Under the Radar Podcast Celine Teo-Blockey

Being hailed as the poster child for a Covid generation might sit uncomfortably with some indie bands but Caleb Harper, frontman of Spacey Jane—a four-piece from Perth, Australia—takes it in his stride. Their 2020 debut Sunlight is defined by intimate lyrics often rooted in Caleb's strict, religious upbriging, that had made his transition to adulthood particularly fraught. Being part of Spacey Jane with Kieran Lama, Ashton Hardman-Le Cornu and Peppa Lane has continued to help him process feelings of anxiety and alienation. Bouyed by the sunny melodies, these songs have in turn, resonated with young millenials who came of age during the pandemic. For their 2022 follow-up Here Comes Everybody Wilco frontman Jeff Tweedy gave his blessings for them to use the working title of Wilco’s 2001 masterpiece Yankee Hotel Foxtrot. 
Many thanks for making this possible: — Thank you Caleb for a heartfelt conversation and looking forward to maybe a 'not so sad' song.' Thank you to Kobalt US and Dew Process Publishing for use of all songs. And to Zoe Hines and Grace Jones at Grandstand Media for support.
Songs Featured: "Sitting Up," "Thrills," "Good Grief," 'Love Me Like I Haven't Changed," "Booster Seat," "Lunchtime," "Hardlight," "It's Been A Long Day," and "Pulling Through."
To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here.

Hosted on Acast. See acast.com/privacy for more information.

"Typically, music heals," says Tim Burgess, the hyperactive multi-talent whose career encompasses three decades as The Charlatans frontman, sixth diverse solo albums, three memoirs, his own O Genesis record label, and more than 1000 installments of the now-beloved Tim’s Twitter Listening Party. During the darker, more uncertain days of lockdown, these twitter parties facilitated joyful connections between fans and some of our favorite bands—from Blur's Dave Rowntree to Oasis' Paul 'Bonehead' Arthurs, Paul McCartney and Susanah Hoffs from The Bangles. As the parties progressed, it took in more diverse albums including Run The Jewels, Iron Maiden and more recently Shania Twain. The wide breadth of music it covered during the pandemic would in time unstuck Tim's own creative impasse and the positivity would spill over to his electic, sixth album Typical Music.
Many thanks for making this possible: — Thank you Tim for sharing 'more than we needed,' even as your van waited for you outside. (Insert Heart emoji) Thank you to Mute for use of all songs. To Sony Music for Master Rights for "The Only One I Know." And to Bella Union and O Genesis for all other songs. Finally to Ken Weinstein from Big Hassle for all the added support.
Songs Featured: "Here Comes The Weekend,"The Only One I Know," "Years Ago," 'Just One Kiss (One Last Kiss)," "Nik V," "The Mall," "Time That We Call Time," and "The Centre of Me(Is a Symphony of You)."
To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here.

Hosted on Acast. See acast.com/privacy for more information.

Phoenix frontman Thomas Mars subscribes to Ed Ruscha's philosophy on art—that it should prompt bewilderment or even disgust before appreciation. And not the reverse. This can be applied to the French band's music. Consider their latest album Alpha Zulu, the title seems odd but dig a little and it reveals a salient truth for Thomas. Together with his friends and bandmates Deck D'Arcy, Christian Mazzalai and Laurent Brancowitz the foursome started the songwriting for this, their seventh album, after the death of their dearest friend, producer Philippe Zdar—who was crucial in helming their breakthrough 2009 album Wolfgang Amadeus Phoenix. Less than a year later, they would find themselves in the midst of a pandemic and then the California fires. Listen to find out how writing Alpha Zulu became a way for them to manifest the light at the end of the tunnel.
Many thanks for making this possible — Thomas, for telling us that he's been cutting his own hair since he was 11! Thank you to Glassnote Records and Loyauté for permission to use songs. Also to Jen Appel and Juliette Kost at The Oriel Co for constant support.
Songs Featured: "Alpha Zulu," "Too Young," "Lisztomania," "1901," "J-Boy," "Telefono," "All Eyes On Me," "Tonight," "Artefact," "Identical," "Winter Solstice," and "The Only One."
To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here.

Hosted on Acast. See acast.com/privacy for more information.

One of the biggest British post-punk revival bands Bloc Party returned this year with Alpha Games, their sixth album. Frontman, Kele Okereke discusses how new band members, drummer Louise Bartle and bassist Justin Harris (replacing Matt Tong and Gordon Moakes who left in 2013 and 2015 respectively) finally had the opportunity to contribute meaningfully to a Bloc Party album. Much to the delight of fans, the album's sonics harks back to their critically-acclaimed debut, Silent Alarm. Usually, one to eschew nostalgia and weary of looking to the past for inspiration, Kele and longtime guitarist, Russell Lissack, gave in to a tour, belatedly celebrating the 10th anniversary of their debut. Find out why? And how this affected the writing of the new album.
Many thanks for making this possible — Kele, for an illuminating chat. And apologies for keeping your husband up late. To Colin Roberts at Big Life Management. Thank you to BMG US for permission to use Master Recordings and Sony Music for Publishing. Also to Jen Appel and Juliette Kost at The Oriel Co for constant support.
Songs Featured: "Rough Justice," "Helicopter," "Day Four," "The Love Within," "If We Get Caught," "Traps," "Callum Is A Snake," "The Peace Offering" and "Of Things Yet To Come."
To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here.

Hosted on Acast. See acast.com/privacy for more information.

As a child, New Zealand singer-songwriter Marlon Williams believed that if he could nail the songs at iwi or tribe gatherings then surely everything in the world would be ok. Nevermind that elders were discussing big issues such as Maori land rights, water rights and education, Marlon had an inate believe in the virtues of song and his vocal prowess as a singer. Indeed his voice is something to behold — a melismatic, velvety croon that can register as Roy Orbison or Elvis. And before the release of his latest album My Boy, it could be said that it's a voice more comfortable in a different era or genre or part of the world, but after this third record — it's clearly a voice that transcends all of it. Marlon can raid the chest of drawers on any musical era and come up with a piece of art that is contemporary because it speaks to current afflictions in a knowing way, uniquely framed by his indegenuity and wry, humor.
Many thanks for making this possible — Marlon for a great psych session, both times! To Dead Oceans for use of all Master Recordings. Native Tongue for Publishing rights. And Jessica Linker at Pitch Perfect PR for all the added support. Thank you to Lily Sloane for additional music and Martin Austwick for additional sound engineering.
Songs Featured: "River Rival," "Hello Miss Lonesome," "Dark Child," "Strange Things," "Make Way For Love," "Nobody Gets What They Want Anymore," "My Boy," "My Heart Is A Wormhole," "Princes Walk," "Thinking Of Nina," "Don't Go Back" and "Easy Does It."
To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here.

Hosted on Acast. See acast.com/privacy for more information.

Seratones frontwoman A.J. Haynes and her Shreveport, Louisiana-based band (bassist, Travis Stewart and drummer, Jesse Gabriel) released their disco-inspired, third album Love & Algorhythms, earlier this year. At the time of writing the album, A.J. was also working full-time as an Abortion Advocate in the last standing Abortion clinic in Louisiana, an experience that brought her close to burnout and informed much of the record's theme of liberation, Afro-Futurism and radical joy as a form of protest. She draws from the works of Black Feminist authors in her lyrics –– from civil rights activist, Toni Cade Bambara ("The Salt Eaters") to Science Fiction writer Octavia Butler ("Xenogenesis") and queer activist, Audre Lorde ("A Burst of Light" and "Sister Outsider"). While no longer working at an abortion clinic, she is still the President of the Board at the New Orleans Abortion Fund, and continues the fight for Reproductive Rights.
Many thanks for making this possible — A.J. what an absolute force you are! I have learnt so much. Thank you to Fat Possum for use of songs from the album Get Gone. And to New West Records for songs from Power and Love & Algorhythms. And for support from Shazila Mohammed, Jaclyn Ulman and Devin Velez at Grandstand Media.
Songs Featured: "Good Day," "Choking On Your Spit," "Don't Need It," "Power," "Fear," "Pleasure," "Get Free," "Two Of A Kind" and "Power of Your Light."
To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Or leave a voice message here.

Hosted on Acast. See acast.com/privacy for more information.