Kitschfork

#14 - Subterranean Non-Linear Ancestors (Dälek - From Filthy Tongue of Gods and Griots)

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EMAIL us: kitschforkpodcast@gmail.com
WE'RE BACK FROM THE DEAD!
today on our 14th episode (originally recorded in late November last year), we talk about experimental/industrial hip-hop pioneers from New Jersey, Dälek (aka Will Brooks & company) and their seminal 2002 album "From Filthy Tongue of Gods and Griots"
we talk about how much Dälek's cross-genre inspirations (while still maintaining a traditional hip-hop essence) and high-minded experimentation set the stage for a lot of experimental hip-hop that came later in the 2010's. also how they still haven't gotten their due!
spoilers: this album is great, and you probably haven't heard of it before. which you can rectify here:
https://dalek.bandcamp.com/album/from-filthy-tongue-of-gods-and-griots

#13 - Twee And Horny (Mirah - Advisory Committee)

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EMAIL us: kitschforkpodcast@gmail.com
today during this very autumnal season we look at a very autumnal 2002 album from DIY bedroom pop progenitor/(former) Olympia Washington K Records twee-adjacent indie songwriter/musical cousin and collaborator of Phil Elvrum's: Mirah's (aka Mirah Yom Tov Zeitlyn) "Advisory Committee"
we talk K Records and the 90's Olympia music scene, about Mirah's background as a DIY artist, and her being one of the few visible and celebrated queer artists in the indie space at a time when there wasn't a lot. and of course... we talk about the music. which we both find to be generally likeable and fun, with occasional moments of brilliance.
we also get into Liz's brief twitter feud with a few Pitchfork writers that happened a century ago and the increasingly dire situation for touring musicians.

#12 - Ride The Apocalypse feat. James Webster (...And You Will Know Us By The Trail of Dead - Source Tags & Codes)

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EMAIL us: kitschforkpodcast@gmail.com
various forces of humanity and nature conspired against you hearing this episode, but we have prevailed. we welcome James Webster, member of the cult vaporwave/electronic music group Death's Dynamic Shroud, to talk about an album that influenced him greatly, as well as a famous Pitchfork 10.0... 2002's "Source Tags & Codes" by Austin art rock band ...And You Will Know Us By The Trail of Dead.
has this album had the lasting cultural impact of other famously acclaimed Pitchfork albums? maybe not. is the band made up of cringey fantasy dorks who didn't really fit the rock zeitgeist at the time? definitely yes. but also - who cares? in 2022, this album is still great.
follow James on twitter here: https://mobile.twitter.com/HCMJmagic
listen to Darklife here: https://deathsdynamicshroud.bandcamp.com/album/darklife-2

#11 - Revolver Meets Jock Jams (Spoon - Girls Can Tell + more)

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EMAIL us: kitschforkpodcast@gmail.com
(most of the episodes of) Max's old podcast Desert Island Discourse: https://archive.org/details/podcast_desert-island-discourse_1204078946?tab=collection
today we begin by looking at a band that truly embodies 2000's indie rock in all its tropes (for better or worse): Spoon, and their breakout album - 2001's "Girls Can Tell". we examine why and how Spoon reformed itself from a Pixies-inspired 90's bar band floundering on a major label into being the archetypal mid-60's mod-inspired too cool for school hipster band that personified its big indie label, Merge Records, and the indie kitsch of the era. also we go into why neither of us feel particularly strongly about (or have much to say about) Spoon.
after that, we have another discussion about various news in the music world (at least at the time this episode was recorded...lol). from our thoughts about the current 'indie sleaze' revival which may or may not actually exist, to early 2000's nostalgia tours and why so much 'indie' music of the era sort of feels like the sound of gentrification, to people giving up on music in their 30's, to the Arcade Fire/Win Butler allegations... and more

#10 - Disney Horror (Björk - Vespertine)

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EMAIL us: kitschforkpodcast@gmail.com
for our very special 10th episode, we're taking a visit to the utopian musical island of a very special artist. yes that's right: it's the one, the only, everyone's favorite Icelandic pop goddess Björk. the duo congratulate themselves on their excellent timing on this episode right before a podcast series/new album is on the way from Björk herself. Liz also reflects on her very fraught relationship with the work of Björk as a former Björk stan, and there's commiseration on her (terrible) MoMA exhibition in 2015. and somewhere in there, music gets talked about. one of a kind, heart demolishing music.

#09 - Sunny Day, Just Got Paid (Blackalicious - Blazing Arrow)

we try our best as non-experts tip-toeing into the realm of hip-hop and the very artistically fruitful period of the early 00's indie hip-hop by looking at a highly acclaimed (at the time), but also semi-forgotten indie hip-hop album Blazing Arrow by former Bay Area hip-hop duo Blackalicious. RIP Gift of Gab.

#08 - The Evil is Blatant (Boards of Canada - Geogaddi)

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for our podcast about 2000's indie music kitsch that is inextricably tied to its time... we have an artist an album that feels as out of time, and untethered to a singular era as possible. we are, of course, talking about the beloved electronic music artist Boards of Canada, in all their uncanny nostalgia, and their dark masterpiece album Geogaddi from 2002. Liz is excited to finally cover some electronic music... so it's time to sit back and learn about where a bunch of samples came from
website episode photo taken from: https://imgur.com/a/lKl0m
outro song is "Midnight Star - The Midas Touch (Hell Interface remix)"

#07 - Phair and Balanced feat. Audrey Whitesides (Liz Phair - self-titled)

EMAIL US: kitschforkpodcast@gmail.com
Audrey Whitesides (@audreyotherway) of the bands Mal Blum and Speedy Ortiz joins us in our discussion of Chicago indie music darling Liz Phair and her infamous Liz Phair Goes Mainstream Pop self-titled album from 2003 that netted much disgust from music critics and a 0.0 from our friends at Pitchfork. why did she get so much hate? why doesn't the album have the reputation anymore for being the Bad Album it had in its day? what can we learn from this? (probably nothing). find out here!