I wondered what a ‘heavy’ St Vincent album might sound like, maybe this is a taste?

Appearing on’s New Arrivals show (via Uproxx), St. Vincent explained that she was “dead set” on creating a “heavy record” as the follow-up to 2017’s ‘Masseduction’. “Like just heavy the whole time – like, ‘Hey kids, you like Tool? Well, you’ll love the St. Vincent record’, you know?” she said.

I also am intrigued if Jack Antonoff had an part to play in this recording or if St. Vincent simply self-produced it?

I really enjoyed the discussion about how you structure the finances and decisions, this was something I too had always wondered. That makes a lot more sense to me now. In regards to something I was left wondering about is the ways in which regular guest, Bryan Mathers , has benefited from Creative Commons? Maybe something for a future episode?
Listened Ska Horns & Madonna Melodies | Strong Songs: A Podcast About Music from Strong Songs: A Podcast About Music

Mailbag time! We’ve got listener questions about Madonna earworms, National piano parts, Breath of the Wild music, online vocal teachers, the French horn, The L…

In a Q&A episode, Kirk Hamilton addresses the question of why jazz soloists never repeat their solos when playing a track live, whereas rock artists do. He explains that it is about the intent of the performance. Jazz solos are usually a part of a conversation with the rest of the group, whereas rock solos like Stairway to Heaven, Sweet Child of Mine and Comfortably Numb are carved out expressions. It is therefore less about the genre than it is about the intent. As Hamilton explains, “you do not turn up to a dinner party and read off a page.” It is for this reason that you will find some rocks artists who do actually improvise.

This reminds me of a conversation between Annie Clark and the late Andy Gill about structured music and free-form music. I am also reminded of my experience of seeing Aphex Twin and the misconstrued expectation that there would be any semblance of the familiar. I guess if you want a particular sound, go listen to the historical record, whereas if you would like a conversation, see the performance?

Listened Podcast #715: What’s the Most Sustainable Diet? from The Art of Manliness

My guest today is in a distinctly well-informed position to comment on this question, having personally test-driven over a dozen diets in three years. His name is Barry Estabrook, and he’s an investigative journalist and the author of Just Eat: One Reporter’s Quest for a Weight-Loss Regimen That Works. We begin our conversation with what set Barry on his quest to find the best, most sustainable diet. We then get into the fact that the ideas behind modern diets aren’t new, and the sometimes weird history of their predecessors. From there we turn to Barry’s experiments with contemporary diets, including what happened when he tried eating both low-carb and low-fat, joining Weight Watchers, and figuring out what he could learn from the eating habits of the Greeks and French. We end our conversation with what Barry ultimately changed about his own diet to successfully drop the pounds, and what he discovered as to what really works best for sustainable weight loss.

After going through a range of diets, Barry Estabrook reveals that the most sustainable strategy is to reflect upon your own life and identify aspects of change. One change that I have made in the last few years has been intermittent fasting.

“Doug Belshaw” in Open Thinkering ()

Another great Tao of Wao Doug, Laura and Bryan.

The discussion touched upon devices and calling out usage. This reminded me of something that danah boyd once shared:

  1. Verbalize what you’re doing with your phone’
  2. Create a household contract

In regards to ‘work’, I was intrigued by Doug’s discussion of work and non-work (if that is what we want to call meetings etc). It made me wonder if there are some people out there who maybe never ‘work’?

In relation to clocking hours, I personally do not have to worry about that, and must admit, I prefer not stressing about every minute. However, I do quite a bit of development in the creation of various Crystal Reports with a third-party. One of the biggest lessons that I have learnt is that everything counts. This has definitely made me more mindful of the emails I send and the testing I do, especially when you think of every update and request as a fifteen minute block.

As a side note, I wonder how we might rethink email requests and interruptions within organisations if they were billed in fifteen minute blocks?

Lastly, Bryan’s involvement reminded me of the pre-TIDE conversation?

Listened fifth studio album by Marina Diamandis from Wikimedia Foundation, Inc.

Ancient Dreams in a Modern Land is the fifth studio album by Welsh singer-songwriter Marina, released on 11 June 2021, through Atlantic Records. She began songwriting for the project in January 2020, around the time she released the soundtrack single “About Love”. The album was preceded by the release of four singles, “Man’s World”, “Purge the Poison”, the title track, and “Venus Fly Trap” with each one having a music video.

Unsure what to listen to, I recently did a dive into similar artists associated with Haerts and ended up clicking on MUNA. At the top of the list was their remix of Marina’s track Man’s World:

I had never consciously heard Marina Diamandis’ work, so I was intrigued. Ancient Dreams in a Modern Land never quite settles, touching on rock, pop, ballads, always moving on.

Anti-misogyny manifesto pop could easily become clumsy and overwrought, but the joy Marina invests into her mannered, quasi-operatic delivery makes sedition sound seductive.

I also enjoyed watching parts of the Live from the Desert performance.

Place between Garbage and Montaigne

Listened 2021 studio album by Garbage from Wikimedia Foundation, Inc.

No Gods No Masters is the seventh studio album by American rock band Garbage. It was released on June 11, 2021, through the band’s own label Stunvolume. The album was distributed worldwide by Infectious Music and BMG and preceded by the lead singles “The Men Who Rule the World”, “No Gods No Masters” and “Wolves”.[1]

“This is our seventh record, the significant numerology of which affected the DNA of its content: the seven virtues, the seven sorrows, and the seven deadly sins,” singer Shirley Manson explained, describing No Gods No Masters as “a critique of the rise of capitalist short-sightedness, racism, sexism and misogyny across the world.”[2]

No Gods No Monsters is a statement album pushing back on the world’s ills. It is an album for now that bares everything.

In these dumpster fire times we’re living in, did you really think she’d let all the horror go unchecked?

On Garbage’s seventh offering, No Gods No Masters (a slogan for anarchists and labor unions alike), Garbage’s redheaded Molotov cocktail explodes at evangelicals apathetically offering prayers after shootings, “The Men Who Rule the World,” shitty men in general (in case they don’t rule the world), and, as is often the case on a Garbage record, herself.

What I like most about the album (and Garbage in general) is the sound they carve out, where everything has a place.

As a whole, No Gods No Masters reads as an album about deep societal frustrations. Yet it manages to feel light and airy in moments, like the humorously titled, Pet Shop Boys-adjacent “Flipping the Bird.” The emotional texture of each track is what makes it rise above a collection of empty, sloganistic statements. Garbage still have that irreverent spirit they’ve always had, and it’s a delight to see that the world’s horrors haven’t changed that; they’re still here serving dissatisfied, withering gazes at a decaying society, just like they were back when they moaned about their rainy day gloom.

Or as Kory Grow suggests:

It’s like Nine Inch Nails’ downward spiral if Trent Reznor turned his hatred outward and used a mirror ball.

Place between Depeche Mode and Chvrches.

Listened Sir John Eliot Gardiner, and Marvin Gaye’s masterpiece at 50 from ABC Radio National

Marvin Gaye’s album What’s Going On turned 50 this week; it was an instant commercial success in 1971, helping to summarise the hopes and despairs of Black Americans against a backdrop of the Vietnam War and ongoing fight for racial equality. But could the album be even more relevant today? Rolling Stone thinks so (it jumped from #6 to #1 on their 500 Greatest Albums of All Time list when revised in 2020). Mark Anthony Neal is the James B. Duke Distinguished Professor of African & African American Studies at Duke University and is on The Music Show to pull apart the album (from the distinctive vocal techniques to how it flows as a song cycle) and to talk about its influence on Motown, soul music, and beyond.

Mark Anthony Neal discusses the legacy of Marvin Gaye’s What’s Going On. I like the point that without this album, you do not have so many others after it.

You don’t need to look too hard to see the influence that Marvin Gaye has exerted across generations of artists from Frank Ocean to Alicia Keys, Sampha to Devon Gilfillian and countless more.

For a wider appreciation of where the album sits in time, Neal also wrote a piece for NPR.

Listened Daddy’s Home, by st. vincent from st. vincent

14 track album

“I felt I had gone as far as I could possibly go with angularity,” Clark said when announcing Daddy’s Home. Instead, she dug back into the records of her youth: Steely Dan, Stevie Wonder, Bowie. Daddy’s Home was positioned as a warmer, more lived-in collection steeped in the big comedown of the ‘70s and specifically the sleazy, druggy glamor of ‘70s New York.

I feel that the sound and setting of this album requires a particular setting. I liked Spencer Kornhaber’s point about a ‘bar perfumed by cigarette smoke’:

Daddy’s Home, upon first listen, seems like it might impress her critics. St. Vincent has undertaken a dramatic sonic reinvention that emphasizes, in her words, “looseness and groove.” The palette is early-’70s rock and soul: the boogying synths of Stevie Wonder, the spacey noodling of Pink Floyd, the rhythmic urgency of War, the haughty haze of the Velvet Underground. Though the producer Jack Antonoff worked with St. Vincent on her 2017 album, Masseduction, his linkup with her now more recalls the finely detailed nostalgia trips he’s undertaken with Lana Del Rey. Some Daddy’s Home songs are physically nauseating in the same fun way that Parliament-Funkadelic can be. Many are full-band workouts begging to be performed in a bar whose carpeting is perfumed with cigarette smoke.

This album just makes me want to go back and listen to St. Vincent’s back catalogue all over again and appreciated the sounds and exploration.

Place next to Lana Del Ray

Listened Dream Nation – Haerts | Songs, Reviews, Credits | AllMusic from AllMusic

Find album reviews, stream songs, credits and award information for Dream Nation – Haerts on AllMusic – 2021 – Brooklyn-based duo Haerts have a delicately…

I have struggled to get into this album, I think I am being cursed by wanting or expecting more of the sound and songs from their first album. I have had the same experience with London Grammar’s Californian Soil. Both albums seem to step up on the groove and layers to take the sounds to new places. I feel that it might be one of those albums that I grow into.
Listened Air’s ’10 000 Hz Legend’ Came Out 20 Years Ago Today,10 000 Hz Legend Turns 20 from Stereogum

So 10 000 Hz Legend is a weird album in a few respects, and if we were speaking about its legacy, say, circa Pocket Symphony, I’d probably tell the theoretical “you” that it was a transitional release — essentially Godin and Dunckel working through a few different subgenres of electronic and pop music to arrive at the stately, composed loveliness that the following two albums embraced. But the truth is that Air have since more than earned a reputation for embracing exploration over cohesiveness, from the shaggy vibrance of 2009’s Love 2 to the foggy, filmic Le voyage dans la lune from 2012. (The duo have largely been silent since, engaging in solo releases and one-off projects including Godin’s perfectly fine solo LP Concrete And Glass from last year.)

Rather than thinking of 10 000 Hz Legend as weirder than most Air albums, perhaps we should be considering the possibility that Air just flat-out make weird albums that often resemble something like 10 000 Hz Legend. It’s who they are, as much as it’s possible to define who Air actually “are,” and if that seems confusing, well: This music was never meant to be chewed over as much as it’s meant to be simply experienced.

Listened 2021 studio album by Olivia Rodrigo from Wikimedia Foundation, Inc.

Sour (stylized in all caps) is the debut studio album by American singer and songwriter Olivia Rodrigo, released on May 21, 2021, via Geffen Records. It was produced by Dan Nigro, who co-wrote the album alongside Rodrigo. Inspired by Rodrigo’s favorite genres and singer-songwriters, Sour is primarily a pop and alt-pop record that sprawls between energetic pop punk songs and bedroom pop ballads. Its subject matter centers on adolescence, failed romance and heartache.

I was intrigued to hear this album. I think Chris Deville captures it best:

It feels like one of those albums that, while too flawed to be hailed as a masterpiece, will linger as a generational touchstone, a time capsule from an era when blockbuster pop music veered toward folk, rock, and searing vulnerability.

Place between Lorde and Amy Shark.

Listened Afterworld, by All India Radio from All India Radio

Afterworld was written and recorded during Australia’s coronavirus lockdown. It was a chance to do something different and take some risks. I wanted to create something with a bit more depth than my previous album, Eternal, which, in the spirit of fun, was thrown together quick and dirty. With Afterworld, I wanted to slow things down, breathe in the air, let the guest artists do their thing without interference and hopefully create some music that moves people. I hope I’ve succeeded.

I remember being mesmerised by 002, especially the track Permanent Revolutions. I saw them perform with La Bradford at the Corner Hotel in 2002. However, my tastes seem to drift elsewhere. Of late, I have listened to a few ambient pieces as they have come into my New Releases never completely drawn in. However, Afterworld seems like something more. Maybe it is the additional of vocals, I’m not sure, but I have found it a great album to lose yourself to. I particularly love the cover of Pink Floyd’s Set the Controls for the Heart of the Sun.

Place between Shabason, Krgovich & Harris’ Florence and Brian and Roger Eno’s Mixing Colours

Listened studio album by Julia Stone from Wikimedia Foundation, Inc.
I initially saw this album show up in my ‘released’ feed, but overlooked it based on preconceptions about what a ‘Julia Stone’ album meant. However, I was intrigued after listening to Stone on the Take 5 Podcast. Maybe it was the involvement of Thomas Bartlett and Annie Clark, or the pop hooks, whatever it is, I have not stopped listening.

Place between Sarah Blasko and Mark Ronson’s sad bangers.

Listened What should become of the office? from ABC Radio National

Will the experience of working-from-home make employees reluctant to resume the daily struggle with traffic or public transportation, or to put up with irritating co-workers and unproductive work environments? Or will we discover that we’ve missed something precious in being deprived of interactions with others?

Waleed Aly and Scott Stephens speak with Gideon Haigh about his book The Momentous, Uneventful Day: A Requiem for the Office. With so many forced to work offsite during the pandemic, the three consider the current purpose of the office and its futute moving forward.

Although many have raised fears associated with absenteeism, there is also a danger of presenteeism, where because you are present you are productive. One of the things to come out of the pandemic is the danger of the cult of reproducibility. Technology is not a direct substitution for face-to-face interactions. That is, not everything done in the office can be done at home, and vice versa. Both spaces are unique, with their own features and affordances, forever changing over time. For example, working from home can be more conducive for the deeper appreciation of ideas, whereas being in the presence of others often forces you to into answers. In addition to the space, the conditions of work changes things. For example, when people are mandated to work from home, this takes away from the opportunities to break up the day.

In addition to the space itself, there is the transition between different performances that occurs. Office life is a performance, but maybe just a different performance. Working from home offers certain lifestyle possibilities. With the lose of the commute, the transition between life and work becomes blurred. Associated with this, the technology we have come to depend upon has created something of a templated self, where we are conditioned to work in a particular way. This has all created the conditions for a perpetual work environment which has colonised the home. Work is subsequently no longer a vocation and deep ownership.

For me, this adds to Jennifer Moss’ discussion of burnout, Cal Newport’s exploration of productivity hacks, and Sean Blanda’s fear about the way in which remote work often becomes about tasks, rather than people.

Listened 2021 studio album by Taylor Swift from Wikimedia Foundation, Inc.

Fearless (Taylor’s Version) is the first re-recorded album by American singer-songwriter Taylor Swift, released on April 9, 2021, through Republic Records. It is a re-recording of Swift’s second studio album, Fearless (2008), and the first of six re-recorded albums Swift plans to release, following the dispute regarding ownership of the masters to her first six studio albums.

Fearless is the first installment of Taylor Swift’s re-recording of her first six albums. With bonus tracks and previously unrecorded material, it is a lengthy album, perfectly designed to maximise streaming services.

In some respects the new tracks, produced by Antonoff and Dessner, feel like a continuation of the work done on Folklore and Evermore.

Dessner and Antonoff’s production believably reframes these Fearless outtakes as folklore deep cuts. It’s proof of how thin the line between a twilit country radio ballad and shimmery indie-tinged folk-rock can be.

Ben Thompson compares the exercise with what Dave Chappelle did when he asked them to not wqtch his show. Thompson wonders if she will or even needs to remake any more of her albums.

It’s easy to see how this plays out going forward: Swift probably doesn’t even have to remake another album; she has demonstrated the willingness and capability to remake her old records, and her fans will do the rest. It will behoove Shamrock Capital, the current owner of Swift’s masters, to buy-out Braun’s share of future upside and make a deal with Swift, because Swift, granted the power to go direct to fans and make her case, can in fact “change history, facts, and re-frame any story [she] want[s] to fit with any narrative [she] wish[es].”

Listened Godspeed You! Black Emperor : G_d’s Pee AT STATE’S END! | 8.1 by Grayson Haver Currin from Pitchfork

The four suites of music here sound incredible, capturing the grandeur, aggression, and power of their symphonic punk with perfect clarity. And it feels incredible, too, as it endures passages of oppressive darkness to step at least toward a new dawn.

Listened Hope is a discipline by Miriame Kaba in conversation with Brian Sonenstein and Kim Wilson from

In Episode 19 of Beyond Prisons, hosts Brian Sonenstein and Kim Wilson catch up with activist, writer, and educator Mariame Kaba.

Mariame shares her experiences advocating on behalf of Bresha Meadows, a teenage girl who killed her abusive father and was detained while facing the possibility of trial as an adult and a lifetime of incarceration. She recount’s Bresha’s story and explains how activists worked to make sure the family’s needs were met and help them navigate the collateral consequences of detention, including an enormous financial burden and the shame and stigma that makes people internalize their struggle.

The conversation continues with Mariame’s view of abolition as a collective project that embraces people who sense there is a problem with American institutions and are interested in figuring out what to do about it. She explains what she means when she says hope is a discipline, not an emotion or sense of optimism, and how this informs her organizing. Self care is examined as a community project. Finally, Mariame shares what books are on her shelf and what she’s reading right now.

In this interview, Mariame Kaba talks about the prison industrial complex and the requirement to have ‘hope as a discipline’ to maintain the effort for the long haul:

I don’t also take a short-time view, I take a long view, understanding full well that I’m just a tiny, little part of a story that already has a huge antecedent and has something that is going to come after that, that I’m definitely not going to be even close to around for seeing the end of. So, that also puts me in the right frame of mind, that my little friggin’ thing I’m doing, is actually pretty insignificant in world history, but [if] it’s significant to one or two people, I feel good about that.

Continuing the conversation around hope, Kaba suggests that the care starts from where you are.

You don’t have to go anywhere to care for yourself.

” wiobyrne” in YOLO – Digitally Literate ()

Listened Atlas of AI with Kate Crawford from

What is the Atlas of AI? Why is it important? How is AI an industry of extraction? How is AI impacting the planet? What can be done? 

To answer these questions and more we welcome to the show Dr. Kate Crawford to discuss Kate’s new book Atlas of AI: Power, Politics, and the Planetary Costs of Artificial Intelligence

Kate Crawford speaks about her new book, Atlas of AI. In it, she attempts to capture the human side of artificial intelligence, whether it be the resources, the workforce, history, datasets or the escape to space. As she defines in a separate interview with WIRED:

AI is made from vast amounts of natural resources, fuel, and human labor. And it’s not intelligent in any kind of human intelligence way. It’s not able to discern things without extensive human training, and it has a completely different statistical logic for how meaning is made. Since the very beginning of AI back in 1956, we’ve made this terrible error, a sort of original sin of the field, to believe that minds are like computers and vice versa. We assume these things are an analog to human intelligence, and nothing could be further from the truth.

This builds upon her work a few years ago exploring the life cycle of an Amazon Echo.

In an extract published in The Atlantic, Crawford addresses concerns associated with emotion recognition:

This is the danger of automating emotion recognition. These tools can take us back to the phrenological past, when spurious claims were used to support existing systems of power. The decades of scientific controversy around inferring emotional states consistently from a person’s face underscores a central point: One-size-fits-all “detection” is not the right approach. Emotions are complicated, and they develop and change in relation to our cultures and histories—all the manifold contexts that live outside the AI frame.

For a different introduction, Zan Rowe leads dives into Crawford’s atlas of sound.

Listened Shipworm: Podcast — Two-Up Productions from Two-Up Productions

Shipworm, a feature-length podcast from the creators of Limetown and 36 Questions.

This was an interesting listen. As a medium, I was left wondering what was added and left out, especially after reading Quinn Norton’s reflections on games as a form of literature.

You couldn’t write a Portal book or make a Portal movie or ink a Portal comic, Portal could only be Portal.

In particular, I wonder how Shipworm is any different to a radio play or a traditional audiobook?

“Kellie Riordan” in Is this the first real movie for your ears? ()