5280 Listening Club

Josh Tillman is a legend. His reputation precedes himself. Under the stage name, Father John Misty, Tillman's music is essentialy to any discussion about indie music in the 2010s. That started with his 2012 record, "Fear Fun." Tillman's debut under the Father John Misty moniker is the subject of the latest episode of 5280 Listening Club. James is joined by Derek Brekken, Harrison Sokol and Ronan O'Shea. "Fear Fun" is raw. Tillman takes influence from the rock landscape of the 1970s. The Grateful Dead's road trip aesthetic seeps through the record. So does The Beatles' intimate production. The lyrics are quirky, coming age stories. "I'm Writing A Novel" is an upbeat, McCartney-inspired jam about Tillman proclaiming that he wants to write a novel while tripping on magic mushrooms. Follow the 5280 Listening Club on Instagram: @5280ListeningClub.

Stop us if you've heard this one before: three dudes walk into a recording studio and talk about how much they love In Rainbows by Radiohead. This is no joke, it's the basis for the new episode of 5280 Listening Club. James is joined by fellow Radiohead fans, Derek Brekken and Harrison Sokol, to listen along to In Rainbows. Released in 2007, Radiohead's In Rainbows is an atmospheric masterpiece. The album meshes classic Radiohead rock with classic Radiohead electronica and creates something unique. The album contrasts melodies as colorful as its cover with lyrics as dark as any song on their previous releases. Listen along with us as we dive into an album that shaped each of our three hosts, and stands today as an all-time great.

Weyes Blood had to release seven albums before breaking out. And we couldn’t be happier with the one that gave her career that extra oomph. “Titanic Rising,” released on April 5 through Sub Pop records, is an ethereal chamber pop album. No contemporary record can match what Weyes Blood has created. Liquid melodies and dreamy atmosphere with an array of influences. Songs like The Beatles-influenced “Everyday” show her knack for writing groovy hooks, while “Andromeda” is a psychedelic epic revealing the musician’s existential dread with alternative country tinges. One of our hosts loved Titanic Rising thinks it might be the best album you’ll listen to in 2019. This is also Nataleah’s final episode, you can follow her on Twitter and Instagram: @NataleahJoy and read her work with The Daily Texan.

Welcome to Season 2 of the 5280 Listening Club! We start this season off with a low bar, talking about the generally derided, yet commercially successful album, No. 6 Collaborations Project by Ed Sheeran. The album — which is more of a collection of singles than anything else — boasts 15 tracks and turning in at 50 minutes. Every track features a guest, ranging from rappers Stormzy, Eminem and 50 Cent to EDM legend Skrillex. This album touches on a lot of ideas but doesn't explore much.

On the last episode of Season 1, James, Nataleah, and Isaac embrace the behemoth, 2-hour long album by Stevie Wonder, “Songs in the Key of Life.” The record is often considered to be the best output from the legendary soul singer and can be found making itself comfortable at the top of “greatest albums” lists. From the groovy ode to jazz, “Sir Duke,” to the heartwarming “Isn’t She Lovely,” the album is the apex of Stevie Wonder’s legendary classic era and capped off a four-year run where he released five albums. Apart from praising the record and all of its highlights, we also discuss the ripples the album sent into other genres like pop and jazz rap that has defined the latter half of the 2010s.  

Rumours is the 11th album from the folk-rock band, Fleetwood Mac. Released in 1977, the angelic melodies, soothing harmonies and striking lyrics resonated with listeners in a way none of the previous 10 had. The album was an immediate success, topping eight different recognized charts in seven countries while seeing universal acclaim from critics. Pop hits like, “Don’t Stop” and “Go Your Own Way” helped dominate FM radio in the late-70s and persist onto classic playlists on streaming services. With Lindsey Buckingham, Stevie Nicks and Christine McVie sharing lead vocal duties, Mick Fleetwood’s drumming keeping rhythm, and John McVie smooth basslines. Rumours is still considered to be one of the greatest albums ever made and has even found a home in the Library of Congress. Beyond the music, the album’s resonation with Millenials and a modern interpretation of intimacy is touched on.

In 2012, singer/songwriter extraordinaire Fiona Apple released her acclaimed, fourth studio album “The Idler Wheel…” On this episode of 5280 Listening Club, James is joined by Ronan O’Shea, Jeff Ritchie, and Brandt Wintzen to discuss the legendary art-pop record. Accompanied by her heart, pain and a piano, Apple delivered one of the most emotional art-pop albums of the decade. On the opener, “Every Single Night” she delivers an oddball hook that fronts an infectious melody while commenting on romance. All of those end up being common themes on the record. Songs like “Daredevil” and “Valentine” evoke powerful feminist themes, while “Periphery” has infectious melodies. It’s not an easy listen, but it would be an understatement to say that it rewards a focused audience.

On the latest episode of 5280 Listening Club, we dissect Kendrick Lamar’s 2015 record “To Pimp a Butterfly.” From the second the album dropped, it was regarded as a classic and it hasn't aged a day since its release. TPAB is a grand and conceptual take on racism, sexism, gang culture, grappling with fame and religion. Lamar referred to this as the album he always wanted to make. The album digs deep into the pockets of African-American music by employing and sampling styles from funk, soul, disco, bling hip hop, and golden age hip hop. Lamar also establishes himself as the premier lyricist in all of music with intricate storytelling, layered meanings, and clever wordplay.

On his latest album, released on May 17, Tyler, the Creator matures admirably and portrays the grief process of heartbreak in an admirably honest manner. Gone are the days are shock value for shock value’s sake and instead are smart love songs like the neo-soul “EARFQUAKE.” The album tells the story of a character in love with a man who is in love with a woman and we see the character — IGOR — struggle with accepting that its time to move on. “NEW MAGIC WAND” is a confrontational banger and “CAN WE STILL BE FRIENDS” sees Tyler coming to terms that it’s over. Listen to hear what we think!

On his new album, Kishi Bashi tackles the seldom-discussed subject of Japanese-American internment during World War II. Using sunshiney indie pop and chamber pop melodies, he delivers one of the surprising successes of 2019.  

In what is easily our most divisive episode yet, the gang dives into Danny Brown's 2016 album, "Atrocity Exhibition." James loved it. Brown's nasally and unique delivery compliments the abstract beats and creative wordplay. But the self-described "Spielberg with ill words," and "Kubrick with two bricks" didn't resonate with Nataleah

Billie Eilish guides the listener into the depths of hell of dark pop on her debut album, "When We All Fall Asleep, Where Do We Go?" Almost three months after its release, the album continues to be one of the best of 2019 with pristine production, clever lyrics and a spooky aesthetic. The group also discusses the controversy behind one of the album's standout tracks, 'Wish You Were Gay."

In this episode of 5280 Listening Club, the gang gives a listen to the Red Hot Chili Peppers' 2002 record, "By the Way."   It has the band's trademark groove and funk, but tosses in a fair amount of poignancy when tackling drug addiction.   If you're a fan of RHCP or funky alt-rock, this album is a must-listen.

Chance the Rapper burst onto the scene in 2013 with his mixtape, “Acid Rap.” The evocative output is equal parts sweet, confident and groovy. Highlighting the record is the upbeat banger “Good Ass Intro” that relies on neo-gospel vocals, tasteful trap snares and minimalist piano chords. Chance showcases his conscious side with “Pusha Man/Paranoia,” his sweet side in “Everybody’s Somebody” and his love for family in the aptly titled closer, “Good Ass Outro.” Genre stalwarts Noname, Childish Gambino and Twista all make excellent features on the tape. At the end of the 53 minutes, not only does it resonate as an impressive mixtape, but holds its own six years later as one of the best releases of the decade.

In this episode, we give the 2008 classic, "Dear Science" by TV On the Radio a listen. The year is 2003 and the Brooklyn-based indie outfit TV On the Radio bursts onto the scene with their underground hit EP, “Young Liars” and a stellar title track to tag along. The following three years were dictated by the graduating success of “Desperate Youth, Bloodthirsty Babes” — highlighted by the indie masterpiece tune “Staring at the Sun” — and their second record “Return to Cookie Mountain,” which rode the success of the timeless single “Wolf Like Me.” In 2008, the group cemented the apex of their success with the electronic, art pop masterpiece “Dear Science.” The album is highlighted by the heartfelt “Family Tree” and the climactic, adrenaline-pumping “DLZ” (which was famously featured in an episode of Breaking Bad) and earned a slew of recognitions: The best album of 2008 by Rolling Stone, Pitchfork’s reader’s poll. Village Voice, The Guardian and Spin among others, as well as being included on 1001 Albums to Hea

In this episode of 5280 Listening Club, we take a listen to Vulfpeck's second studio album, "The Beautiful Game." Released in 2016, the record funks you up with sexy bass lines and a goofy aesthetic with laid-back bangers like "Conscious Club" and "Cory Wong." We go track-by-track to critically discuss the underground hit that has established a niche fanbase for the funk quartet.

In this episode, the gang talks about Troy Baker’s 2014 debut indie-rock album, “Sitting in the Fire.” A renowned voice actor in video games (the Batman Arkham series and Tales from the Borderlands) and television, Baker explores his own personal demons through crunchy guitars and anthemic choruses.

Released in 2004, “Funeral” was the result of years of the French-Canadian alternative group’s struggle to break out. The album’s title refers to the hardships the band faced during the recording process. Win and William Butler, Regine Chassagne and Richard Reed Parry all lost family members while the record was worked on. What results is a rare album that truly defined and an era of music and a generation of listeners. An opus of chamber pop, alternative rock, and trend-setting indie, “Funeral” is an ambitious, innovative rebellious record. Songs like, “Neighborhood 1,” “Neighborhood 2,” “Wake Up” and “In The Backseat” serve as anthems for youth yearning to rebel from the monotony of suburban life. The record resonated with listeners and critics alike, being named the second greatest album of the 2000s by Rolling Stone, ranked no. 33 on the all-time album rankings on RateYourMusic.com and in the top ten on Besteveralbums.com.

On this episode, the group takes a look and a listen to Lauryn Hill's legendary debut album, "The Miseducation of Lauryn Hill." Released in 1998, the album is a coming-of-age blend of neo-soul, R&B and hip hop that explores a young woman’s perspective of love. The record is known for its hit singles “(Doo Wop) That Thing” and “Ex-Factor.” This was Hill’s only large-scale solo album and has since (mostly) retreated from the public eye.