It’s summer here on the island, so we’re reviving ABC’s old justification for reruns to justify our own experimental indulgence and telling each other, “If I haven’t heard it, it’s new to me!” This week is kicking off a two week special where Andrew and Max each bring in an artist the other hasn’t heard of, and Max is starting us off with one of the most unpredictable bands in post-punk, Japan’s own P-Model! Modern day composer Susumu Hirasawa’s post-punk passion project went through a lot of changes over its 20 year existence, and we’re covering perhaps it’s most tumultuous period, from 1979’s Devo-biting debut In a Model Room to the baroque synth-pop of 1986’s One Pattern. In-between, we’ll journey through goofy atonality, reverb heavy no-wave, gorgeous Cure style ballads, and Art of Noise-esque sound collages. But will this island import tickle Andrew’s fancy? Probably! I mean, they’re a real good band. Also: music hipster dick measuring contests, the varied works of Satoshi Kon, and just so, so much poorly pronounced/translated Japanese.
It’s been a tumultuous week in Great Britain, and we’re reaching out to our fellow island dwellers the only way we know how: by talking about a bunch of albums for, like, 90 minutes. Specifically, we’re covering possibly the strangest, cleverest, and Englishest band to come out of the British Invasion: The Kinks! Long beloved by Andrew, occasionally confused for the Monkees by Max, the long running project of the Brothers Davies took us on quite a journey as we explored their first 11 albums. But will the snarky charms of Sir Raymond and Double Dave be enough to win out over a bad-blues-cover laden start and one of the worst concept albums ever recorded? Also: the dangers of nostalgia, uncomfortable Frank Zappa confessions, and the most anyone has ever talked about classic Tony Danza film She’s Out of Control
It’s been a pretty emotional week here on the island, as Max revisits one of her favorite bands (and the creators of her go-to breakup album)—Slowdive. Her diehard shoegaze fandom meets Andrew’s general shoegaze apathy as they tackle the brief yet fascinating discography of the only band Richey Edwards ever dubbed “worst than Hitler,” and find some surprising common ground in the lush pop anthems therein. Will this be the band that finally convinces Andrew of the glories of pedalboards? Will Max ever get over her totally real Canadian ex-girlfriend? And what does any of this have to do with ReBoot?
It’s been a long time since we’ve had a visitor to these distant desert shores, but we couldn’t ask for a better co-castaway than poet, cover artist, and general raconteur Haley Rene Thompson, who’s joining us to talk about one of the world’s most underrated supergroups: The Breeders. Over four albums and 28 years (!), Kim and Kelley Deal’s eccentric and electric indie-pop-punk-whatever group has released a body of music that defies expectation and explanation, but that’s not gonna stop us from trying to analyze the shit out of these fantastic tracks. Join us on this rough and wild journey through the deepest realms of songcraft, twin-speak, and staying up way past out bedtimes. Also: Andrew becomes the perfect parent, Haley compares Kim to a Japanese modernist, and Max gets kicked off her own dang podcast.
Rising from the ashes of catastrophic technical issues comes this, our first ever re-done episode. After our first attempt in the Month of Love and Hate was devoured by Audacity’s hideous maw, we had to let the fields lay fallow for a bit, but we’re coming back stronger and more in love than ever, to finally cover America’s Greatest Rock Band™—Sleater-Kinney. For the second time in our lives but the first in yours, we’re celebrating the storied discography of Carrie Brownstein, Corrin Tucker, Janet Weiss, and occasionally Laura MacFarlane, one of the very few we’ve encountered with nary a bummer disc in the bunch. So join Andrew and Max as they dish on the great hair and even greater chops of one of our favorite bands that we’ve ever discussed. Again. Also: Van Zandt Bandannas, the New Flesh, and another installment of Concert Report!
Put on your plain white tees and asymmetrical haircuts boys and girls—it’s time to get emo! That’s right, for our second survey episode we’re covering American Emo from 1995 to 1999—the era when emo went from a weepy offshoot of hardcore to a commercial juggernaut. And as puberty often is, this period is defined by plenty of awkward fumbling and experimentation, from the swirling post-hardcore of Sunny Day Real Estate to the quiet filigrees of American Football. It’s a difficult journey of self-discovery for the Desert Island Duo, but one with some rich rewards waiting for us at the end. Also: good and evil Kinsella brothers, catfished truckers, and the surprising connection between corn on the cob and Animal Collective.
Wellp, the Desert Island duo has really fallen into the old obscurity hole with this one, an examination of the career of a man best known for soundtracking an early Nickelodeon show. That’s right, today we’re covering the one and only Mark Mulcahy, from the early post-punk musings of his first band Miracle Legion through The Adventures of Pete and Pete and well into a solid if inconsistent solo career, all in a quest to turn one of our most beloved songsmiths into the household name he so richly deserves to be. But can their sheer enthusiasm defeat Skype lag, lack of sleep, and widespread public indifference? Don’t worry—rock and roll never dies, Thunderball. Also: exhaustion, heartbreak, and the Guardians of the Galaxy/Cruel Intentions slashfic you’ve always wanted.
Hey y’all! Did you know that Kendrick Lamar is like, really good? He’s so good. So as we emerge from cruelest month, hunched over and blinking in the light, it only makes sense that we do so with one of the most impeccable discographies we’ve ever tackled. Will our Desert Island Duo be able to pick just one of his incredible works to cherish in their exile? Well, I mean, we have to—that’s the whole premise. Also: Failed jokes, lawyer taunts, and spiteful jabs at Geraldo Rivera
We’ve finally reached the end of our turbulent month of Hate and more Hate, and we’re capping it off with perhaps our most contentious episode yet, as Max subjects Andrew to her beloved Lifter Puller and its much more successful sequel, The Hold Steady—both the creations of one Craig Finn. Across this meandering tale of shock, awe, and despair, we work through problematic faves and drink more whisky than ever before in a desperate attempt to bridge the sudden taste gap that has separated Max and Andrew for lo these past two weeks. Will Max ever be able to convince Andrew to give in to the Finn? Judging by the number of sick burns delivered, the prognosis is not good. Also: In-Depth Lore Reviews, American Idiots, and the Many Deaths of Andrew Cothren.
We’re back from our extended, technical difficulty fueled hiatus with just one important question: are you ready to feel the steel? I certainly wasn’t—I found it very unpleasant. But thanks to Andrew, our Month of Love and Hate continues with those smoothest of jazz dads, the one and only Steely Dan. Will these bitter perfectionists be the wedge the splits the island in twain? Or will Max finally see the light and embrace her inner dad? Either way, 12,000 Grammy voters can’t be wrong! Also: angry affirmations, surprising samples, and even more Mountain Goats.
Wow. Just, wow. What started as a joke and soon evolved into a grim death march has finally reach its fruition as the strange artifact you see before you, a frenzied message in a bottle from two lost souls desperate for solace. That’s right: this week, we’re covering the entire discography of the famous San Jose chin beard models, Smash Mouth. And if you think the Smash Mouth legacy begins and ends with “All Star”, oh God, do we have a horrific surprise for you. Join us as we take you on a journey from their ska, rap, and personal harassment-based origins through Christmas albums, Justin Bieber tributes, and an honest to goodness EDM collab. Will we make it through with our souls intact? No. No we won’t. Also: flesh prisons, Carl’s Jr., and just so, so much screaming.
It’s been a heady month for the castaways this March, as we weathered a self-inflicted hurricane of tours and two-parters that (vaguely) threatened to drown us. But the end is in sight, and who better to shepherd us through this all-consuming fury than famed storm-chaser Phil Elverum? Join us as we finish our deep dive into his discography with the wild and wide-ranging works of Mount Eerie. In the process, your hosts will swing from measured singer-songwriter talk to ecstatic joy to utter speechlessness, in what is quite possibly our most epic episode yet. Also: plenty of cowboy talk, Max’s Monologue Moment, and more pained sighs per minute than ever before!
Ravaged by tour strife and the rigors of funemployment, your beleaguered hosts call upon their deepest inner resources (and the magic healing powers of whisky) to steady themselves for another epic two parter—an exploration of the wild and ranging works of Phil Elvrum/Elverum. Luckily, we’re starting small, with the four official studio albums that make up the discography of that late, great early Elvrum project, the Microphones. But beset on all sides by despair, distortion, and the Big Black Death, will even this small task prove too much for Max and Andrew? Judging by the 45 minutes of drunken rambling we cut from the episode, the answer is “probably.” Also: The rise and fall of Incubus, DRUMS DRUMS DRUMS, and a brief discussion of Mac McCaughan’s relative chunkiness
Well, it happened—we posted a late episode. Roughly three days late, which is quite a delay. There wasn’t much that could be done about it (since I was editing it, the file was at the mercy of several unreliable Austin internet connections, none of which were super capable of uploading such a large file). In penance (and maybe as a sort of exorcism), here are the collected notes for both episodes—9235 words over the course of 16 albums. I can’t promise there’s anything enlightening here; again, this more about offering a peek into the process of researching for these episodes. But if you’re curious, this is what happens when an over-caffeinated Mountain Goats fan is given two weeks to ramble. Enjoy?
Your desert island girl is on tour, and you know what that means: late episodes, loose editing, and a whole lot of Mountain Goats flavored discourse! Our exhausted but generally amiable hosts finish up their exploration of the Mountain Goats mammoth discography by covering all 9 albums that make up the hi-fi era so far. From the shaky yet atmospheric Tallahassee to the triumphant wrestle mania (unofficial) of Beat the Champ, we chart the path of these indie folk stalwarts from one man and a boombox to three men, a variety of actual producers, and relative stardom. Also: rare tracks, tales from the road, and 100% fewer dildos!
Get your special shoes on, castaways—it’s time to tackle the epic heights of that most indelible of indie institutions, The Mountain Goats. Faced with a discography of 15 albums and counting (keep an eye out for Goths!), your desert island duo are approaching this task the only way they know how—by dividing, labeling, classifying, and (hopefully) conquering. Thus, we begin our story with the works of John Darnielle and his trusty boombox, covering his pre-Vanderslice works from Zopilote Machine to All Hail West Texas. Will this massive undertaking be the strain that finally tears the island apart? Can a lo-fi girl from Texas win out against a hi-fi city boy? And will there be any peanuts waiting for us at the end? Find out in our latest thrillingly folksy installment of Desert Island Discourse.
Well I’ve been threatening to start publishing our notes on here for awhile now, but have thus far chickened out due to terrible quality. Years of writing workshops have made me wary of releasing work that was made with no intention of being read, but 1. nobody actually checks out the website and 2. I figure y’all are cool enough not to judge me too harshly. So if you’re interested in what kind of work goes into an episode, it’s stuff like this—you’ll notice a lot of it was restated verbatim in the show. Well, y’know, you take so many notes, they find their way into your head, and then from your head to a microphone, after which no amount of diligent Audacity cutting will cleanse them.
This week, the castaways trade in the idyllic island life for cold storage as Max and Andrew tackle their first survey/grab bag episode.
From the wild and ragged sounds of the Slits to the catchy innocence of Stockholm Monsters, we commemorate three episodes of crowd-pleasing hit-makers by diving into a scattered array of the great obscure and semi-obscure arty rockers that made the bleak industrial wastes of northern Britain so very fashionable for decades to come.
a.k.a. “If you liked it then you should’ve POD a CAST on it”
This week on the island, we’re visited by the incomparable Caroline Rayner to talk about the one true Queen of Pop: Beyoncé.
From the charmingly dated and Sean Paul riddled Dangerously in Love to the impeccable and utterly shafted Lemonade, we chart the course of this musical pioneer with all the stunned awe and hopeless grasping for adjectives you’ve come to expect from us.
Things have taken a turn for the anxious this week, as your hosts tackle the storied, unpredictable discography of that most unlikely of great bands, Radiohead. From brit-pop trifles to esoteric electronica to some awfully quaint Bush-era paranoia, we cover every croon, wail, and blip from everyone’s favorite prophets of urban despair.
In our very first episode, your desert island duo inadvisably crack open the liquor to explore the 80’s discography of the purplest one of them all: Prince. Will the most Album Album win out over the Sexiest Sex? Will Andrew finally learn what “Head” is? And is the water really, truly warm enough? The answers to all these questions and more lurk behind the iffy sound quality and inordinately long running time of this, the confounding debut of Desert Island Discourse.
Intro and Outro Music: “Canned Laughter” by Pop Martyrs
Interstitial Music: “Too Drunk to Fuck” by Nouvelle Vague