Latest / Kyle Meredith With... / Rewind: They Might Be Giants on Doom, Decrepitude, and the Enduring Art of the Absurd

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Rewind: They Might Be Giants on Doom, Decrepitude, and the Enduring Art of the Absurd · Kyle Meredith With...

• 0:00
  [SPEAKER_00]: It's easy to hear your favorite artist on WFPK from wherever you are.
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• 0:25
  [SPEAKER_06]: and welcome to another edition of Kyle Meredith with.
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• 1:02
  [SPEAKER_06]: Of course, we've had some great guests on lately, Luciana Buchanan, you know her from the night agent.
• 1:07
  [SPEAKER_06]: She's also starring in Chief of War with Jason Mamoa on Apple TV+.
• 1:12
  [SPEAKER_06]: We talked with the four actors who play Happy Gilmore's sons in the new Happy Gilmore II, including MJF, the wrestler, Ethan Kutkowski from Shameless and Connor Sherry.
• 1:25
  [SPEAKER_06]: And we also talked to Kyle Newecek, you know, him from work of hollocks.
• 1:28
  [SPEAKER_06]: He directed Happy Gilmore II, both well, all five of them, just on the show.
• 1:33
  [SPEAKER_06]: Michael Clifford from five seconds of summer, Caroline Polichek,
• 1:37
  [SPEAKER_06]: Allison Goldfrapp of Goldfrapp.
• 1:39
  [SPEAKER_06]: Ben Folds.
• 1:40
  [SPEAKER_06]: The cast of zombies four on Disney, Wetlegg, Renee Elise Goldzberry from Hamilton and Girls Five Ever.
• 1:48
  [SPEAKER_06]: Just an example of what you get when you subscribe to the Kyle Meredith with podcast.
• 1:54
  [SPEAKER_06]: And that's me Kyle Meredith.
• 1:55
  [SPEAKER_06]: Today we're doing a rewind episode.
• 1:58
  [SPEAKER_06]: Look it back on my interviews with They Might Be Giants.
• 2:02
  [SPEAKER_06]: Formed in nineteen eighty-two by John Flansburg and John Lonell.
• 2:06
  [SPEAKER_06]: The duo turned accordion solos and science facts into an unlikely art form.
• 2:11
  [SPEAKER_06]: They blend a geek rock, absurdist humor, and pop hooks, and really worm their way into both college, radio, and preschool classrooms.
• 2:20
  [SPEAKER_06]: They made dialess song a thing before voicemail was even cool.
• 2:24
  [SPEAKER_06]: They gave us the tiny tunes boosted hit, Istanbul, not Constantinople, and helped an entire generation learn that the sun is a massive incandescent gas until scientists corrected them and they recorded a new version.
• 2:37
  [SPEAKER_06]: Along the way, they scored TV themes like Malcolm in the middle.
• 2:40
  [SPEAKER_06]: They've released somewhere like what?
• 2:41
  [SPEAKER_06]: Thirty albums.
• 2:43
  [SPEAKER_06]: And they turn lyrical nerdy into a lifestyle.
• 2:47
  [SPEAKER_06]: You may not always understand what they're saying about, but you'll absolutely find yourself singing along.
• 2:51
  [SPEAKER_06]: And every time I've got to talk with them, has been one of my favorite conversations that I've ever had.
• 2:57
  [SPEAKER_06]: And so we'll start back in in twenty thirteen.
• 3:00
  [SPEAKER_06]: This is when they had just released nanobots.
• 3:02
  [SPEAKER_06]: It was actually their sixteenth album at that time.
• 3:06
  [SPEAKER_06]: I mean, I guess it's still their sixteenth album at this time, too, but we got to talk about how a band known for wit and whimsy continued to evolve without losing their signature weird.
• 3:16
  [SPEAKER_06]: The duo discussed how writing short songs became their version of Sonic Colage, how self-loathing fuels reinvention, and what happens when you start to wonder if you've used up all of the nouns, all that, and more in this special rewind episode, it's Kyle and Meredith with They Might Be Giants.
• 3:35
  [SPEAKER_06]: Kyle Meredith here with the Johns of they might be giants.
• 3:39
  [SPEAKER_06]: Oh, welcome.
• 3:40
  [SPEAKER_06]: It's great to be here.
• 3:41
  [SPEAKER_06]: It's great to have you.
• 3:42
  [SPEAKER_06]: We'll say that I hold nanobots in my hand.
• 3:45
  [SPEAKER_04]: Yeah, I think about to see you hold it in high esteem.
• 3:51
  [SPEAKER_06]: Yes, I hold it on higher esteem now.
• 3:53
  [SPEAKER_06]: That's a sixteen album sixteen albums though.
• 3:56
  [SPEAKER_06]: Yep, does it just get
• 3:58
  [SPEAKER_06]: Really though this is every just get like oh Okay, the album got released.
• 4:02
  [SPEAKER_04]: We made a list of other stuff's sixteenth albums and and It stacks up reasonably well against almost every artist that has gotten to the point of making a sixteenth I'll accept possibly for the Rolling Stones through sixteenth album was some girls Yeah, that's that was a little kind of like stun a little bit by the quality of some girls yeah
• 4:25
  [SPEAKER_02]: That's a really good out.
• 4:26
  [SPEAKER_02]: I don't know if this is our summerals.
• 4:27
  [SPEAKER_02]: Some girls is better than our album.
• 4:29
  [SPEAKER_02]: Right.
• 4:30
  [SPEAKER_06]: Well, all in all, it has been really awesome to kind of see everything that you guys have done in your career.
• 4:34
  [SPEAKER_06]: Oh, thank you.
• 4:34
  [SPEAKER_06]: Because what you said, you know that it's a they might be giant's record.
• 4:37
  [SPEAKER_06]: You know, when you hear it, you know, it's like, oh, it's they might be giants, but you're all, you are always kind of trying to put different soundscapes and whatever else in your records.
• 4:45
  [SPEAKER_06]: And that's also fun to keep up with.
• 4:47
  [SPEAKER_06]: Yeah.
• 4:48
  [SPEAKER_06]: But through the years, so you have, you do have this building momentum in the eighties, and then the mainstream success, the nineties it goes down a little bit, and then the last decade has been so great.
• 4:57
  [SPEAKER_02]: It hasn't been good for us.
• 4:58
  [SPEAKER_02]: Yeah, yeah.
• 4:58
  [SPEAKER_02]: We've done a lot of different things.
• 4:59
  [SPEAKER_02]: We've started doing kids music, which was almost instantly as big a deal as our adult career.
• 5:04
  [SPEAKER_02]: So it was like, oh, I was suddenly like twice as much stuff going on, and that was interesting.
• 5:09
  [SPEAKER_02]: But just getting back to like the, you know, it doesn't ever seem the same.
• 5:14
  [SPEAKER_02]: I think the truth of it is, you can take the self-loving and turn it around, like if you're working on music and you're like, and you're sick of yourself, that's actually a perfectly, that's fuel for writing new kinds of stuff and working in different ways.
• 5:30
  [SPEAKER_02]: can be way down the rabbit hole of recording and still find a way to get something good out of the experience.
• 5:37
  [SPEAKER_02]: I think.
• 5:38
  [SPEAKER_02]: There's stuff on this new record that is actually kind of uncharted territory.
• 5:46
  [SPEAKER_06]: You know, call you mom I feel like is one that we're gonna be talking about for a while But it's it's it's it first it turns creepy, but then you think a character is just sad Yeah, I don't know is it so to me it seems I don't know like there is something in the title alone that leads to a great backstory and unsaid backstory You know, I'd like to speak to the women.
• 6:07
  [SPEAKER_02]: I like to speak to the women.
• 6:07
  [SPEAKER_02]: I like to speak to the women watching this this what I wear this is gonna show up
• 6:12
  [SPEAKER_02]: You know, the idea of men sort of being on a Peter Pan kind of trip.
• 6:18
  [SPEAKER_02]: I don't think that's untreated territory.
• 6:19
  [SPEAKER_02]: I don't think that's unfamiliar idea, sure.
• 6:21
  [SPEAKER_02]: You know, sure.
• 6:21
  [SPEAKER_02]: I think the song is kind of tapping into a more that kind of universal thing among contemporary men in the culture.
• 6:28
  [SPEAKER_02]: And, you know, while the men might not want to admit it, I think the women know it's going on.
• 6:32
  [SPEAKER_06]: Well, Peter Pan, you bring that up.
• 6:35
  [SPEAKER_06]: They might be pan-adaptist, you know?
• 6:37
  [SPEAKER_06]: Well, that's not- The brings up a point.
• 6:39
  [SPEAKER_06]: Ed of his pan seems like it should be something entirely at this point.
• 6:43
  [SPEAKER_06]: Can you use they might be giants to never have to grow.
• 6:46
  [SPEAKER_02]: It's just call you mom.
• 6:47
  [SPEAKER_02]: It's just call you mom, right?
• 6:48
  [SPEAKER_02]: It doesn't go any- It's you know.
• 6:51
  [SPEAKER_06]: Do you need to retrace the soil?
• 6:52
  [SPEAKER_02]: No, no, no, no, no, no.
• 6:52
  [SPEAKER_06]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
• 7:12
  [SPEAKER_02]: You know, one of the things that's tough about being like a professionally happy is that people really look at, you know, if you're having like a hard day, you know, people are just wondering it's like, how come gristies and such as, you know, mood?
• 7:32
  [SPEAKER_02]: We're adults.
• 7:32
  [SPEAKER_02]: We've got adult problems.
• 7:35
  [SPEAKER_02]: We can, you know, they're big challenges in our lives that are hard to, but you have a license.
• 7:41
  [SPEAKER_06]: Like, you can get away if you wanted to.
• 7:42
  [SPEAKER_06]: We're not going to question either.
• 7:43
  [SPEAKER_06]: One of you is like, they get to.
• 7:44
  [SPEAKER_06]: That's how they might be doing.
• 7:46
  [SPEAKER_04]: Well, I think that we officially get to do stuff that we don't even give ourselves permission to do.
• 7:50
  [SPEAKER_04]: You know, we don't.
• 7:52
  [SPEAKER_04]: And which is, at our age now is actually completely uninteresting to us.
• 7:57
  [SPEAKER_04]: So, you know, we,
• 7:58
  [SPEAKER_04]: You know, I mean it not to it's not just about the cliched rock lifestyle, but that's certainly something that which is awesome just John and I actually passed on you know that we that's the we were I mean we're in our twenties in a rock band and we didn't take advantage of it then and so now it's you know sort of like well should I start now you know
• 8:19
  [SPEAKER_04]: Should I vomit on myself now?
• 8:21
  [SPEAKER_04]: Is it with that being a smart thing to do?
• 8:24
  [SPEAKER_02]: But I guess I guess you know there is this interesting idea because we have like humor in what we're doing that people assume that we're not just a total drag and and I just I'm here to say we are total drag total.
• 8:36
  [SPEAKER_04]: Yeah, that's the one license we do with for ourselves.
• 8:39
  [SPEAKER_06]: So it's the life of the gesture, right?
• 8:40
  [SPEAKER_06]: Always with that clown with no one understand.
• 8:45
  [SPEAKER_06]: Well, that actually brought up a quote.
• 8:46
  [SPEAKER_06]: Now, can't remember at this point if it was John and Russell were John Bonham that was saying that they didn't get famous to a certain age and at that point.
• 8:53
  [SPEAKER_04]: Oh, John and Russell definitely expressed that.
• 8:55
  [SPEAKER_04]: Yeah.
• 8:56
  [SPEAKER_04]: Like he said, I'm too old to enjoy.
• 8:58
  [SPEAKER_04]: Right.
• 8:58
  [SPEAKER_04]: That was it.
• 8:58
  [SPEAKER_04]: Now, you know, that's interesting.
• 9:00
  [SPEAKER_04]: Yeah.
• 9:01
  [SPEAKER_04]: And they died.
• 9:02
  [SPEAKER_02]: And they died.
• 9:03
  [SPEAKER_02]: Right, right.
• 9:04
  [SPEAKER_02]: Well, he was very famous really young.
• 9:07
  [SPEAKER_02]: I mean, I think those guys, you know, we didn't start really making albums until our late twenties and didn't get any kind of any sort of anything that would kind of turn your head around kind of success until we were probably like twenty-on or thirty.
• 9:20
  [SPEAKER_02]: So I feel like we actually lucked out in the mind-bending part of success.
• 9:27
  [SPEAKER_04]: We didn't have the child star issue.
• 9:29
  [SPEAKER_06]: The Charlie Sheen moments for you guys.
• 9:31
  [SPEAKER_02]: I think it would be very hard to be twenty and be in a successful rock band.
• 9:34
  [SPEAKER_02]: I think I don't know how well prepared anybody could be for that.
• 9:37
  [SPEAKER_02]: For most people do it though.
• 9:38
  [SPEAKER_02]: I mean, yeah, make it.
• 9:39
  [SPEAKER_02]: I think what they're kind of twist you around.
• 9:41
  [SPEAKER_02]: I mean, it was very easy for us to be, you know, if we were like doing something like we wouldn't know when like, you know,
• 9:49
  [SPEAKER_02]: Birdhouse took off in the UK like we were kind of shot out of the same can and that every pop-back gets shot out of and you know we're on top of the pops and things are you know all that kind of frothy crazy teeny-boppery stuff was happening and and it just seemed like
• 10:05
  [SPEAKER_02]: You know, we were thirty years old, so you know, okay.
• 10:09
  [SPEAKER_02]: Sure.
• 10:09
  [SPEAKER_02]: Right.
• 10:10
  [SPEAKER_02]: We could relate to the, you know, in payoff.
• 10:12
  [SPEAKER_02]: My, my, that's what it's about.
• 10:13
  [SPEAKER_02]: Right.
• 10:13
  [SPEAKER_02]: Right.
• 10:14
  [SPEAKER_02]: Right.
• 10:14
  [SPEAKER_02]: Right.
• 10:15
  [SPEAKER_02]: You know, I mean, it was, it made communication with, right.
• 10:17
  [SPEAKER_02]: Well, that's, I did that.
• 10:19
  [SPEAKER_02]: Um, but first core big, no credit card bills.
• 10:24
  [SPEAKER_02]: Yes.
• 10:24
  [SPEAKER_02]: Yeah.
• 10:24
  [SPEAKER_02]: Dead free.
• 10:25
  [SPEAKER_02]: Yeah.
• 10:26
  [SPEAKER_02]: So, I mean, it was, I think we kind of looked out in that way, because just made all that,
• 10:31
  [SPEAKER_02]: The whole roller coaster of it all just seems like one ride rather than like everything's great.
• 10:35
  [SPEAKER_02]: No, it's bad sure.
• 10:37
  [SPEAKER_02]: You know, it's just like he kind of takes a good with bad and take it.
• 10:39
  [SPEAKER_06]: Hey, and we'll be right back right after this.
• 10:42
  [SPEAKER_06]: Welcome back.
• 10:43
  [SPEAKER_06]: He is Kyle Meredith with They Might Be Giants.
• 10:46
  [SPEAKER_06]: Well, let's talk about this CD actually specifically.
• 10:49
  [SPEAKER_06]: Sure.
• 10:49
  [SPEAKER_06]: So now it's in its number sixteen if it's going on.
• 10:53
  [SPEAKER_06]: You guys have repriezed the whole thing about short songs scattered through it.
• 10:56
  [SPEAKER_04]: Right.
• 10:56
  [SPEAKER_04]: Well, I mean, I think it's slightly different because we haven't done the short songs scattered throughout thing before.
• 11:04
  [SPEAKER_04]: So that's new.
• 11:05
  [SPEAKER_02]: I mean, speaking of John Antisolo, I was, you know, while we were putting the record together, I listened to this, the album, The Who Sellout, which is a great record on it.
• 11:13
  [SPEAKER_02]: She goes throughout and also has like some kind of montage song at the end.
• 11:21
  [SPEAKER_02]: It's a really wide open.
• 11:24
  [SPEAKER_02]: way of putting together an album and it was definitely there are a lot of you know in the history of rock it's like a lot of interesting montage albums but but I think it's worthwhile it's you know I don't think we'd do it every time but it certainly helped this people kind of take notice of this album which is interesting what does definitely separated of course of join us as well when I hear these I just get the image that you guys
• 11:47
  [SPEAKER_06]: You know, what's the random word that I just heard right now?
• 11:49
  [SPEAKER_06]: Like somebody can walk down the sidewalk and be like, oh, there's a candy wrapper.
• 11:52
  [SPEAKER_06]: Hey, candy wrapper.
• 11:53
  [SPEAKER_06]: I'm a pocket.
• 11:54
  [SPEAKER_02]: Well, I'm sure that would be done.
• 11:55
  [SPEAKER_02]: I'm sure that would be a good parody.
• 11:59
  [SPEAKER_04]: Life would be easier for me if that was how aren't we worked.
• 12:03
  [SPEAKER_04]: What you do and on the ground.
• 12:05
  [SPEAKER_06]: So is there so much work though that they can get that I mean do you work on you can't work on those songs as long as I think we really we really don't give the impression that it's that it's some what's something you know what's the smart answer to something like that Well, you know like I'm not trying to paint you into a quarter.
• 12:20
  [SPEAKER_02]: No, no, I understand right right well wait to the paint to dry right and then you can walk out the road right
• 12:26
  [SPEAKER_02]: Now, I mean, there's actually, there's a, one of the really short tracks on the song, on the album is a, a song called Nouns that is about is, is about running out of Nouns, which I think is something that we've, that's crossed our mind that we've written songs with almost every, sure, you know.
• 12:43
  [SPEAKER_04]: There's you can't put mate after too many more things at the right answer to the reductive way of thinking about songwriting we got the dog ones right the bird one we got but you realize like and some ways that's an outsider's view of what we do I mean it's it's kind of a joke because in fact the song is not about the man it's it's really something else and it's and ideally it's this irreducible you know landscape and I think that's what we're always hoping for you know is to is to make something that
• 13:11
  [SPEAKER_04]: doesn't, you can't tell where it's starting.
• 13:13
  [SPEAKER_04]: I think the best songs that we do, my sense is that they give you the impression that it couldn't, it was impossible to write.
• 13:22
  [SPEAKER_04]: There's no way to write that.
• 13:23
  [SPEAKER_04]: Sure.
• 13:24
  [SPEAKER_04]: Because there's nowhere to start.
• 13:25
  [SPEAKER_06]: The other, I guess, the hook to it that you guys have, you know, been known for the whole time is that type of educational song, Ethan.
• 13:31
  [SPEAKER_06]: And that has been talked about, you know, for every record and it's great and it's one of the great qualities.
• 13:37
  [SPEAKER_06]: So what I guess I'm wondering though is when you write those, is it that you're saying it would be really good to make sure people know who James K Polk is or what is it really just geek masturbation.
• 13:48
  [SPEAKER_04]: No, it's neither one of those things.
• 13:50
  [SPEAKER_06]: We have a choice, John.
• 13:51
  [SPEAKER_04]: We have a choice, John.
• 13:51
  [SPEAKER_04]: We have a choice, John.
• 13:52
  [SPEAKER_04]: We have a choice, John.
• 13:53
  [SPEAKER_04]: We have a choice, John.
• 13:54
  [SPEAKER_02]: We have a choice, John.
• 13:54
  [SPEAKER_04]: We have a choice, John.
• 13:55
  [SPEAKER_04]: We have a choice, John.
• 13:56
  [SPEAKER_02]: We have a choice, John.
• 13:57
  [SPEAKER_04]: We have a choice, John.
• 13:57
  [SPEAKER_04]: We have a choice, John.
• 13:58
  [SPEAKER_04]: We have a choice, John.
• 13:59
  [SPEAKER_04]: We have a choice, John.
• 14:00
  [SPEAKER_04]: We have a choice, John.
• 14:01
  [SPEAKER_04]: We have a choice, John.
• 14:02
  [SPEAKER_04]: We have a choice, John.
• 14:03
  [SPEAKER_04]: We have a choice, John.
• 14:04
  [SPEAKER_04]: that didn't appear to have any personality, like it was like the textbook.
• 14:09
  [SPEAKER_02]: It was like a cipher.
• 14:10
  [SPEAKER_04]: Yeah.
• 14:11
  [SPEAKER_04]: And it wasn't any plan to do any more like that.
• 14:14
  [SPEAKER_04]: And in fact, I don't think any of the other songs that are sort of biographical are in that mode, because the other ones like Ensor have it, there's an opinion behind it.
• 14:24
  [SPEAKER_04]: So I really don't think any of them are alike.
• 14:28
  [SPEAKER_04]: We've been sort of identified as a band that does what sounds like informational songs, and really
• 14:34
  [SPEAKER_04]: If you look at them, each one is different.
• 14:36
  [SPEAKER_04]: And some of them, I mean, the weird thing about Polk is I actually have stuff to say about James K Polk, like highly opinionized stuff, sure.
• 14:44
  [SPEAKER_04]: It doesn't get into the song whatsoever, you know, like he's a controversial, what's what's later, what's later we in?
• 14:50
  [SPEAKER_06]: But it does actually bring up another interesting point to you guys, career, because you can take, they might be giant song at face value.
• 14:58
  [SPEAKER_06]: Are there underlying messages?
• 14:59
  [SPEAKER_06]: You have lots of opinions about James Kate Polk.
• 15:01
  [SPEAKER_06]: Oh, wow.
• 15:02
  [SPEAKER_06]: Do you guys ever say what I feel like this about?
• 15:05
  [SPEAKER_04]: I would say anything.
• 15:06
  [SPEAKER_04]: I would say that in general, our stuff is available up front.
• 15:10
  [SPEAKER_04]: In other words, we don't do secret messages.
• 15:12
  [SPEAKER_04]: That's not, I don't, I don't, some ways I don't feel personally like that's cool.
• 15:16
  [SPEAKER_04]: I kind of like this song to tell you what is telling you and they're not to be any code in it.
• 15:23
  [SPEAKER_02]: It'll be a very strange impulse actually to
• 15:27
  [SPEAKER_02]: We're already writing like songs that are kind of hard to.
• 15:30
  [SPEAKER_02]: A little bit of a week sometimes.
• 15:32
  [SPEAKER_02]: A lot of times there's like very compressed thought in some songs.
• 15:36
  [SPEAKER_02]: You know, you just trying to figure out how to get this idea across.
• 15:41
  [SPEAKER_04]: and that's what you get.
• 15:43
  [SPEAKER_04]: There's nothing, there's no missing part.
• 15:45
  [SPEAKER_02]: That's what the song is.
• 15:47
  [SPEAKER_02]: It's almost like that if there are missing parts within a song, if it is sort of impossible to drive your head around, the whole idea is to give you that to generate whatever that impression is.
• 15:57
  [SPEAKER_02]: It's interesting.
• 16:02
  [SPEAKER_02]: I mean, somebody said to me, a while ago, like, you know, people don't know they want to be surprised.
• 16:07
  [SPEAKER_02]: And it is like this thing about a mysterious song that, you know, there's no, in the book of like, how to write a hit song, there's no part that says, like, do something that's really unknowable and mysterious, and we'll capture people's imaginations and kind of spark their minds up a little bit.
• 16:23
  [SPEAKER_02]: But that's obviously what a lot of people want out of music.
• 16:26
  [SPEAKER_02]: They don't want to just have like the
• 16:30
  [SPEAKER_02]: their prosaic world kind of echoed back at them.
• 16:32
  [SPEAKER_02]: They actually like the, the, the, the, the imaginative stuff.
• 16:36
  [SPEAKER_02]: Yeah.
• 16:37
  [SPEAKER_02]: Yeah.
• 16:37
  [SPEAKER_02]: Yeah.
• 16:38
  [SPEAKER_04]: I think, I mean, I think some people do probably want this thing that we don't give them, which is, you know, people hate us and explanation.
• 16:46
  [SPEAKER_02]: Right.
• 16:46
  [SPEAKER_02]: Yeah.
• 16:47
  [SPEAKER_02]: Yeah.
• 16:48
  [SPEAKER_02]: Well, I think, you know, country, I mean, contemporary country music is actually like, you know, a good example of like, you know, you, you, you couldn't be more earthbound in a way.
• 16:56
  [SPEAKER_02]: I find, you know,
• 16:57
  [SPEAKER_02]: I feel like my head's in a fight.
• 16:59
  [SPEAKER_06]: Talk about repetitive.
• 17:00
  [SPEAKER_06]: You can say we're good and contemporary country in the same sentence.
• 17:03
  [SPEAKER_06]: Not together.
• 17:03
  [SPEAKER_06]: Well, you know, we're not here to not country music.
• 17:07
  [SPEAKER_04]: No.
• 17:08
  [SPEAKER_04]: Yeah.
• 17:09
  [SPEAKER_06]: We can.
• 17:09
  [SPEAKER_04]: If you don't like country music.
• 17:12
  [SPEAKER_06]: No, I guess it would have brought it back to is that I'd heard a critics say that like black ops say a political song and you know, I listen to black ops and I go, well,
• 17:21
  [SPEAKER_06]: I mean, I guess blackhouses are really weird songs.
• 17:24
  [SPEAKER_02]: I wouldn't even know how to back up far enough to explain or defend it.
• 17:27
  [SPEAKER_02]: I mean, it's kind of about, you know, it is a political song in this emulsion way, it's about morality in a way, but it's also just such a weird experiment in
• 17:36
  [SPEAKER_02]: creepiness and who the narrators to be running throughout this ring the narrator isn't that song is a really you know I mean he's a very cavalier guy like and it's strange to sort of celebrate him that that voice you know I mean it's somebody's probably really mad already
• 17:56
  [SPEAKER_06]: Well, it's fun celebrating the creepiness of antibiotics.
• 17:59
  [SPEAKER_06]: I'm number six.
• 18:00
  [SPEAKER_06]: No, they're adult albums.
• 18:01
  [SPEAKER_06]: They might be giants.
• 18:02
  [SPEAKER_06]: You got to hide it from your children.
• 18:04
  [SPEAKER_06]: No, this is great.
• 18:05
  [SPEAKER_06]: Thank you guys so much for stopping by for the conversation.
• 18:07
  [SPEAKER_02]: Oh, thanks for watching.
• 18:08
  [SPEAKER_06]: For continuing and giving up.
• 18:11
  [SPEAKER_06]: Oh, yes.
• 18:11
  [SPEAKER_06]: Thank you.
• 18:12
  [SPEAKER_06]: Yeah, we'll be right back right after this.
• 18:15
  [SPEAKER_06]: Welcome back.
• 18:16
  [SPEAKER_06]: It's Kyle Merith with a special rewind episode with they might be giants.
• 18:20
  [SPEAKER_06]: Now we're going to go up to a twenty seventeen.
• 18:23
  [SPEAKER_06]: That's when John Flansberg dropped by to talk about the record.
• 18:27
  [SPEAKER_06]: I like fun.
• 18:28
  [SPEAKER_06]: It became the band's twentieth album.
• 18:31
  [SPEAKER_06]: And yes, he was surprised by that number as anyone.
• 18:35
  [SPEAKER_06]: Flans reflected on the album's unexpectedly perfect timing, hitting during what he called a dystopian hellscape.
• 18:41
  [SPEAKER_06]: and explained how the bands dark humor and cheer up loser ethos accidentally became a comforts in chaotic times.
• 18:50
  [SPEAKER_06]: We also got to talk about mortality, this song writing, as a puzzle craft, how melatron samples from creams Jack Bruce shaped the title track and the enduring challenge of writing songs that surprise people without becoming disposable.
• 19:06
  [SPEAKER_06]: Let's get into a part two of the special rewind episode.
• 19:09
  [SPEAKER_06]: It's Kyle Meredith with John Flandzberg of they might be giants.
• 19:13
  [SPEAKER_03]: I love I love the junk stores of Louisville.
• 19:15
  [SPEAKER_03]: I don't have a chance to check it out.
• 19:17
  [SPEAKER_06]: I don't think I have comparisons of the junk stores of Louisville compared to other cities.
• 19:21
  [SPEAKER_06]: Do we have anything exceptional here?
• 19:24
  [SPEAKER_03]: You have wealthy people who seem to throw things away.
• 19:28
  [SPEAKER_03]: Like Aspen, like, um, well, like the way Seattle used to be, I feel like there's like if there's a certain kind of generational thing where there's like a certain, you know, bunch of people actually have money and then they just like sort of toss their estate away.
• 19:45
  [SPEAKER_03]: It really makes the junk source super nice.
• 19:48
  [SPEAKER_06]: Well, uh, again, the big congratulations as they say for the new record, I like fun.
• 19:53
  [SPEAKER_06]: It's a big round number.
• 19:54
  [SPEAKER_06]: This is your twentieth.
• 19:55
  [SPEAKER_06]: Does that mean anything extra special?
• 19:58
  [SPEAKER_01]: Uh, you know, we kind of just do what we do and it's strange how it kind of, um, you know, it's
• 20:07
  [SPEAKER_03]: We're on the very sort of gentle roller coaster ride where things kind of go off and things go down and it's hard to understand why things happen or when things are going to happen.
• 20:17
  [SPEAKER_03]: I mean, it's interesting right now.
• 20:19
  [SPEAKER_03]: I feel like we actually put out a fairly consistent bunch of albums in the past few years, but this one is getting a tremendous amount of notice.
• 20:27
  [SPEAKER_03]: And in a way, I'm kind of coming to the realization that sometimes it has more to do with the world that the album is entering than the album itself.
• 20:35
  [SPEAKER_03]: Like, I think a lot of people are really ready for a very much giant album.
• 20:40
  [SPEAKER_03]: Now, they're kind of happy and relieved that we're making an album.
• 20:45
  [SPEAKER_03]: Because just as the world is such a chaotic, kind of dystopian, health gate, and there's something
• 20:51
  [SPEAKER_03]: kind of reassuring about today might be times record entering the world right now it's like and especially that it's for adults and that it's not you know I mean it we we're I don't know we're kind of mining a very strange kind of cheer up loser saying with our music and it just I don't know just makes it a lot of people seems like well you know it's interesting if they just say that too because
• 21:16
  [SPEAKER_06]: I'm in that camp.
• 21:17
  [SPEAKER_06]: I'm relieved that there is, and I'm always excited to see a new record from you guys.
• 21:21
  [SPEAKER_06]: And as we're happy, then you get into the lyrics.
• 21:23
  [SPEAKER_06]: And again, there's a lot of doom in this, as it does reflect what's going on out there.
• 21:27
  [SPEAKER_06]: And you sort of always had a history of singing about the doom.
• 21:31
  [SPEAKER_06]: And I sort of wonder, as you look back on those songs, is this the doom that you were talking about?
• 21:39
  [SPEAKER_03]: I think the deal is just sort of the adults, you know, post adolescent, existential dread that, you know, it's not about, it's not about sort of like the, I can't go on in this world, it's much more about just like, oh my god, I have, you know, I can't quit this job, you know, I'm stuck here, kind of, that's kind of, it's sort of, it's hard to sum up, and all of the sounds are different, they're different narrated, it's different voices,
• 22:04
  [SPEAKER_03]: but so I don't want to like just say it's all one big heap but it was last year was a hell of a year and this one is going to be looks like it's going to be the stranger.
• 22:16
  [SPEAKER_06]: I mean you know the last time that you and I talked it's when you were in Louisville gone the last run and I believe we were talking about you know the the what was the black helicopters which so innocent right now
• 22:29
  [SPEAKER_03]: true.
• 22:29
  [SPEAKER_03]: That's true.
• 22:30
  [SPEAKER_03]: I mean, yeah, it's different.
• 22:33
  [SPEAKER_03]: It's strange.
• 22:34
  [SPEAKER_03]: I mean, things could definitely go in cycles and a lot of things seem, I mean, I don't know.
• 22:41
  [SPEAKER_03]: I want to think about George.
• 22:42
  [SPEAKER_03]: I feel like we just give George Bush a really hard time.
• 22:46
  [SPEAKER_03]: No, no.
• 22:46
  [SPEAKER_06]: It's a bad president.
• 22:47
  [SPEAKER_06]: He really was.
• 22:48
  [SPEAKER_06]: Yeah.
• 22:51
  [SPEAKER_03]: Well, send all your angry letters to the radio.
• 22:54
  [SPEAKER_06]: Right here.
• 22:54
  [SPEAKER_06]: You know, it's, you know, it's, we're saying though, what I do appreciate about the way both of you write is that when you are politically minded in the songs, you always seem to find the sense of absurdity to go along with it, whereas I feel like, you know, me and, and I think most people, a lot of people at least,
• 23:14
  [SPEAKER_06]: you know we sort of get stuck in the weeds of it all and can only see what's right in front of us but but you've seemed to always find the absurdity in it like just wait.
• 23:22
  [SPEAKER_03]: Yeah well I think I think you know we're we're kind of preoccupied with history and I think as writers we're also a little bit preoccupied with trying to figure out how to what we're doing have a shelf life I mean if you're just if you're just a pundit if you're just talking kind of contemporaneously anxiously about the way things are on the world you can make you can
• 23:41
  [SPEAKER_03]: Definitely make a lot of hay out of like the, you know, what's happening right now.
• 23:45
  [SPEAKER_03]: When you're writing, making a record album, all that sort of theatrical stuff, it's not gonna hold up, you know, it's for repeated listening.
• 23:55
  [SPEAKER_03]: And certainly not gonna hold up to time.
• 23:57
  [SPEAKER_03]: I mean, I remember,
• 23:58
  [SPEAKER_03]: I guess if even just wanted to make our first couple of albums there was stuff we did in our show that was very theatrical and it was very effective like in the linear way like you would you know we would do these sort of a surprise kind of stunty things on stage
• 24:13
  [SPEAKER_03]: And people in the audience who definitely get swept up in it, but that's exactly the kind of stuff when you're actually doing the recording or something like, well, what are we going to put in this part of the song where, you know, we have a lot of these participation, you know, or like, or whatever, whatever the thing is, like the stunt part of the song needs to be in re-infused with some musical interest because it's not gonna laugh.
• 24:34
  [SPEAKER_06]: Well, it's one thing that I enjoy really about the, I don't know, I guess the tongue and cheek version of the, how you start out the record at all with, let's get this over with.
• 24:42
  [SPEAKER_06]: Oh, yeah.
• 24:42
  [SPEAKER_06]: You know, I mean, it's, it's sort of how I felt about the last couple years anyway.
• 24:47
  [SPEAKER_06]: It's like, well, we're in it.
• 24:48
  [SPEAKER_06]: Let's get it over by.
• 24:48
  [SPEAKER_03]: Yeah.
• 24:49
  [SPEAKER_03]: Exactly.
• 24:50
  [SPEAKER_03]: Yeah.
• 24:51
  [SPEAKER_03]: Well, it was funny, it sequence, when you have a song with a title like that in it, it's hard to ignore.
• 24:58
  [SPEAKER_03]: I mean, it wasn't designed to be the first song.
• 25:01
  [SPEAKER_03]: I guess we were actually like listening to it with like, you know, the management folks we work with and the surf talking about the songs we had and they were like, maybe that should be the opener.
• 25:12
  [SPEAKER_03]: Oh, you know, I was sort of thinking you should be the closer.
• 25:15
  [SPEAKER_03]: But then it seems like you're saying like, you know, like let's break up.
• 25:19
  [SPEAKER_03]: And that's done.
• 25:20
  [SPEAKER_03]: Yeah.
• 25:21
  [SPEAKER_03]: We don't need to send that into the world.
• 25:24
  [SPEAKER_06]: Oh, it's a great way to stir a press is what it's really good at, you know, twenty albums.
• 25:29
  [SPEAKER_06]: And it's done.
• 25:29
  [SPEAKER_03]: Right, right, right, right.
• 25:31
  [SPEAKER_03]: I don't know.
• 25:33
  [SPEAKER_03]: Everything's shocking to me now.
• 25:34
  [SPEAKER_03]: I can't, I can't believe we've done even though when people say it, it doesn't sound real.
• 25:39
  [SPEAKER_06]: Well, you know, that's an interesting lead into another favorite theme of yours, which is the passing of time.
• 25:45
  [SPEAKER_06]: And you've even said recently it's one of your favorite evergreen topics that the band has in your pocket.
• 25:50
  [SPEAKER_06]: But you know, twenty albums in as you get older does the shape of that theme change for you.
• 25:58
  [SPEAKER_03]: Well, I think the truth is, as writers, we lean on themes of death and despair in sort of at every level.
• 26:07
  [SPEAKER_03]: I mean, I think there's some things that are very sincere and real and clear-eyed about it.
• 26:13
  [SPEAKER_03]: There's some stuff that's kind of fantastical and just for, you know, really almost entertainment purposes.
• 26:19
  [SPEAKER_03]: And then, at its very worst, it's a crutch.
• 26:22
  [SPEAKER_03]: You know, it's just like, we've got a third verse.
• 26:24
  [SPEAKER_03]: We've run out of gas.
• 26:26
  [SPEAKER_03]: We've run out of ideas.
• 26:27
  [SPEAKER_03]: It's like, all right, let's just blow everything up.
• 26:29
  [SPEAKER_03]: So it's like, it's not just an evergreen team.
• 26:31
  [SPEAKER_03]: It's actually, it's like an all purpose.
• 26:34
  [SPEAKER_03]: It's like the, it's like the, you know, craftsman tool that does like non-different things.
• 26:39
  [SPEAKER_06]: Are you able to look back or do you ever even look back on the older songs when you've tackled those themes and thought, oh, how naive I was or on the reverse line like, wow, here I am at that whatever age I might have been talking about and nailed it.
• 26:54
  [SPEAKER_03]: you know as young or men we were so I mean I felt like we could actually be kind of sometimes we could be sort of more thoughtful than then I would expect from us I mean considering what sort of how like sassy and sarcastic we were most of the time I don't know you know in our decrepit to that I did a lot of things come a little more naturally I really love that word decrepit to hear that one
• 27:21
  [SPEAKER_03]: Well, I'm using it all the time now.
• 27:25
  [SPEAKER_06]: I like to imagine, you know, when you guys write, when you have a chance to write, because I don't know when you guys ever stop doing anything.
• 27:31
  [SPEAKER_06]: But I imagine it's like a writer's room for a skit show or a sitcom, just because of what comes out of it.
• 27:38
  [SPEAKER_06]: Is that close to the truth at all?
• 27:40
  [SPEAKER_03]: Well, I mean, we've done, I wish we did more things that were just like head on collaborations, like in that kind of, you know, hot house kind of way, because it can be very productive.
• 27:54
  [SPEAKER_03]: We've definitely worked that way on project, okay?
• 27:57
  [SPEAKER_03]: especially things that were more like that had deadlines that were doing stuff for TV and stuff like that but when most of the writing we do even the collaborative stuff that we do we do kind of start we do sort of long distance and that does give us a little bit of space and a little bit of sort of
• 28:15
  [SPEAKER_03]: In some ways we're kind of, I think John and I are first shy of one another in terms of like the process.
• 28:20
  [SPEAKER_03]: And it's not just out of respect, it's also out of respect for the fragility of a good idea.
• 28:27
  [SPEAKER_03]: You know, I think sometimes when you're doing stuff, the good part is actually very small and specific.
• 28:34
  [SPEAKER_03]: And you don't want to break that off or like diminish it in any way.
• 28:39
  [SPEAKER_03]: One of the nice things about doing music now in like the twenty percentary with visual audio and stuff like that is we can actually preserve some of the weirdest recordings that we make on the demos and bring them right into the albums that we're making because for a very long time we were we were the kings of that people might not be familiar with this expression demo idea
• 29:00
  [SPEAKER_03]: But it's the idea that you make a quick recording of your song with just a spare instrumentation and a vocal performance.
• 29:08
  [SPEAKER_03]: And there's something very magical about those simple recordings.
• 29:12
  [SPEAKER_03]: And people are always talking about how much they preferred the demo to the finished recording.
• 29:17
  [SPEAKER_03]: And we were the king of that.
• 29:19
  [SPEAKER_03]: I mean, there was so many
• 29:20
  [SPEAKER_03]: scenarios were just like, oh my God, it was so much better like we really lost it just so how it just seemed like it got hit by a snow cloud when we recorded the final version.
• 29:30
  [SPEAKER_03]: And what's nice about now is we can kind of export.
• 29:33
  [SPEAKER_03]: Is there anything of merit in the demo we can sort of port it right into the finished recording?
• 29:38
  [SPEAKER_03]: I mean, if I had to hold recording process, it would become this kind of smeared demo to find all, it's hard to even know where it stops and starts.
• 29:46
  [SPEAKER_03]: But John and I will, we do this thing, you know, very much in that sort of a postal service kind of style of just setting files back and forth.
• 29:54
  [SPEAKER_03]: And with this album, which is really a kind of a different
• 29:57
  [SPEAKER_03]: more unusual than our usual way of working.
• 30:01
  [SPEAKER_03]: I actually put together a whole bunch of beats for John to write, you know, bass lines to or write chord progressions to and putting together beats in none of themselves like in that sort of abstract hip-hop way.
• 30:13
  [SPEAKER_03]: It's such a strange way of working because you're kind of, you want it to be exciting.
• 30:17
  [SPEAKER_03]: It has to be exciting.
• 30:19
  [SPEAKER_03]: Nobody's going to want to be inspired writing to a beat that isn't inspiring, but stopping at the moment that the beat is inspiring and just letting it go.
• 30:28
  [SPEAKER_03]: Like the beat to let's get it this over with, you know, I gave it to John, it was just sort of this weird, gospely, sounding thing with very specific ten claps sounds and picked up patterns.
• 30:39
  [SPEAKER_03]: And it was just so it was an odd.
• 30:41
  [SPEAKER_03]: I thought it was a very cool set.
• 30:45
  [SPEAKER_03]: And I sort of didn't particularly want to hand it off, but I knew you would, you know, cook up something fantastic with it.
• 30:51
  [SPEAKER_03]: So I gave it, I put it in the stack of things for John.
• 30:56
  [SPEAKER_06]: And it worked out well.
• 30:59
  [SPEAKER_03]: Yeah, I think I'm very happy with it.
• 31:02
  [SPEAKER_03]: I mean, part of it also is we just recorded a crazy number of songs for the album.
• 31:06
  [SPEAKER_03]: I think we pulled the fifteen from like thirty tracks.
• 31:10
  [SPEAKER_03]: So there was a very, very strict kind of editing process, self editing process.
• 31:17
  [SPEAKER_06]: With songs, you know, a lot of them I know for a writer, you just trying to grab a hold of that inspirational thought or whatever, but I'd be curious and I apologize for what might come across as lazy journalism here.
• 31:31
  [SPEAKER_06]: But... Oh, that's okay.
• 31:32
  [SPEAKER_06]: Are there any... It's never okay, sir.
• 31:34
  [SPEAKER_06]: Are there any... Are there any of the songs that have a particularly great backstory?
• 31:39
  [SPEAKER_06]: Just the beyond?
• 31:40
  [SPEAKER_06]: Oh, that's a cool idea.
• 31:41
  [SPEAKER_06]: You know, does any of the songs really come from an interesting spot?
• 31:44
  [SPEAKER_03]: Well, I can tell you, you know, we, I purchased a melatron, like an actual, they make, they make this reproduction melatron keyboard.
• 31:53
  [SPEAKER_03]: And it's a quite an expensive instrument.
• 31:55
  [SPEAKER_03]: It's a very unusual instrument.
• 31:56
  [SPEAKER_03]: People might be familiar with it from, you know, strawberry fields wherever or school on the hill.
• 32:01
  [SPEAKER_03]: There's a bunch of very famous Beatles songs that have very prominent melatron parts in them.
• 32:06
  [SPEAKER_03]: It's a keyboard sound, but it's basically almost like a prototype of a sampler, and it has a very blunt ending when you lift your hand up from the key as it kind of stops everything.
• 32:19
  [SPEAKER_03]: But you can sample anything into it.
• 32:22
  [SPEAKER_03]: It was really part of the psychedelic music scene.
• 32:26
  [SPEAKER_03]: They just started reproducing them and I actually had one sent to John and he was just like, this is too much for me.
• 32:34
  [SPEAKER_03]: I want to keep my studio super minimal.
• 32:39
  [SPEAKER_03]: It just kind of came back to me with this.
• 32:42
  [SPEAKER_03]: It has all these enormous sound libraries in it, from very far-flung places, including a sound that's featured on the song, I like fun.
• 32:50
  [SPEAKER_03]: At the top of the song, there's like a vocal sound, like, kind of sounds a little bit like a lorry Anderson kind of thing.
• 32:55
  [SPEAKER_03]: It's a voice, kind of like, oh, in this very disembodied way.
• 32:59
  [SPEAKER_03]: And that vocal sound was actually created by Jack Bruce, the bass player of Creme.
• 33:04
  [SPEAKER_03]: Well, for his personal melachron sound library, and what he did is he just sent himself up with a clock and squeal and a microphone
• 33:13
  [SPEAKER_03]: And just went through the scales and on the keyboard and self-acquired themselves, singing every note.
• 33:21
  [SPEAKER_03]: And then you can make like a little choir of check versus singing.
• 33:25
  [SPEAKER_03]: And the reason I know he had a clock in speed, I was at pitch references because on some of them you can actually still hear through, have headphones on, you can still hear the clock in speed, ringing out.
• 33:34
  [SPEAKER_03]: That was his pitch guide.
• 33:36
  [SPEAKER_03]: And I just thought it was so new.
• 33:38
  [SPEAKER_03]: neat and odd.
• 33:40
  [SPEAKER_03]: I mean, I've always been a cute, jack-ruse fan.
• 33:42
  [SPEAKER_03]: I really like it's voice.
• 33:43
  [SPEAKER_03]: I like its sensibility and it's something about those green records that are really exciting.
• 33:48
  [SPEAKER_03]: And the idea that, you know, we could kind of re-animate the spirit of jack-ruse in a song just seems very, very cool.
• 33:56
  [SPEAKER_03]: And that really was like the jumping off point for that song was that very odd sound.
• 34:01
  [SPEAKER_06]: Again, nobody ever really does.
• 34:03
  [SPEAKER_06]: It's like, right.
• 34:04
  [SPEAKER_06]: A polygram version, just without the hologram.
• 34:08
  [SPEAKER_06]: You've animated him.
• 34:09
  [SPEAKER_03]: Well, I mean, the thing is, I mean, he has a very distinctive voice.
• 34:12
  [SPEAKER_03]: It's like, you know, it's rather, it's very kind of haunted.
• 34:15
  [SPEAKER_03]: It's probably hollowed out voice.
• 34:17
  [SPEAKER_03]: And it really just works in the song, perfectly.
• 34:20
  [SPEAKER_06]: That's cool.
• 34:21
  [SPEAKER_06]: I do love that song.
• 34:22
  [SPEAKER_06]: And it is as interesting as it is bizarre that only they might be giants probably could have pulled that off.
• 34:28
  [SPEAKER_06]: where the little help from jackfruit from jackfruit.
• 34:31
  [SPEAKER_06]: It was a really fun talk to you.
• 34:33
  [SPEAKER_06]: We're excited.
• 34:34
  [SPEAKER_06]: Like I said, March-A-Teen, the Breckery Ballroom, we'll be seeing you here again.
• 34:37
  [SPEAKER_03]: Oh God, well, thanks for, you know, plug on the show.
• 34:40
  [SPEAKER_03]: And, you know, it's always a blast, you know, getting to Louisville.
• 34:45
  [SPEAKER_03]: I wish I wish, you know, we don't come around as often as I'd like to.
• 34:49
  [SPEAKER_03]: You know, it's like every, every third tour we actually get there.
• 34:53
  [SPEAKER_03]: And there are a lot of places, a lot of places that I'm so totally sick.
• 34:58
  [SPEAKER_06]: Well, if you end up having the extra money, you want to go junk hunting, then count me in.
• 35:05
  [SPEAKER_06]: All right.
• 35:06
  [SPEAKER_06]: You can show me the space.
• 35:07
  [SPEAKER_06]: All right, man.
• 35:08
  [SPEAKER_06]: See you around.
• 35:08
  [SPEAKER_06]: Thanks again.
• 35:09
  [SPEAKER_06]: And my things.
• 35:10
  [SPEAKER_06]: John Flandzburg, John Lonell, they might be giants.
• 35:13
  [SPEAKER_06]: Thanks to you for checking out the episode, hit that subscribe button before you get out of here so you can keep up with all the interviews that I put out every single week.
• 35:20
  [SPEAKER_06]: You can grab me at Spotify, Apple Podcast, NPR, WFPK.org.
• 35:25
  [SPEAKER_06]: Consequence, YouTube for the video versions or anywhere you get your podcasts from, you can subscribe to Kyle Mayard with and please do give the series a rating and leave a review.
• 35:36
  [SPEAKER_06]: After that, you can head over to WFPK.org, right?
• 35:39
  [SPEAKER_06]: Do a show Monday through Friday, starting six p.m.
• 35:42
  [SPEAKER_06]: Eastern, four hours of classics from the eighties and nineties.
• 35:45
  [SPEAKER_06]: You get the best in new music, bonus interviews, lots of music news as well.
• 35:50
  [SPEAKER_06]: In fact, one of my recent shows featured some classics and favorites from Durand, Durand, Irvana, Oasis, Seishi, Shea, Heather Nova, Jill Sobiel.
• 36:00
  [SPEAKER_06]: Splendor Elliott Smith, Nico Case, Deathcat for Cutie, Dropkick Murphy, Samara Joy, Jonathan Brooke, Cheryl Crowe, and my interview with Julianna Hatfield.
• 36:11
  [SPEAKER_06]: That's what you can catch weeknights.
• 36:13
  [SPEAKER_06]: Starting six PM Eastern, WFPK.org.
• 36:17
  [SPEAKER_06]: Consequence says your music and film news.
• 36:20
  [SPEAKER_06]: You can also find me on any of the social media sites.
• 36:23
  [SPEAKER_06]: The address is always at Kyle Meredith, please do like and follow along.
• 36:26
  [SPEAKER_06]: And that does it for another edition.
• 36:28
  [SPEAKER_06]: I'm Kyle Meredith.
• 36:29
  [SPEAKER_06]: I'll see you next time.
• 36:44
  [SPEAKER_05]: Consequence podcast network.
• 36:45
  [SPEAKER_00]: It's easy to hear your favorite artist on WFPK from wherever you are.
• 36:49
  [SPEAKER_00]: Listen on your smart speaker, live stream from our website at WFPK.org from Louisville Public Media.