it kind of going for it in a different way. Live, Langhorne Slim always brings it, connecting with audiences whether they’re already fans or not—often by joining them right out in the audience. If you recognize the voice or name, you may have heard Langhorne Slim on a movie soundtrack or opening for the likes of The Avett Brothers or The Lumineers over the years. Check out one of the more rocking tracks from The Dreamin’ Kind right here, “Haunted Man.” The other half of today’s conversation is a little harder to categorize. Sure, Jordan Klepper sometimes stands on stage and says funny things, but he’s not exactly a comedian. He’s probably best known as the co-host of the current Daily Show iteration, and via that avenue and others—including his own show, The Opposition and a bunch of standalone specials—he’s actually done some of the most biting and important political-culture reporting of the horrifying era we’re currently living in. He was there on January 6, somehow managing to be funny amidst all the chaos. It’s a talent that’s extended to a podcast, other TV specials, and of course, the stand-up stage. On a recent tour, he asked Langhorne Slim to join him for some dates, and as you’ll hear, the two became fast friends. In this conversation, they talk about touring together—and Slim’s frequent trips into the audience during shows—plus the tricky business of legacy, the meeting of capitalism and art, and running into an exposed penis on the streets of New York—and how one should react to that. Enjoy. Thanks for listening to the Talkhouse Podcast and thanks to Jordan Klepper and Langhorne Slim for chatting. If you like what you heard, please follow us 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. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    1 hora
  • Andrew Bird with Jay Ryan

    Andrew Bird with Jay Ryan
    Mar 12 2026
    On this week's Talkhouse Podcast, we’ve got a look back at a fantastic record on its 20th anniversary by an interesting pair of collaborators: the guy who made the music and the guy who created its iconic visuals. It’s Andrew Bird and Jay Ryan chatting about The Mysterious Production of Eggs. Andrew Bird has been on the podcast before, and he’s had such a rich and varied career we could have him on a dozen more times. He was a music-school kid and violin expert whose early career focused on more traditional sounds, but watching him break out of his shell—sorry—was fascinating. He made records with Andrew Bird’s Bowl of Fire for a few years, but it was when Bird officially went solo that he found his sound—a sort of gentle, intricate indie-folk made unmistakable by the triple threat of his gorgeous voice, his violin, and his uncanny whistling. You could reasonably argue that 2005’s The Mysterious Production of Eggs is where he really cracked the code—sorry again. It’s an essential record that didn’t come easy: He recorded and scrapped it a few times before getting it where he wanted it. Some of the early versions of the songs are included on the album’s new triple-LP reissue. Check out “Measuring Cups” from The Mysterious Production of Eggs right here. In addition to revisiting the music of Eggs for this anniversary edition, Bird decided to revisit the iconic artwork, made by his longtime collaborator Jay Ryan. Ryan was just coming into his own as an artist—mostly of show posters at the time—as Bird was making his way as a musician, both in Chicago. As you’ll hear in this chat, their worlds collided and they eventually found a creative collaboration whose zenith was the artwork for Eggs, whose cover features an odd beast covered in a blanket. Ryan created an image for every song on the album, and he expanded on those images for the upcoming box set, revealing more about the songs and the drawings. Ryan has created art for a million bands and other projects—and he’s in some bands of his own, including the awesome Dianogah—but it’s his work with Bird that might be his best known. As you’ll hear in this chat, these two are old friends who were excited to work together to revisit The Mysterious Production of Eggs. They talk about the individual songs and drawings, about their early days in Chicago, about how being creative shouldn’t necessarily be easy, and much more. At the end, you’ll hear them reference Bird’s 2026 tour dates, many of which will find him performing The Mysterious Production of Eggs backed by major symphonies around the world—sounds awesome to me. Check out andrewbird.net for tour dates and for some interactive artwork based on Jay Ryan’s art. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jay Ryan and Andrew Bird 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. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    50 minutos
  • That's How I Remember It: Courtney Marie Andrews

    That's How I Remember It: Courtney Marie Andrews
    Mar 5 2026
    This episode originally aired on February 18, 2026. Subscribe to ⁠That's How I Remember It⁠. Courtney Marie Andrews is my guest on the first That’s How I Remember It of 2026. Courtney is a great songwriter, poet, painter - a true artist who does a lot of things. We talked about love and grief on her great new record ⁠Valentine⁠ as well as light affecting memory, Marin County, the musical Annie, playing covers, Warren Zevon’s Preludes, and poetry vs. songs. Really enjoyed this and happy to be back with new episodes of THIRI. Listen and ⁠subscribe⁠!
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    Ainda desconhecido
  • Matt Berninger with Eric Bachmann

    Matt Berninger with Eric Bachmann
    Feb 26 2026
    This week’s Talkhouse episode is particularly exciting for me, since my two guests are also two of my favorite songwriters and singers ever—and they happen to be big fans of each other. It’s Matt Berninger and Eric Bachmann. Eric Bachmann was a massive part of the ‘90s indie-rock explosion as the snarling voice behind Archers of Loaf, a band that released four incredible albums in its relatively short run. But Bachmann ditched most of that genre’s signifiers afterward and has spent the last quarter-century writing and recording incredible songs both under the name Crooked Fingers and under his own. His records are more in line with Tom Waits or Townes van Zandt than Pavement, and his deep catalog is worth a deep dive. You could start pretty much anywhere, so it might as well be with the brand new Crooked Fingers album Swet Deth. It’s the first time Bachmann has dusted off the Crooked Fingers name in more than a decade, I’m assuming because it sounds like a more fleshed-out affair. He also invited some friends to provide backing vocals on a few tracks, including Superchunk’s Mac McCaughan, Sharon Van Etten, and today’s other guest, Matt Berninger of the National. Check out the Crooked Fingers song “From All Ways,” which features Berninger’s distinctive voice. Fun fact: When the first two Crooked Fingers albums were reissued about 10 years ago, Bachmann asked two of his biggest fans to write the liner notes. One, I’m proud to say, was me, and the other was Matt Berninger, the intense baritone frontman of the National. As you’ll hear in this chat, Matt has been a fan of Eric’s since back in the Archers days. Berninger of course has had an incredible career in roughly that same timeframe, leading the National from small clubs to huge venues with a thoroughly unimpeachable catalog of smart, dark songs. (These two have those adjectives very much in common.) In addition to fronting the National, Berninger has stepped away on occasion for side projects and solo records. His latest release under his own name is Get Sunk, which came out last year. He’s about to launch a Canadian tour followed by some dates in Europe—catch him if you can, the solo shows are a different vibe than the National, but no less worth your time. This wide-ranging conversation starts with a discussion of Bachmann’s recent heart attack—a scary situation that’s going to keep him off the road for a bit. They also talk about working together on “From All Ways” and a semi-secretive new thing that they’ve been hatching for the past couple of years. It’s a great, deep chat between two guys who obviously admire each other’s music a lot. If you’re not familiar with both, I strongly suggest a deep dive. Enjoy the episode. Thanks for listening to the Talkhouse Podcast, and thanks to Eric Bachmann and Matt Berninger for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and 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! Find more illuminating podcasts on the ⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠. Visit ⁠⁠⁠talkhouse.com⁠⁠⁠ to read essays, reviews, and more. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    54 minutos
  • Florence Shaw (Dry Cleaning) with Sue Tompkins

    Florence Shaw (Dry Cleaning) with Sue Tompkins
    Feb 19 2026
    On this week’s Talkhouse Podcast, we’ve got two women whose singing styles are similar in that they’re both absolutely singular, unmistakable, and wonderfully out of step—just don’t call it spoken-word. It’s Florence Shaw of Dry Cleaning and Sue Tompkins of Life Without Buildings. As you’ll hear in this chat, Dry Cleaning sort of fell together in London around 2017, when the three instrumentalists approached their friend Florence Shaw to add some vocals to the music they had been writing. It turned out that Shaw’s approach—speaking dense, clearly crafted but never obvious words—slotted in perfectly with the sort of nervous-yet-precise songs they had been working on. By 2020, Dry Cleaning had signed with the venerated 4AD label and the next year released a debut album, New Long Leg, that earned comparisons to post-punk greats like Siouxsie and Sonic Youth. For their third studio album, Secret Love, Dry Cleaning worked with producer-slash-musician Cate Le Bon, and they stretched out a bit, mellowing the sharp corners a bit while Shaw experiments more with vocal melody than before. Check out “Cruise Ship Designer” from Secret Love right here. Another person that eagle-eared listeners have compared Florence Shaw to is Sue Tompkins of the legendary, kinda-lost Scottish band Life Without Buildings. Life Without Buildings only released one album, Any Other City, in their brief three-year run, but it had a focused impact. Shaw remembers hearing the record as a teen. “It blew my mind that you could free yourself from the pressure of making traditional sense in lyrics,” she told the website Hearing Things, before mentioning that she’d love to meet Tompkins one day and thank her. Well, with some recent activity on the Life Without Buildings front—Tompkins contributed vocals to a new Sleaford Mods song, and the band just announced a couple of reunion shows—it seemed like the perfect time to get them together. In this delightful chat, Tompkins and Shaw talk about the similar origins of their respective bands, how genuinely kind the dudes of Sleaford Mods are, and their understandable reticence about the term “spoken word.” They also chatted a bunch about the TV shows Dragons’ Den and Eastenders, but we had to trim that in the interest of time. Trust me, it was great. Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Sue Tompkins and Florence Shaw 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. Follow @talkhouse on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Bluesky⁠⁠⁠, ⁠⁠⁠Twitter (X)⁠⁠⁠, ⁠⁠⁠Threads⁠⁠⁠, and ⁠⁠⁠Facebook⁠⁠⁠.
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    56 minutos