Music – Australia – New podcasts
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What makes you a heretic? Journalist Andrew Gold believes that, in an age of group-think and tribes, we need heretics - those who use unconventional wisdom to speak out against their own groups, from cancelled comedians and radical feminists to cult defectors and vigilantes hunting deviants.
Learn from my guests how to rebel, think differently and resist social contagion. From Triggernometry's Francis Foster and the world's most cancelled man Graham Linehan to ex-Hasidic Jew Julia Haart and gender critical atheist Richard Dawkins. These are the people living with the weight of their own community's disappointment on their shoulders. -
For the latest releases in Americana, alternative Country, Folk and Roots - and a whole lot more. Live on 96.5 Inner FM Melbourne every Sunday 6-8pm.
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Getting deep into conversation with indie music makers.
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‘Are Drummers Musicians?’ is a captivating exploration of the music scene in Melbourne/Naarm. Hosted by drummer Luke Singleton, the podcast showcases the city's diverse talent—from established to emerging artists and session musicians. Through relaxed conversations, we uncover the unique perspectives and stories of musicians across various genres. Each episode delves into the artistry, background, and experience of the guest, exploring what it means to be a musician. This is your backstage pass, so join us as we celebrate the music community and feature the various talents in Melbourne/Naarm!
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3 mates talking about sport, music and everything in between with a horde of special guests .... featuring cricket & TV personality Mike Whitney, ”Sugar” Ray Nosti & Andrew ”Dawsey” Dawson.
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The Pet Shop Boys are an iconic English synth-pop duo consisting of Neil Tennant (vocals, keyboards, guitar) and Chris Lowe (keyboards, vocals). Formed in London in 1981, the duo has become one of the most successful and influential acts in British music history, with a career spanning over four decades and a discography that includes 14 studio albums, four live albums, and numerous compilations, remixes, and singles.
Neil Tennant, born on 10 July 1954 in North Shields, England, met Chris Lowe, born on 4 October 1959 in Blackpool, Lancashire, in an electronics shop on King's Road in London in 1981. Tennant was a former editor at Smash Hits magazine, while Lowe was studying architecture at the University of Liverpool. They bonded over their shared love of electronic music and began writing songs together.
The duo's first single, "West End Girls," was released in 1984 but initially failed to make an impact. However, after being re-recorded and re-released in 1985, the song became a global hit, reaching number one in the UK, US, and several other countries. This success set the stage for the Pet Shop Boys' debut album, "Please," released in 1986, which showcased their unique blend of catchy melodies, clever lyrics, and electronic instrumentation.
Over the next few years, the Pet Shop Boys released a string of critically acclaimed and commercially successful albums, including "Actually" (1987), "Introspective" (1988), and "Behaviour" (1990). These albums spawned numerous hit singles, such as "It's a Sin," "Always on My Mind," "Heart," and "Being Boring," cementing the duo's status as one of the most prominent acts in the world of pop music.
Throughout their career, the Pet Shop Boys have been known for their intelligent, often witty and satirical lyrics that touch upon themes of love, politics, social issues, and popular culture. They have also been praised for their innovative approach to music production and their elaborate, theatrical live performances.
In addition to their own music, the Pet Shop Boys have collaborated with various artists, including Dusty Springfield, Liza Minnelli, David Bowie, and Robbie Williams. They have also ventured into other artistic fields, such as film (composing the soundtrack for the 1987 film "It Couldn't Happen Here"), musical theater (writing the musical "Closer to Heaven" in 2001), and ballet (creating a ballet based on Hans Christian Andersen's story "The Most Incredible Thing" in 2011).
The Pet Shop Boys have received numerous accolades throughout their career, including three Brit Awards, six Grammy nominations, and the Ivor Novello Award for Outstanding Contribution to British Music in 2000. In 2017, they received the Godlike Genius Award at the NME Awards, recognizing their immense influence on British music and culture.
Now, in 2023, the Pet Shop Boys are set to release their 15th studio album, "Nonetheless." The album, produced by Stuart Price (known for his work with Madonna, The Killers, and Dua Lipa), is described as a collection of upbeat, dance-oriented tracks that showcase the duo's enduring creativity and relevance in the contemporary music scene.
The lead single from the album, "Dreamland," features British pop star Olly Alexander from the band Years & Years. The collaboration highlights the Pet Shop Boys' ability to connect with younger generations of musicians and fans alike, while staying true to their signature sound and style.
"Nonetheless" also includes tracks such as "Happy People," "Wedding in Berlin," and "Burning the Heather," which explore themes of love, happiness, and nostalgia, all delivered with the Pet Shop Boys' trademark wit and sophistication.
As the duo prepares to embark on a world tour in support of the new album, they reflect on their incredible journey and the enduring power of their music. In a recent interview, Neil Tennant stated, "We've always tried to make music that is both entertaining and meaningful, that makes people dance and think at the same time. With 'Nonetheless,' we feel we've achieved that balance once again, and we can't wait to share it with our fans."
Chris Lowe added, "We've been doing this for over 40 years now, and it's still as exciting and challenging as ever. We're grateful for the support of our fans and the opportunity to keep creating music that resonates with people around the world."
As the Pet Shop Boys continue to inspire and innovate, "Nonetheless" serves as a testament to their enduring legacy and their unwavering commitment to pushing the boundaries of pop music. With their 15th studio album, Neil Tennant and Chris Lowe prove once again that they are not just survivors but trailblazers, forever shaping the landscape of electronic music and pop culture. Thanks for listening to Quiet Please. Remember to like and share wherever you get your podcasts. -
Podcast stuff
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Get to know the town of Mid-Valley through improvised sketches and songs in Adam Rudy's manic one-man variety show.
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Fear, Guilt & Agriculture are the foundations of the New Zealand cultural experience. Host Oscar Davies-Kay talks to friends and other interesting people from Aotearoa about their life story.
New episodes weekly.
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The Australian Council for the Defence of Government Schools (DOGS) looks at public education and separation of church and state.
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In this series, I, Bailey Walker, chat with a variety of musicians from all over the world about how they got their start, what they love about the industry and what they’ve got going on now and into the future.
For me, it’s really rewarding to be able to use casual conversation to not only learn more about my guests, but to help you, the audience, discover your next favourite artist!
So each week, sit down with me as I interview a different musician, and tell the stories many people won’t know, simply by Asking a Muso... -
"Four Strings and the Truth: The Bassists Who Changed Music" features intimate conversations with players who have changed the course of the music that came after them, and continue to do so. We'll uncover their four-string mindset - their influences, approach, artistic practice, and how they go about practicing, playing, composing songs, being in a band and living their lives.
Host Sandy Smallens, an indie- and major label-recording artist and bassist of 40-plus years, shines a light on the sometimes unsung (or at least under-sung) heroes who continue to redefine the bass's role in contemporary music, channeling his experience as a music writer and founder of Spotify's original content department.
Check out the official pod playlist here: https://open.spotify.com/playlist/2NJT1Dpc6eGi09uJOuQWKs?si=4d76eeff2b5c4615.
Theme music by Surface Wound.
"Four Strings and the Truth" is an Audiation Original production. -
A podcast talking Country music to Dark metal. Politics to Publicans. Marathon Running to how to build an award winning street Machine and so much more. Not even I know what we will be talking about next.
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Co-hosts Max, Dandelyin, Alex & others from all around the world discuss their fierce passion for the past, present, & future of music. Welcome to this comforting platform for artists, bands & fans to promote/discuss/appreciate music from their respective genres.
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Karl Wallinger, the creative mastermind behind the band World Party, was born on October 19, 1957, in Prestatyn, Wales. From an early age, Wallinger displayed an innate talent for music, teaching himself to play various instruments, including the piano, guitar, and drums. His passion for music would shape the course of his life and lead him to become one of the most influential figures in alternative rock. Wallinger's musical journey began in earnest when he moved to London in the late 1970s, determined to make a name for himself in the music industry. In 1981, he joined the band The Waterboys as a keyboardist, contributing significantly to their first two albums released in 1983 and 1984. However, Wallinger's creative vision extended beyond the confines of the band, and in 1985, he made the bold decision to leave The Waterboys and embark on a solo career. The birth of World Party came in 1986 when Wallinger began recording his own songs under this moniker. As a solo artist, he took on the challenge of playing most of the instruments himself while also providing lead vocals. His unique style, reminiscent of the 1960s British Invasion pop-rock, quickly garnered attention from music enthusiasts and critics alike. World Party's debut album, "Private Revolution," released in 1987, showcased Wallinger's exceptional songwriting abilities. The album was a critical success, featuring thought-provoking lyrics that addressed social and political issues, set against a backdrop of catchy melodies. Tracks like "Ship of Fools" and "Private Revolution" became instant college radio hits, establishing World Party as a force to be reckoned with in the alternative music scene. Wallinger's sophomore album, "Goodbye Jumbo," released in 1990, saw World Party evolve into a more collaborative effort, with Wallinger recruiting additional musicians to contribute to the project. Despite this change, Wallinger remained the driving creative force, playing many of the instruments himself. "Goodbye Jumbo" surpassed the success of its predecessor, both critically and commercially. The lead single, "Way Down Now," soared to the top of the US Modern Rock chart and secured a Top 40 position in the UK. Other notable tracks, such as "Put the Message in the Box" and "When the Rainbow Comes," solidified World Party's position as a leading light in the early 90s alternative rock scene. In 1993, World Party released their third album, "Bang!", which marked a shift towards a more introspective sound. While not as commercially successful as "Goodbye Jumbo," the album still garnered critical acclaim, with songs like "Is It Like Today?" and "Sunshine" becoming fan favorites. The more somber tone of some tracks reflected Wallinger's personal struggles, including his recent divorce. Following the release of "Bang!", Wallinger took an extended hiatus from World Party to focus on other projects. He lent his talents to writing and producing an album for Sinéad O'Connor and took his time crafting the next World Party album. The result of this meticulous work was the 1997 release "Egyptology," a masterpiece that many critics and fans consider to be World Party's magnum opus. The album is a captivating song cycle, taking listeners on a musical and lyrical journey from the opening riffs of "It is Time" to the final notes of "Strange Groove." The standout track "She's the One" later gained widespread recognition when it was covered by Robbie Williams. Tragically, just as "Egyptology" was receiving widespread acclaim, Wallinger faced a significant health setback. In 2001, he suffered an aneurysm that left him unable to walk or speak, forcing him to embark on a lengthy and challenging recovery process. This unfortunate event led to an indefinite hiatus for World Party. As Wallinger gradually regained his abilities, he slowly returned to music, overseeing archival World Party releases and performing a handful of intimate shows. In 2012, he made a remarkable comeback with the release of "Arkeology," a new World Party album that showcased his resilience and unwavering talent. Although not a complete return to his earlier form, the album featured several standout tracks that demonstrated Wallinger's enduring gift for crafting melodic pop-rock. In recent years, Wallinger has maintained a relatively low profile, occasionally performing World Party concerts for his dedicated fanbase. Despite the challenges he has faced, Wallinger remains a highly respected and influential figure in the music industry, known for his exceptional songwriting abilities and multi-instrumental skills. His body of work continues to inspire and resonate with listeners, solidifying his place as an iconic figure in alternative and indie rock. Karl Wallinger's journey with World Party is a testament to the enduring power of music and the resilience of the human spirit. Through his lyrics, melodies, and performances, he has left an indelible mark on the music world, influencing countless artists and touching the lives of fans around the globe. As he continues to create and inspire, Wallinger's legacy as a true artist and visionary grows, ensuring that his music will be celebrated for generations to come. In conclusion, Karl Wallinger's life and career with World Party is a remarkable story of talent, perseverance, and the transformative power of music. From his early days as a member of The Waterboys to his groundbreaking work as the mastermind behind World Party, Wallinger has consistently pushed the boundaries of alternative rock, creating a unique sound that blends timeless melodies with introspective and socially conscious lyrics. Despite facing significant challenges, including a life-altering health crisis, Wallinger has remained a vital force in the music industry, continually inspiring fans and fellow musicians alike. As he continues to create and perform, Karl Wallinger's legacy as one of the most influential figures in alternative rock only grows stronger, cementing his place in music history as a true icon and visionary. Sadly, this news must be added to this profile: The music world is mourning the loss of Karl Wallinger, frontman of the beloved Britpop band World Party and former member of The Waterboys. Wallinger, 66, passed away unexpectedly on Sunday. No cause of death has been reported. Tributes are pouring in for the influential musician, best known for his band's hit "She's The One" and his contributions to The Waterboys' iconic song "The Whole of the Moon.” Thanks for listening to Quiet Please. Remember to like and share wherever you get your podcasts
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A trained music theory nerd and an amateur music history nerd talk at length about the composition of songs from the last however many years. Expect conversations about music genres, classic albums, band origins, meaningful lyrics, and style inspirations.
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Exploring electronic music and its history with a particular focus on modular synthesis.
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Hosted by comedian & reformed hardcore kid, Ryan Sim, Dead Ramones charts the history of hardcore music & sub-culture. Each week, Ryan and a guest comedian review an iconic album from a given year. Tune in as your host tries to explain how important these records are to people who have no concept of the weird & wonderful underground scene of hardcore-punk.
Hosted on Acast. See acast.com/privacy for more information.
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Pick-Me-Up Podcast; The new, weekly, podcast hosted by Kate Gandy. Proudly presented by Listen Up Music and brought to you by Audio Technica.
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Annie and Jess are two chronically online friends who are here to help other elder millenials unpack pop culture and the ~ zeitgeist ~
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Here is a 3,004 word essay analyzing Taylor Swift's "Blank Space" and its cultural impact:
Taylor Swift Weaponizes Her Reputation in Smartest Song Ever Written - “Blank Space”
Among Taylor Swift’s trove of multi-platinum hits, few generate the sheer glee of 2014’s “Blank Space” upon first hearing its opening lounge piano kicking off Swift’s tongue-in-cheek takedown of her public villainization. Coming on the heels of months enduring slut-shaming tabloid character assassination and an endlessly dissected pseudo-scandalized dating history, Swift unleashed her frustration on “Blank Space” by finally embracing an exaggerated man-eater identity foisted upon her. But beneath glittering pop production winking at her critics’ misogyny, Swift debuted her most brilliant songwriting yet, cementing her icon status through savvy media manipulation.
Indeed, “Blank Space’s” genius lies in Swift hijacking her detractors’ narrative to reclaim agency on her own terms. After years weathering labels like serial dater, crazy girlfriend, clingy Taylor Swift finally snapped - anticipating being damned regardless, she cheekily owns her assigned role while calling out the hypocrisy. Her tongue lodged in cheek, Swift warns potential suitors they should steer clear if believing the lies. Yet by song’s end, she emerges stronger, her playful self-awareness neutering critics’ power. With “Blank Space,” Swift executed her shrewdest chess move, weaponizing pop conventions while orthogonally redefining expectations for female artistry.
To fully appreciate “Blank Space’s” cultural impact, understanding Swift’s triggering public crucifixion entering her fourth album cycle proves critical. After admirably navigating early career bumps, media initially lauded Swift as a role model - songwriting wunderkind, savvy businesswoman, and gawky teen bloomed glamorous all while avoiding typical pop trainwrecks.
Behind headlines though, Swift’s experiences in her 20s becoming more defined by her dating life demonstrated the harsh scrutiny faced by young women seeking fame’s double-edged sword. Romances with high-profile boyfriends drew intense speculation whether conducting them privately or publicly. Swift increasingly found her musical output, fashion and friendships all eclipsed by relentless, often sexist coverage of her romantic partnerships by gossip bloggers.
Rather than continue silently bearing this scrutiny though, Swift started pushing back more unapologetically on sexism tied to her public image - endorsing egalitarian feminism, defending her songwriting against ghostwriter conspiracy theories, calling out Nicki Minaj’s diminishment of her talent. Swift plainly stated she realized society penalized outspoken women, but resigned herself to the reality that she would be criticized regardless.
So when tabloids turned on her post a minor PR misstep she apologized for, Swift chose fighting back full force. The spark igniting months of ever escalating takedowns remained petty - her perplexing disappointment when longtime collaborator Katy Perry recruited dancers who previously toured with Swift. Media predictably deemed Swift calculating and tyrannical for daring display annoyance. Next a 2014 Rolling Stone cover aiming to balance Swift’s media skewering included an apparently misinterpreted quote about Swift struggling to retain friendships that was instead breathlessly reported as her boasting about having no female allies.
In this climate with gendered double standards laid bare, Swift further stoked controversy merely enjoying serial dating after her longest previous relationship ended. Media cries of maneating swiftly turned to accusations of Swift constantly playing the victim whenever she pushed back on blatant slander. Bloggers even cruelly scrutinized her romantic history assigning tawdry motives. Swift found her once sterling reputation demolished virtually overnight over negligible offenses at best.
Rather than bemoan this media torpedoing however, Swift funneled her fury into reputation rehab starting with “Blank Space’s” indelible melodic hook tongue-in-cheek taunting she’s certifiably insane but irresistible so date her at your own risk. Lyrically she enjoys toying with her tabloid assigned persona as a clingy psycho stalking men. Swift mocks herself as nightmarishly needy in relationships - “Screaming, crying, perfect storms/ I can make all the tables turn” - caricaturing her media skewering. Sardonically she dares suitors to buy into that hyperbolic mythology that she could fill whole albums torching exes when in truth no one has provoked such creative vengeance yet.
Swift doubles down on the mania in the song’s playful music video filled with haute couture costume changes showcasing model-esque lovers that meet darkly comedic fates from actual car crashes to being unceremoniously dumped for aggravating her. Swift embellishes her mercurial gun-toting crazy cat lady image to unhinged extremes. By gleefully inhabiting criticism, she defangs detractors’ power in imagery and lyrics alike. Media sputtered indignantly at being outpaced with some condemning Swift anyway for making light of mental health stigmas. But many fans realized Swift’s true thesis lay in exposing unfair gendered labels through funhouse mirrors - the supposedly single feminist Swift couldn’t escape no matter how skewed depictions became.
Because beneath that technicolor spectacle, “Blank Space” spotlights society’s discomfort with young women frankly enjoying romantic freedom, a privilege afforded entitled men. Swift knows at every age, female artists weather character attacks for daring openly explore erotic experiences or romantic disillusionment in their art through the centuries from gifted poets ostracized as witches or hysterical gossip to pioneering female rappers critiqued today as hypersexualized. So with “Blank Space” she cunningly coopts casual misogyny, letting detractors wrongly assume her vapid or crazy.
But Swift’s audacious about-face playing into pigeonholing also provides deeper moral commentary on women facing limited options to meet purity standards. She argues if the flawless wise innocent role doesn’t liberate women from criticism - she’d already tried for a decade to be America’s sweetheart - why keep limiting her identity for misogynists’ approval? Freed of pressure to constantly defend her character against relentless attacks often premised on sexism barely progressing since the 1960s, Swift finds power reclaiming flattened tropes.
Because Swift understands culture rarely humanizes women reacting justifiably to antagonism, she chooses meeting unjustified critiques with mockery and willful distortions of her own through carnivalesque performance art spectacle set to glittering pop beats.
In doing so, “Blank Space” becomes Swift’s most ambitious composition by integrating production and lyrics into an irresistible satirical package. Her songcraft had already proven versatile hybridizing pop and country conventions into resonant radio hits about universal experiences. But “Blank Space” revealed her blossoming into an especially shrewd artist leveraging public drama and willing misinterpretation to spotlight societal gender bias. Rather than sob externally imposed cruelties, Swift’s bon vivant convicted woman takedown winked at tired ideals. Her joined forces as both entertainer and social commentator cemented Swift as the most self-aware voice of her generation.
And much like the louche temptress persona she slyly inhabits, “Blank Space” seduced all who encountered its melodic bait and switch. The track dominated airplay and sales for seven consecutive weeks. It completely redefined Swift's image from stunned victim to savvy strategist commandeering her own narrative. Most satisfyingly though, “Blank Space” managed to be both culturally attuned yet emotionally intuitive by speaking to unjust constraints all young women face.
Indeed, the song’s legacy as Gen Z's undisputed karaoke classic highlighting Swift’s still blossoming ability to give resonant voice to female fans’ private indignities and dreams alike continues still nearly a decade later. For Swift keeps growing alongside supporters navigating life’s exhilarating potential and heartrending pitfalls together.
Yet out of all the hard-won wisdom and solace Swift offers fellow travelers with each passing year, “Blank Space” endures as her brashest testimony yet that women need no longer politely tolerate others’ narrow judgements to participate fully in creative realms or romantic whims.
Swift proved with glittering wit bent on mass seduction that righteous female freedom need not justify itself through anything but the bold chorus and playful pastiche. Rather than debate detractors on their terms, she blithely obliterates their premises in four minutes.
And that is “Blank Space’s” lasting legacy as Swift’s career-redefining game change - gleefully unmasking double standards through braggadocio and irony alike with a wink toward more equitable cultural terrain ahead for young women. The track shone a light on the uneasy realization that whoever dared claim the mantle of America’s sweetheart also deserved room to channel her inner court jester or siren whenever the spirit moved without losing society’s respect.
By redefining pop music preconceptions and her own creative bounds through layered lyrical provocation, Swift demonstrated women could weaponize even misog - Show more
