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Ep. #86: Destroyer

Destroyer is the music-making moniker of Dan Bejar, a very gifted lyricist and musician who originally hails from Vancouver, British Columbia. He has been creating an idiosyncratic kind of pop music as Destroyer for almost 20 years and can also claim membership in bands like the New Pornographers, Swan Lake, and Hello, Blue Roses among others. His latest work as Destroyer includes the lovely 2013 EP Five Spanish Songs and his brilliant ninth LP, Kaputt, which were jointly released by Merge Records and Dead Oceans in 2011. On Friday April 11, Destroyer plays a solo set at the Dublin Street United Church in Guelph, Ontario as part of Kazoo! Fest. Here, Dan and I discuss why, despite living in Spain for a spell, Vancouver remains his home, that year he played SappyFest and first spent time in New Brunswick, why playing small towns is refreshing, how Destroyer has evolved into a ‘heavy touring machine,’ Will Oldham’s interesting tour routes and how Dan envisions a touring pattern of his own, how his solo performance process and execution has evolved, how he and his family moved around a lot when he was growing up and whether or not that impacted his ‘cosmopolitan’ outlook, how bands in the Vancouver scene like Superconductor and Blaise Pascal first drew him to appreciate and play music, what he studied in school and why he dropped out, how Carl Newman’s early work resonated with him, why Vancouver in 1992 was the best irrespective of what else was happening in the Pacific Northwest, Dan’s uncertainty about his band leading skills and his lack of any real aesthetic, the reception to Kaputt compared to previous records he’s made, an update on the Destroyer recording sessions he’s beginning this week and also his two ‘unfamiliar’ contributions to a New Pornographers album due later this year, his interest in enigmas and mysteries, what his ‘words first’ approach to songwriting might say about him, his reservation about engaging with music by younger artists, our mutual adoration of Bill Callahan’s Dream River and Bill Callahan generally, the somewhat unappreciated humour in Destroyer’s songs and how Dan amuses himself as a writer, how this podcast is going to change everything, what material his solo shows have been consisting of as of late, whether or not he might learn to play a Pavement song, my son’s insistence that Bob Dylan and Jim Guthrie wrote a song together called “Colourbook Face,” the Destroyer song “Certain Things You Ought to Know,” and nothing more.

Related links: mergerecords.com/destroyer kazookazoo.ca vishkhanna.com

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News Podcast

Ep. #85: Carl Wilson + Sean Michaels

Carl Wilson and Sean Michaels are two of Canada’s most esteemed music writers. Based in Toronto, Carl Wilson is the music critic at Slate and has contributed to the Globe and Mail, the New York Times, and many other publications. His 2007 book Let’s Talk About Love has just been published in a new and expanded edition and continues the provocative conversation Wilson initiated about cultural consumption, taste, and why some things are considered cool and some things aren’t. Things like Celine Dion albums for instance. Sean Michaels lives in Montreal, is an award-winning writer and founder of the music blog Said the Gramophone, and he has written for the Guardian and McSweeney’s among others. Random House has just published his first novel; it’s called Us Conductors and it’s a touching, compelling, distorted memoir of Leon Termen, the brilliant scientist but rather heartbroken human who is best known for inventing the mysterious musical instrument known as the theremin. On Tuesday April 8, Wilson and Michaels engage in a tandem book launch at the Monarch Tavern in Toronto, featuring many special guests. Here, Carl and Sean and I discuss our Skype date, why they’re launching their books together, the ways in which music galvanizes and separates us as well, sound as an invisible, intangible force, Sean’s interest in the theremin as both a musical and literary device, investigative music writing, asking questions about loneliness and joy, how Carl’s work resonates with Sean and vice versa and how their station as writers impacts their approach to music journalism, the current state of music journalism as a “post-apocalyptic wasteland,” breaking news versus breaking criticism, the podcast as the last vestige of long-form conversation, whether popularity or the lack thereof should impact cultural production, why the field of music writing is thinning out, how fulfilling our passions is what life is for, why Let’s Talk About Love has been republished in this expanded edition with fresh essays and analysis, how Carl’s book impacted Sean as a music fan, writer, and critic, Sean’s feelings about Us Conductors and its characters now that he’s left them behind so to speak, how the story reflects his own life, the parallels between Lev Terman and Celine Dion, why Sean’s book resonates with Carl, the structure of the launch party in Toronto, which includes performances by Snowblink, thereminist Jeff Bird, RaP BattLez battle by Daniel Beirne (a Thereminist) vs Roger Bainbridge (a Celine Dion fan), DJ Sandro Perri, and host Liisa Ladouceur, what’s next for Carl and Sean, which includes more writing and book tours, possibly a novel about me, and that’s pretty much it.

Related links: bloomsbury.com saidthegramophone.com vishkhanna.com

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Ep. #84: Charles R. Cross

Charles R. Cross is a Seattle-based music writer and author who has written nine books, including the award-winning and definitive Heavier Than Heaven: The Biography of Kurt Cobain. He was the editor-in-chief of the Seattle music magazine The Rocket, covering the early rise of local bands like Nirvana and he’s regarded as both an esteemed expert and reliable firsthand witness to the media’s mania about the arts and culture cultivated within the Pacific Northwest almost 25 years ago. His latest book is Here We Are Now: The Lasting Impact of Kurt Cobain, which is an intriguing chronicle of the myriad ways in which Cobain’s life and death affected various strains of culture—everything from hip-hop music and high fashion to geographic interest in Aberdeen, Washington and a more serious medical assessment of addictive personalities, suicide prevention, and the moral gridlock that stymies the so-called ‘war on drugs.’ Here, Charles and I discuss his recent trip to Cobain’s hometown, Aberdeen, Washington, the library where Cobain spent a lot of time as a youth, the fiasco that was Aberdeen’s ‘Kurt Cobain Day,’ the good people of that town versus the hapless public officials who grapple with his legacy, how a weird conversation with Larry King inspired Cross’ latest book, the divisiveness of Cobain in his work and lifestyle, how Cross viewed Cobain after finishing his biography Heavier Than Heaven, grappling with Cobain’s suicide and how his life was shadowed by its prospect, how making music and art actually may have prolonged his life, how dwelling upon Cobain proves to be insightful as a writer and fan, holding Kurt’s suicide note and reading his journals, the infuriating crassness of cashing in on Cobain’s death, how Cross feels he’s now said all he can say about Cobain, how he’s struck this close, trusting association with Courtney Love, the latest about the biopic that will supposedly be based upon Heavier Than Heaven, the Nirvana song “Sliver,” and more.

Related links: charlesrcross.com youritlist.com nirvana.com vishkhanna.com

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