Episode 1: "The West is the Best? w/ Lili Anolik and John Doe"

Subscribe to <a href="https://pod.link/1852359364">Really?? The Doors?</a>

What did The Doors mean for their time and what do they mean today? What’s the place of Los Angeles in The Doors’ oeuvre? What can the figure of Jim Morrison tell us about American masculinity? Are The Doors cool? And, has popular culture completely misunderstood The Doors? Naomi Fry welcomes you to the world of “Really??” and is then joined by writer Lili Anolik and musician John Doe of X to talk about the LA scene that gave birth to The Doors.

Really?? The Doors? is produced by Noah Chernin, Jody Avirgan, and Ian Wheeler of Talkhouse. Production support from Jake Bowman and Keenan Kush.

Special thanks to our sponsor, <a href="https://www.bootleg.live/">Bootleg</a>.

Be sure to check out <a href="https://www.newyorker.com/contributors/naomi-fry">Naomi’s work</a> at The New Yorker and their podcast <a href="swap.fm/l/tny-cal">Critics At Large</a>.

Find more illuminating podcasts on the <a href="https://www.talkhouse.com/talkhouse-podcast-network/">⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠</a>.
Visit <a href="https://www.talkhouse.com/">⁠⁠⁠talkhouse.com⁠⁠⁠</a> to read essays, reviews, and more.
Follow @talkhouse on <a href="https://www.instagram.com/talkhouse">⁠⁠⁠Instagram⁠⁠⁠</a>, <a href="https://bsky.app/profile/talkhouse.bsky.social">⁠⁠⁠Bluesky⁠⁠⁠</a>, <a href="https://x.com/Talkhouse">⁠⁠⁠Twitter (X)⁠⁠⁠</a>, <a href="https://www.threads.net/@talkhouse">⁠⁠⁠Threads⁠⁠⁠</a>, and <a href="https://www.facebook.com/talkhouse">⁠⁠⁠Facebook⁠⁠⁠</a>.

<description>Episode 1: "The West is the Best? w/ Lili Anolik and John Doe"

Subscribe to Really?? The Doors?

What did The Doors mean for their time and what do they mean today? What’s the place of Los Angeles in The Doors’ oeuvre? What can the figure of Jim Morrison tell us about American masculinity? Are The Doors cool? And, has popular culture completely misunderstood The Doors? Naomi Fry welcomes you to the world of “Really??” and is then joined by writer Lili Anolik and musician John Doe of X to talk about the LA scene that gave birth to The Doors.

Really?? The Doors? is produced by Noah Chernin, Jody Avirgan, and Ian Wheeler of Talkhouse. Production support from Jake Bowman and Keenan Kush.

Special thanks to our sponsor, Bootleg.

Be sure to check out Naomi’s work at The New Yorker and their podcast Critics At Large.


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.</description>

Episode 1: "The West is the Best? w/ Lili Anolik and John Doe"

Subscribe to Really?? The Doors?

What did The Doors mean for their time and what do they mean today? What’s the place of Los Angeles in The Doors’ oeuvre? What can the figure of Jim Morrison tell us about American masculinity? Are The Doors cool? And, has popular culture completely misunderstood The Doors? Naomi Fry welcomes you to the world of “Really??” and is then joined by writer Lili Anolik and musician John Doe of X to talk about the LA scene that gave birth to The Doors.

Really?? The Doors? is produced by Noah Chernin, Jody Avirgan, and Ian Wheeler of Talkhouse. Production support from Jake Bowman and Keenan Kush.

Special thanks to our sponsor, Bootleg.

Be sure to check out Naomi’s work at The New Yorker and their podcast Critics At Large.


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.

Podcast Preview: Really?? The Doors?

On this week’s Talkhouse Podcast we’ve got a pair of incredible songwriters who’ve also been frequent Talkhouse guests and contributors over the years: Emily Yacina and Greta Kline.
Follow along here, as this could get confusing: Frankie Cosmos used to be Greta Kline’s stage name, but now it’s the name of the band that she fronts. Maybe that wasn’t too confusing. In any case, the sixth and latest Frankie Cosmos album, <a href="https://ingridsuperstar.bandcamp.com/album/different-talking">Different Talking</a>, came out earlier this year, and it’s a stunner. Kline has been writing smart, wry, literate indie-pop for a decade, and this one feels both like a nod to her bedroom-pop past and a bold look forward. Check out “Vanity” from Different Talking <a href="https://www.youtube.com/watch?v=oK5lfRNpI1Y">right here</a>.
Emily Yacina also came up in the DIY/Bandcamp era, and has been releasing music for the last decade or so as well—she collaborated with Alex G early on. Yacina’s latest album is the heady, expertly crafted <a href="https://emilyyacina.bandcamp.com/album/veilfall">Veilfall</a>, which was at least partially inspired by a series of “death salons” she hosted while making it, where participants would share stories about grief and dying. The resulting album isn’t nearly the downer you might expect, considering that fact—it’s up there with the best she’s done. Check out “Holy for a Moment” from Veilfall <a href="https://www.youtube.com/watch?v=GF7241gwRLo">right here</a>.
In this lively conversation, recorded while Emily and Greta were in the middle of a tour together, they chat about being connected to your inner child, tearing up for Talkhouse, and how sometimes releasing music feels like “shitting into the void.” Enjoy.
0:00 – Intro 
2:12 – Start of the chat 
2:50 – On their adventures touring together 
5:20 – On being connected to your inner child 
6:20 – On balancing your setlist for new and old fans 
10:30 – On making Frankie Cosmos' new album, Different Talking 
14:18 – On the vulnerable moments making Emily Yacina's Veilfall 
18:20 – "Sometimes releasing music is like shitting into the void." 
22:10 – On capturing the spark of songwriting 
26:01 – The first time Yacina saw a Frankie Cosmos show 
30:35 – On choosing music as a career choice 
33:52 – On tearing up for Talkhouse 
Thanks for listening to the Talkhouse Podcast, and thanks to Emily Yacina and Greta Kline for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at <a href="http://talkhouse.com">Talkhouse.com</a>. 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 <a href="https://www.talkhouse.com/talkhouse-podcast-network/">⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠</a>.
Visit <a href="https://www.talkhouse.com/">⁠⁠⁠talkhouse.com⁠⁠⁠</a> to read essays, reviews, and more.
Follow @talkhouse on <a href="https://www.instagram.com/talkhouse">⁠⁠⁠Instagram⁠⁠⁠</a>, <a href="https://bsky.app/profile/talkhouse.bsky.social">⁠⁠⁠Bluesky⁠⁠⁠</a>, <a href="https://x.com/Talkhouse">⁠⁠⁠Twitter (X)⁠⁠⁠</a>, <a href="https://www.threads.net/@talkhouse">⁠⁠⁠Threads⁠⁠⁠</a>, and <a href="https://www.facebook.com/talkhouse">⁠⁠⁠Facebook⁠⁠⁠</a>.

<description>On this week’s Talkhouse Podcast we’ve got a pair of incredible songwriters who’ve also been frequent Talkhouse guests and contributors over the years: Emily Yacina and Greta Kline.

Follow along here, as this could get confusing: Frankie Cosmos used to be Greta Kline’s stage name, but now it’s the name of the band that she fronts. Maybe that wasn’t too confusing. In any case, the sixth and latest Frankie Cosmos album, Different Talking, came out earlier this year, and it’s a stunner. Kline has been writing smart, wry, literate indie-pop for a decade, and this one feels both like a nod to her bedroom-pop past and a bold look forward. Check out “Vanity” from Different Talking right here.

Emily Yacina also came up in the DIY/Bandcamp era, and has been releasing music for the last decade or so as well—she collaborated with Alex G early on. Yacina’s latest album is the heady, expertly crafted Veilfall, which was at least partially inspired by a series of “death salons” she hosted while making it, where participants would share stories about grief and dying. The resulting album isn’t nearly the downer you might expect, considering that fact—it’s up there with the best she’s done. Check out “Holy for a Moment” from Veilfall right here.

In this lively conversation, recorded while Emily and Greta were in the middle of a tour together, they chat about being connected to your inner child, tearing up for Talkhouse, and how sometimes releasing music feels like “shitting into the void.” Enjoy.

0:00 – Intro 
2:12 – Start of the chat 
2:50 – On their adventures touring together 
5:20 – On being connected to your inner child 
6:20 – On balancing your setlist for new and old fans 
10:30 – On making Frankie Cosmos' new album, Different Talking 
14:18 – On the vulnerable moments making Emily Yacina's Veilfall 
18:20 – "Sometimes releasing music is like shitting into the void." 
22:10 – On capturing the spark of songwriting 
26:01 – The first time Yacina saw a Frankie Cosmos show 
30:35 – On choosing music as a career choice 
33:52 – On tearing up for Talkhouse 

Thanks for listening to the Talkhouse Podcast, and thanks to Emily Yacina and Greta Kline 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.</description>

"Sometimes releasing music is like sh-tting into the void."

On this week’s Talkhouse Podcast we’ve got a pair of incredible songwriters who’ve also been frequent Talkhouse guests and contributors over the years: Emily Yacina and Greta Kline.

Follow along here, as this could get confusing: Frankie Cosmos used to be Greta Kline’s stage name, but now it’s the name of the band that she fronts. Maybe that wasn’t too confusing. In any case, the sixth and latest Frankie Cosmos album, Different Talking, came out earlier this year, and it’s a stunner. Kline has been writing smart, wry, literate indie-pop for a decade, and this one feels both like a nod to her bedroom-pop past and a bold look forward. Check out “Vanity” from Different Talking right here.

Emily Yacina also came up in the DIY/Bandcamp era, and has been releasing music for the last decade or so as well—she collaborated with Alex G early on. Yacina’s latest album is the heady, expertly crafted Veilfall, which was at least partially inspired by a series of “death salons” she hosted while making it, where participants would share stories about grief and dying. The resulting album isn’t nearly the downer you might expect, considering that fact—it’s up there with the best she’s done. Check out “Holy for a Moment” from Veilfall right here.

In this lively conversation, recorded while Emily and Greta were in the middle of a tour together, they chat about being connected to your inner child, tearing up for Talkhouse, and how sometimes releasing music feels like “shitting into the void.” Enjoy.

0:00 – Intro 
2:12 – Start of the chat 
2:50 – On their adventures touring together 
5:20 – On being connected to your inner child 
6:20 – On balancing your setlist for new and old fans 
10:30 – On making Frankie Cosmos' new album, Different Talking 
14:18 – On the vulnerable moments making Emily Yacina's Veilfall 
18:20 – "Sometimes releasing music is like shitting into the void." 
22:10 – On capturing the spark of songwriting 
26:01 – The first time Yacina saw a Frankie Cosmos show 
30:35 – On choosing music as a career choice 
33:52 – On tearing up for Talkhouse 

Thanks for listening to the Talkhouse Podcast, and thanks to Emily Yacina and Greta Kline 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.

Frankie Cosmos with Emily Yacina

On this week’s Talkhouse Podcast we’ve got two Canadian songwriter/performers with similar outlooks but pretty different results—both great. It’s Ada Lea and No Joy.
Though it used to be more of a band, No Joy has become the solo province of Jasamine White-Gluz in recent years. She just released the first No Joy record in five years, <a href="https://nojoy.bandcamp.com/album/bugland">Bugland</a>, and it’s a whiplash-inducing delight. There’s an undercurrent of classic shoegaze, but no limits on where else things can go. So one minute you’ve got nods to ‘90s bands like Curve or even Garbage, the next minute the guitars are grunting and crunching. Bugland, which recently got the Best New Music nod from Pitchfork, was created with help from Chicago producer/musician Fire-Toolz, and the collaboration was fruitful. It’s funny, because it doesn’t sound at all like music that would be made by somebody who recently moved to a positively rural area—they chat about that move in this episode. Check out the title track from Bugland <a href="https://www.youtube.com/watch?v=MHs7DQ1WnYo">right here</a>.
The other half of today’s chat is Alexandra Levy, who records more spare songs than her friend under the name Ada Lea. Where No Joy takes a more kitchen-sink approach, Ada Lea leaves more breathing room, sometimes adding just touches of acoustic color to her voice. The third Ada Lea album, <a href="https://adaleamusic.bandcamp.com/album/when-i-paint-my-masterpiece">When I Paint My Masterpiece</a>, also came out earlier this year, and its unfussy, live-in-a-room approach makes it feel engagingly up-close and personal, not to mention beautiful. Check out “Baby Blue Frigidaire Mini Fridge” <a href="https://www.youtube.com/watch?v=UTBmCtsAma0">right here</a>.
In this engaging chat, Levy and White-Gluz talk about living largely off the grid, the various mini-scenes that populate their home country, and a little bit of astrology. Enjoy.
Thanks for listening to the Talkhouse Podcast, and thanks to Jasamine White-Gluz of No Joy and Alexandra Levy of Ada Lea for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at <a href="http://talkhouse.com">Talkhouse.com</a>. 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 <a href="https://www.talkhouse.com/talkhouse-podcast-network/">⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠</a>.
Visit <a href="https://www.talkhouse.com/">⁠⁠⁠talkhouse.com⁠⁠⁠</a> to read essays, reviews, and more.
Follow @talkhouse on <a href="https://www.instagram.com/talkhouse">⁠⁠⁠Instagram⁠⁠⁠</a>, <a href="https://bsky.app/profile/talkhouse.bsky.social">⁠⁠⁠Bluesky⁠⁠⁠</a>, <a href="https://x.com/Talkhouse">⁠⁠⁠Twitter (X)⁠⁠⁠</a>, <a href="https://www.threads.net/@talkhouse">⁠⁠⁠Threads⁠⁠⁠</a>, and <a href="https://www.facebook.com/talkhouse">⁠⁠⁠Facebook⁠⁠⁠</a>.

<description>On this week’s Talkhouse Podcast we’ve got two Canadian songwriter/performers with similar outlooks but pretty different results—both great. It’s Ada Lea and No Joy.

Though it used to be more of a band, No Joy has become the solo province of Jasamine White-Gluz in recent years. She just released the first No Joy record in five years, Bugland, and it’s a whiplash-inducing delight. There’s an undercurrent of classic shoegaze, but no limits on where else things can go. So one minute you’ve got nods to ‘90s bands like Curve or even Garbage, the next minute the guitars are grunting and crunching. Bugland, which recently got the Best New Music nod from Pitchfork, was created with help from Chicago producer/musician Fire-Toolz, and the collaboration was fruitful. It’s funny, because it doesn’t sound at all like music that would be made by somebody who recently moved to a positively rural area—they chat about that move in this episode. Check out the title track from Bugland right here.

The other half of today’s chat is Alexandra Levy, who records more spare songs than her friend under the name Ada Lea. Where No Joy takes a more kitchen-sink approach, Ada Lea leaves more breathing room, sometimes adding just touches of acoustic color to her voice. The third Ada Lea album, When I Paint My Masterpiece, also came out earlier this year, and its unfussy, live-in-a-room approach makes it feel engagingly up-close and personal, not to mention beautiful. Check out “Baby Blue Frigidaire Mini Fridge” right here.

In this engaging chat, Levy and White-Gluz talk about living largely off the grid, the various mini-scenes that populate their home country, and a little bit of astrology. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Jasamine White-Gluz of No Joy and Alexandra Levy of Ada Lea 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 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.</description>

A pair of understated Canadians take different paths

On this week’s Talkhouse Podcast we’ve got two Canadian songwriter/performers with similar outlooks but pretty different results—both great. It’s Ada Lea and No Joy.

Though it used to be more of a band, No Joy has become the solo province of Jasamine White-Gluz in recent years. She just released the first No Joy record in five years, Bugland, and it’s a whiplash-inducing delight. There’s an undercurrent of classic shoegaze, but no limits on where else things can go. So one minute you’ve got nods to ‘90s bands like Curve or even Garbage, the next minute the guitars are grunting and crunching. Bugland, which recently got the Best New Music nod from Pitchfork, was created with help from Chicago producer/musician Fire-Toolz, and the collaboration was fruitful. It’s funny, because it doesn’t sound at all like music that would be made by somebody who recently moved to a positively rural area—they chat about that move in this episode. Check out the title track from Bugland right here.

The other half of today’s chat is Alexandra Levy, who records more spare songs than her friend under the name Ada Lea. Where No Joy takes a more kitchen-sink approach, Ada Lea leaves more breathing room, sometimes adding just touches of acoustic color to her voice. The third Ada Lea album, When I Paint My Masterpiece, also came out earlier this year, and its unfussy, live-in-a-room approach makes it feel engagingly up-close and personal, not to mention beautiful. Check out “Baby Blue Frigidaire Mini Fridge” right here.

In this engaging chat, Levy and White-Gluz talk about living largely off the grid, the various mini-scenes that populate their home country, and a little bit of astrology. Enjoy.

Thanks for listening to the Talkhouse Podcast, and thanks to Jasamine White-Gluz of No Joy and Alexandra Levy of Ada Lea 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 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.

Ada Lea with No Joy

On this week’s Talkhouse Podcast we’ve got a pair of singer-songwriters who exist in a sort of post-genre world: Evan Honer and Wyatt Flores. 
Honer first came to wider attention with a cover of Tyler Childers’ “Jersey Giant,” but kept people’s attention with a rapid succession of progressively more polished albums, all tied together by his own solid songwriting. For his latest, <a href="https://evanhoner.bandcamp.com/album/everything-i-wanted">Everything I Wanted</a>, Honer found himself a new home city, Nashville, where he built a studio in his garage and—as you’ll hear in this conversation—locked himself away to make something bolder than he had before. The result is shiny pop with a gritty heart, and just a touch of country influence. Think Jason Isbell or Pinegrove, two artists Honer cites as inspirations. Check out “Curtain” from Everything I Wanted <a href="https://www.youtube.com/watch?v=E2Lx5z2QWt0">right here</a>, which I should mention was released by Honer’s own very active independent label, Cloverdale Records. He’s a busy dude, and he’ll be touring the US early next year, so keep an eye out for that. 
The other half of today’s conversation is Honer’s friend Wyatt Flores, who travels a similar musical ground but you can hear a bit more country in his flavor profile—maybe that’s his roots growing up in Oklahoma. If you’re of the TikTok generation, you may have seen him there; if you’re a bit longer in the tooth, you may have seen Flores on Stephen Colbert,<a href="https://www.youtube.com/watch?v=88mdzNcOHj4"> NPR’s Tiny Desk Concert series</a>, or even a recent Austin City Limits appearance. Part of the story behind his debut album, last year’s <a href="https://wyattflores.lnk.to/WelcomeToThePlainsAlbum">Welcome to the Plains</a>, was Flores’ struggles with his newfound fame and a sense of imposter syndrome. While it’s brave of him to put that stuff out in the open, it’s pretty clear from the record that he’s the real deal. 
In this lively conversation, these two young dudes talk about making music, about an impromptu road trip in a busted up trailer, about the strong coffee and rowdy crowds down under, and much more. Enjoy.
0:00 – Intro 
2:15 – Start of the chat 
5:44 – How to keep old songs feeling fresh 
7:28 – "Do people listen more with their eyes than ears?" 
12:20 – An impromptu road trip on a busted, old trailer 
15:42 – On recording 'Everything I Wanted' 
20:37 – On taking the time to listen to albums top to bottom 
22:15 – Writing music on the road 
27:56 – On experimenting with live vocals 
32:20 – The surprising kindness of audiences at live shows
35:20 – On crowds in the U.K., Europe, and Australia
Thanks for listening to the Talkhouse Podcast, and thanks to Evan Honer and Wyatt Flores for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stories at <a href="http://talkhouse.com">Talkhouse.com</a>. 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 <a href="https://www.talkhouse.com/talkhouse-podcast-network/">⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠</a>.
Visit <a href="https://www.talkhouse.com/">⁠⁠⁠talkhouse.com⁠⁠⁠</a> to read essays, reviews, and more.
Follow @talkhouse on <a href="https://www.instagram.com/talkhouse">⁠⁠⁠Instagram⁠⁠⁠</a>, <a href="https://bsky.app/profile/talkhouse.bsky.social">⁠⁠⁠Bluesky⁠⁠⁠</a>, <a href="https://x.com/Talkhouse">⁠⁠⁠Twitter (X)⁠⁠⁠</a>, <a href="https://www.threads.net/@talkhouse">⁠⁠⁠Threads⁠⁠⁠</a>, and <a href="https://www.facebook.com/talkhouse">⁠⁠⁠Facebook⁠⁠⁠</a>.

<description>On this week’s Talkhouse Podcast we’ve got a pair of singer-songwriters who exist in a sort of post-genre world: Evan Honer and Wyatt Flores. 

Honer first came to wider attention with a cover of Tyler Childers’ “Jersey Giant,” but kept people’s attention with a rapid succession of progressively more polished albums, all tied together by his own solid songwriting. For his latest, Everything I Wanted, Honer found himself a new home city, Nashville, where he built a studio in his garage and—as you’ll hear in this conversation—locked himself away to make something bolder than he had before. The result is shiny pop with a gritty heart, and just a touch of country influence. Think Jason Isbell or Pinegrove, two artists Honer cites as inspirations. Check out “Curtain” from Everything I Wanted right here, which I should mention was released by Honer’s own very active independent label, Cloverdale Records. He’s a busy dude, and he’ll be touring the US early next year, so keep an eye out for that. 

The other half of today’s conversation is Honer’s friend Wyatt Flores, who travels a similar musical ground but you can hear a bit more country in his flavor profile—maybe that’s his roots growing up in Oklahoma. If you’re of the TikTok generation, you may have seen him there; if you’re a bit longer in the tooth, you may have seen Flores on Stephen Colbert, NPR’s Tiny Desk Concert series, or even a recent Austin City Limits appearance. Part of the story behind his debut album, last year’s Welcome to the Plains, was Flores’ struggles with his newfound fame and a sense of imposter syndrome. While it’s brave of him to put that stuff out in the open, it’s pretty clear from the record that he’s the real deal. 

In this lively conversation, these two young dudes talk about making music, about an impromptu road trip in a busted up trailer, about the strong coffee and rowdy crowds down under, and much more. Enjoy.

0:00 – Intro 
2:15 – Start of the chat 
5:44 – How to keep old songs feeling fresh 
7:28 – "Do people listen more with their eyes than ears?" 
12:20 – An impromptu road trip on a busted, old trailer 
15:42 – On recording 'Everything I Wanted' 
20:37 – On taking the time to listen to albums top to bottom 
22:15 – Writing music on the road 
27:56 – On experimenting with live vocals 
32:20 – The surprising kindness of audiences at live shows
35:20 – On crowds in the U.K., Europe, and Australia

Thanks for listening to the Talkhouse Podcast, and thanks to Evan Honer and Wyatt Flores for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stories 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.</description>

"First, I want to talk about how I hate Evan Honer with a passion."

On this week’s Talkhouse Podcast we’ve got a pair of singer-songwriters who exist in a sort of post-genre world: Evan Honer and Wyatt Flores. 

Honer first came to wider attention with a cover of Tyler Childers’ “Jersey Giant,” but kept people’s attention with a rapid succession of progressively more polished albums, all tied together by his own solid songwriting. For his latest, Everything I Wanted, Honer found himself a new home city, Nashville, where he built a studio in his garage and—as you’ll hear in this conversation—locked himself away to make something bolder than he had before. The result is shiny pop with a gritty heart, and just a touch of country influence. Think Jason Isbell or Pinegrove, two artists Honer cites as inspirations. Check out “Curtain” from Everything I Wanted right here, which I should mention was released by Honer’s own very active independent label, Cloverdale Records. He’s a busy dude, and he’ll be touring the US early next year, so keep an eye out for that. 

The other half of today’s conversation is Honer’s friend Wyatt Flores, who travels a similar musical ground but you can hear a bit more country in his flavor profile—maybe that’s his roots growing up in Oklahoma. If you’re of the TikTok generation, you may have seen him there; if you’re a bit longer in the tooth, you may have seen Flores on Stephen Colbert, NPR’s Tiny Desk Concert series, or even a recent Austin City Limits appearance. Part of the story behind his debut album, last year’s Welcome to the Plains, was Flores’ struggles with his newfound fame and a sense of imposter syndrome. While it’s brave of him to put that stuff out in the open, it’s pretty clear from the record that he’s the real deal. 

In this lively conversation, these two young dudes talk about making music, about an impromptu road trip in a busted up trailer, about the strong coffee and rowdy crowds down under, and much more. Enjoy.

0:00 – Intro 
2:15 – Start of the chat 
5:44 – How to keep old songs feeling fresh 
7:28 – "Do people listen more with their eyes than ears?" 
12:20 – An impromptu road trip on a busted, old trailer 
15:42 – On recording 'Everything I Wanted' 
20:37 – On taking the time to listen to albums top to bottom 
22:15 – Writing music on the road 
27:56 – On experimenting with live vocals 
32:20 – The surprising kindness of audiences at live shows
35:20 – On crowds in the U.K., Europe, and Australia

Thanks for listening to the Talkhouse Podcast, and thanks to Evan Honer and Wyatt Flores for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stories 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.

Evan Honer with Wyatt Flores

On this week’s Talkhouse Podcast, we’ve got two guys from different generations who’ve collided with big riffs in recent years: Tom Morello and Jordan Benjamin. 
Tom Morello is best known as the guitarist for Rage Against the Machine, which smashed together heavy music and activism in the 1990s, inspiring countless bands—some good, some bad, as he’ll freely admit—to sprinkle some hip-hop into their rock. Morello went on to form Audioslave with Soundgarden’s Chris Cornell and find a whole other area of success, but he didn’t stop there: Morello goes wherever the muse takes him, from playing with Bruce Springsteen to doing acoustic sets as The Nightwatchman. He’s always working on new music—and always outspoken politically. 
Morello tapped Jordan Benjamin to contribute to his 2021 single “<a href="https://www.youtube.com/watch?v=Yv-0LkDouRs">Hold the Line</a>,” which makes perfect sense, because the music that Benjamin records under the name Grandson is certainly inspired by Rage, among other artists of course. Grandson has been releasing records for the past decade or so, fusing hip-hop and alt-rock elements with unabashedly political lyrics. For his latest album under the Grandson name, <a href="https://grandsonofficial.bandcamp.com/album/inertia">Inertia</a>, Benjamin leaned into a more organic rather than electronic sound—you’ll hear him talk about the transition in this chat. Check out the song “God is an Animal” from Inertia <a href="https://www.youtube.com/watch?v=SZE52BhtfUY">right here</a>. 
In this lively conversation, Morello and Benjamin talk about working together, about the magic of band chemistry, and about the “technological hellhole we find ourselves in.” It’s still fun, though, check it out. 
Thanks for listening to the Talkhouse Podcast, and thanks to Jordan Benjamin and Tom Morello for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great shows in the Talkhouse Podcast 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 <a href="https://www.talkhouse.com/talkhouse-podcast-network/">⁠⁠⁠Talkhouse Podcast Network⁠⁠⁠</a>.
Visit <a href="https://www.talkhouse.com/">⁠⁠⁠talkhouse.com⁠⁠⁠</a> to read essays, reviews, and more.
Follow @talkhouse on <a href="https://www.instagram.com/talkhouse">⁠⁠⁠Instagram⁠⁠⁠</a>, <a href="https://bsky.app/profile/talkhouse.bsky.social">⁠⁠⁠Bluesky⁠⁠⁠</a>, <a href="https://x.com/Talkhouse">⁠⁠⁠Twitter (X)⁠⁠⁠</a>, <a href="https://www.threads.net/@talkhouse">⁠⁠⁠Threads⁠⁠⁠</a>, and <a href="https://www.facebook.com/talkhouse">⁠⁠⁠Facebook⁠⁠⁠</a>.

<description>On this week’s Talkhouse Podcast, we’ve got two guys from different generations who’ve collided with big riffs in recent years: Tom Morello and Jordan Benjamin. 

Tom Morello is best known as the guitarist for Rage Against the Machine, which smashed together heavy music and activism in the 1990s, inspiring countless bands—some good, some bad, as he’ll freely admit—to sprinkle some hip-hop into their rock. Morello went on to form Audioslave with Soundgarden’s Chris Cornell and find a whole other area of success, but he didn’t stop there: Morello goes wherever the muse takes him, from playing with Bruce Springsteen to doing acoustic sets as The Nightwatchman. He’s always working on new music—and always outspoken politically. 

Morello tapped Jordan Benjamin to contribute to his 2021 single “Hold the Line,” which makes perfect sense, because the music that Benjamin records under the name Grandson is certainly inspired by Rage, among other artists of course. Grandson has been releasing records for the past decade or so, fusing hip-hop and alt-rock elements with unabashedly political lyrics. For his latest album under the Grandson name, Inertia, Benjamin leaned into a more organic rather than electronic sound—you’ll hear him talk about the transition in this chat. Check out the song “God is an Animal” from Inertia right here. 

In this lively conversation, Morello and Benjamin talk about working together, about the magic of band chemistry, and about the “technological hellhole we find ourselves in.” It’s still fun, though, check it out. 

Thanks for listening to the Talkhouse Podcast, and thanks to Jordan Benjamin and Tom Morello for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great shows in the Talkhouse Podcast 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.</description>

"There's nothing quite like rocking big-ass riffs with great confidence with content that is meaningful in a room that is ready for it."

On this week’s Talkhouse Podcast, we’ve got two guys from different generations who’ve collided with big riffs in recent years: Tom Morello and Jordan Benjamin. 

Tom Morello is best known as the guitarist for Rage Against the Machine, which smashed together heavy music and activism in the 1990s, inspiring countless bands—some good, some bad, as he’ll freely admit—to sprinkle some hip-hop into their rock. Morello went on to form Audioslave with Soundgarden’s Chris Cornell and find a whole other area of success, but he didn’t stop there: Morello goes wherever the muse takes him, from playing with Bruce Springsteen to doing acoustic sets as The Nightwatchman. He’s always working on new music—and always outspoken politically. 

Morello tapped Jordan Benjamin to contribute to his 2021 single “Hold the Line,” which makes perfect sense, because the music that Benjamin records under the name Grandson is certainly inspired by Rage, among other artists of course. Grandson has been releasing records for the past decade or so, fusing hip-hop and alt-rock elements with unabashedly political lyrics. For his latest album under the Grandson name, Inertia, Benjamin leaned into a more organic rather than electronic sound—you’ll hear him talk about the transition in this chat. Check out the song “God is an Animal” from Inertia right here. 

In this lively conversation, Morello and Benjamin talk about working together, about the magic of band chemistry, and about the “technological hellhole we find ourselves in.” It’s still fun, though, check it out. 

Thanks for listening to the Talkhouse Podcast, and thanks to Jordan Benjamin and Tom Morello for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great shows in the Talkhouse Podcast 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.

Tom Morello (Rage Against The Machine) with Grandson

Your favorite musicians, filmmakers, and other creative minds one-on-one. No moderator, no script, no typical questions. The Talkhouse Podcast offers unique insights into creative work from all genres and generations. Explore more illuminating shows on the Talkhouse Podcast Network.

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