DiscoverThe FADER Interview
The FADER Interview

The FADER Interview

Author: The FADER

Subscribed: 2Played: 17
Share

Description

The FADER Interview is a new podcast series in which the world’s most exciting musicians talk with the staff of The FADER about their latest projects. We’ll hear from emerging pop artists on the verge of mainstream breakthroughs, underground rappers pushing boundaries, and icons from across the world who laid the foundations for today’s thriving scenes. Keep an eye out for new episodes every week.

6 Episodes
Reverse
Juan Wauters

Juan Wauters

2021-06-1627:37

Juan Wauters’s creative approach changed almost completely about four years ago. Until then he’d been a somewhat solitary artist, recording sweet-sounding, Beatles-indebted, mostly English-language pop music — first as a member of the New York City-based rock band The Beets, and then under his own name. But in 2017, seeking fresh inspiration, he packed his studio equipment into suitcases, left his home in Queens, New York, and went on a journey around Latin America. He recorded with local musicians as he snaked across Mexico, Peru, Chile, Argentina, and Uruguay, where he was born and had been brought up until his family left for Queens in 2002, when Wauters was 17. The resulting albums, La Onda de Juan Pablo and Introducing Juan Pablo, were brilliant departures: kaleidoscopic records that introduced a curious singer-songwriter finally ready to leap into the unknown. His new album, Real Life Situations, is another exercise in collaboration — Mac DeMarco, Peter Homeshake, Nick Hakim, Cola Boyy, and El David Aguilar all contribute — and it’s more diverse than anything he’s released before. Recorded either side of lockdown, the album reflects Wauters’s love for the radio, which he listens to almost constantly. Hip-hop, folk, R&B, and indie rock drift in and out of the mix, but Wauters remains present — sometimes so much so that he’ll directly address the listener in a spoken-word interlude. Around the album’s release The FADER's Alex Robert Ross called Wauters at his apartment in Montevideo, where he was working on another one of the jigsaw puzzles that have kept him going through quarantine, to talk about the importance of radio, the need for collaboration in lockdown, and the unconventional process behind Real Life Situations.
Over the past decade, Angel Olsen has built a career as a titan of indie rock, ascending from Chicago’s DIY scene to headliner status off the back of her spectral, increasingly rich folk songs. All throughout, her music has stayed true to a mantra she espoused in one of her earliest songs: “Know your own heart well / You could be surprised at what you find.” That mantra could just as easily be applied to the music of Sharon Van Etten, who, over the past decade, has risen from the Brooklyn DIY community to become one of her generation’s most respected songwriters and performers, as well as an actor in acclaimed projects like The OA and Never Rarely Sometimes Always. In 2019, both artists hit new creative and experimental peaks, Olsen with her cinematic All Mirrors and Van Etten with the post-punk influenced Remind Me Tomorrow, both produced by John Congleton and released on Jagjaguwar. This year, after leading seemingly twinned careers that never overlapped, they collaborated on “Like I Used To,” a Springsteen-style epic that, like their earliest music, espouses the value of knowing your own heart well. Earlier this week, The FADER’s Shaad D’Souza caught up with Olsen and Van Etten to discuss how they first connected, the fast-intersecting worlds of pop and indie, and the heartland rock power of “Like I Used To.”
Rostam

Rostam

2021-06-0227:29

Change has done Rostam Batmanglij plenty of good. Five years ago, while Vampire Weekend were working on what would become their fourth album, Father of the Bride, he left the group to pursue his own career. He traded east coast for west, building a home studio in Los Angeles, accumulating production credits for alt-pop titans like HAIM, Clairo, and Lykke Li, and releasing an album of his own, Half-Light, in 2017. In the process, he gradually untethered his own sound from the baroque rigidity of his classical training and drifted toward janglier pop. His second album, Changephobia, isn’t so much an arrival as it is an assertion of perpetual motion, a collection of road-bound vignettes that attest to the kind of world we can build if we embrace what we often fear the most. Last month, Batmanglij sat down with The FADER’s Salvatore Maicki to talk about the the techniques and conversations that shaped the album into his loosest and liveliest yet.
Flying Lotus

Flying Lotus

2021-05-2627:32

For the past 15 years Flying Lotus, a.k.a. Steven Ellison, has been at the forefront of groundbreaking electronic music. Blending beat tape atmospherics with cosmic jazz flourishes and experimental textures, his maximalist sound has strong connections to his home in Los Angeles, but always with a futuristic vibe. Across six studio albums he has pushed his distinctive style into new musical territories, bringing collaborators including Kendrick Lamar, Earl Sweatshirt, Mac Miller, Radiohead’s Thom Yorke, and the late MF Doom into his orbit. His independent mindset extends to his label, Brainfeeder, established in 2008, which has released albums by trailblazers like Thundercat, George Clinton, Hiatus Kaiyote, and Kamasi Washington, among many others. And in recent years FlyLo has moved further into visual arts, directing the blood-soaked 2017 horror movie Kuso and providing the score for the anime short Blade Runner Black Out 2022. He’s also behind the new Netflix anime series Yasuke, a medieval story about the first Black samurai in history, featuring the voice of Oscar-nominee LaKeith Stanfield. FlyLo scored the show, as well as writing the story alongside showrunner LeSean Thomas and working as an Executive Producer on the project. Just before Yasuke’s launch, The FADER’s David Renshaw spoke with FlyLo about adapting his sound to the screen, his deep love of anime, and how Stanfield came to be an honorary member of the Brainfeeder crew.
girl in red

girl in red

2021-05-1924:581

Marie Ulven, the 22-year-old singer-songwriter from Norway better known as girl in red, writes music that sounds as volatile, passionate, and dramatic as the final scene from a great romance film. Her early songs about queer identity — singles like 2017’s “we fell in love in october” and 2018’s “i wanna be your girlfriend” — amassed hundreds of millions of streams, and they turned  Ulven into a Gen-Z it-girl, with the phrase “do you listen to girl in red?” becoming code for young queer girls to ask other girls if they like girls. In April, girl in red released her debut album if i could make it go quiet. Ulven retains her diaristic lyricism on the album, refusing to sand down the rough edges of heartbreak or mental health struggles. At the same time, girl in red pushes into the future, maximizing each element of her sound, whether it’s blinding guitar pop bombast or tender, aching balladry. A few days before the release of the album, The FADER’s Jordan Darville caught up with Ulven to talk about how working on her mental health makes her a better songwriter, what she learned about love from creating if i could make it go quiet, and the music she’s been working on since.
Kero Kero Bonito

Kero Kero Bonito

2021-05-1227:32

It’s been almost a decade since Kero Kero Bonito — the trio of Sarah Midori Perry, Gus Lobban and Jamie Bulled — released their first single on Soundcloud. They picked up a cult following online in their early years, with fans locking into the band’s incisive and almost cartoonish proto-hyperpop vision. And since then they’ve built a large and committed fanbase while imagining new musical and thematic parameters — without veering from their core principles. Their latest EP Civilisation II (the sequel to 2019’s Civilisation I) pulls together ambitious dream pop, analog mythology, and urgent observations on humanity into three of their sharpest songs yet. Ahead of its release, The FADER’s Salvatore Maicki caught up with the band remotely to discuss how the project came together, the thrill of revisiting that early aesthetic to soundtrack the video game Bugsnax, and the challenges of realizing pop potential.
Porter Robinson

Porter Robinson

2021-05-0327:18

When Porter Robinson released his debut EP Spitfire on Skrillex’s label Owsla in 2011, he was heralded as a dubstep artist looking beyond the high-intensity trappings of the genre with a compositional skill that matched his ambitions. His debut album Worlds , released in 2014, fulfilled that promise. There was a strong sense of sci-fi fantasy lore to each of the songs, as if they were movie themes made in the furthest reaches of our solar system. It seemed like Porter Robinson knew exactly what he was doing and how to do it, which is why what came next was so surprising: he got stuck. Nearly seven years after releasing Worlds, Porter Robinson is back with his sophomore project Nurture. It’s a beautiful album, filled with little moments of joy and wonder, and it serves as an introduction to Porter Robinson the pop artist. Just before the album’s release, The FADER’s Jordan Darville spoke with Robinson about how he got himself on the road to Nurture by meeting his heroes in Japan, making the writing process a key part of the album’s sound, and how the global pandemic affected the record. Remember to like and subscribe to The FADER Interview wherever you listen to podcasts, and keep an eye on TheFADER.com for essential music news, interviews, and essays.
Comments 
Download from Google Play
Download from App Store