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Joe Swanberg’s feature debut, KISSING ON THE MOUTH, premiered at SXSW in 2005, which turned out to be a real vintage year. It was at that festival that Joe met many of the filmmakers who would become key collaborators and fellow travelers navigating the world of low budget moviemaking. Somebody started calling it “Mumblecore” — and the fairly perjorative moniker stuck. But here’s the thing: That truly DIY movement shifted the trajectory of American independent cinema away from the flashy crime movies that had dominated the previous decade, and towards much more personal films, whose low-res authenticity took advantage of newly affordable digital video cameras and editing gear. Joe is nothing if not productive—he released 6 movies in 2011—so it’s kinda crazy to realize that his 20th feature, the funny and excellent sleeper comedy THE SUN NEVER SETS, is his first in 9 years. But that doesn’t mean he hasn’t been busy. On this episode we find out what the hell he’s been up to, discuss his constantly moving brick and mortar video store, ask him why he’s editing a porno on 16mm and talk about Alaska, John Waters, Netflix, and watching DAZED AND CONFUSED with his dad. ALSO: We pick the BEST needle drops.

It’s been quite a summer for our buddy Tanner Dane — he and his band Hollyy have successfully turned the Belmont beach at Lake Michigan into a mini-Ravinia with their increasingly popular monthly pop-up shows that are only advertised at the last minute through their Tik-Toks and Instagrams. Except it’s not so mini anymore —thousands of people are showing up— and that’s driving the park district crazy. Cue the lawyers, cops and money. And if this sounds like business as usual in the city of Chicago — it’s also business as usual in the music biz. Where the “old boss” of making a name for yourself on indie labels until the majors deem you worthy of being called up to the big leagues meets the “new boss” of pumping up your social media numbers and manufacturing your own publicity schemes until the powers that be can bottle up all that buzz and finally release your excellent solo album that’s been hanging in limbo for longer than you’d like to admit. Same as it ever was. On this episode we talk to Tanner about the modern realities of being a musician, grand plans, the importance of a good solar battery, acting as your own suit, fighting city hall, mutualism, the joys of confusion, and we pick the best(?!?) opening lines in rock (spoiler: It’s “You were working as a waitress in a cocktail bar” and no one f*****g picked it!).

Dolly Rebecca Parton, R.I.P.

The second leg of Local H’s tour with The Toadies has ended — prompting much reflection on the realities of life on the road. The physical toll. The psychic costs. The riggies. PLUS!: What are the BEST(?!?) EPs?

Clark Vogeler is the guitar playing Michael Corleone of rock. Every time he thinks he’s out —somehow!— they manage to pull him back in. Clark never had any ambitions to be a rock and roll lifer — he figured he’d record a couple records with his band Funland, tour the country for a few years, then grow up and get a real job. And then in 1996, he joined the Toadies. That was 30 years ago. So you see where this is going, right? This week (and on the eve of starting the second leg of THE CHARMER tour with Local H) we check a third Toadies member off our list as we talk to Clark about the wonderful improbability of playing music in your 50s, touring behind a record that’s one of the best things you’ve ever done, and what the frick are all these kids doing at the shows?!? PLUS: What are the best instrumentals? (And Vaden? You’re next!)

The guys relive old glory days in front of the TV set, fight over “Frere Jacques”, wax rhapsodic about “Straight Time”, pit M. Emmet Walsh against Robert Prosky, marvel at the absence of Beatles deep cuts, get nostalgic for fake game shows, ponder the paradox of Sisyphus, and bid a fond, tearful farewell to Lionel Messi. So, you know — business as usual.

Back by popular demand — it’s Deanna Belos!!! For the FOURTH TIME! Her band Sincere Engineer’s 4th record (PROBABLE CLAWS) was released a couple of weeks ago and, well, it certainly sounds like a breakthrough. It’s the kind of well crafted, undeniably catchy collection of songs that tends to push bands to the fabled “next level”. The work of somebody at the top of their game — confident and ready to “go for it” (please excuse all the quotation marks). But good luck trying to get her to admit to that. Which is just as well. It’s a thin line between “confident” and “a*****e” and we don’t see Deanna ever tipping over into that second category. It’s one of the reasons Sincere Engineer is so beloved, after all. So rather than dwell on all that fabulousness — we just spend the entire episode talking about Hootie & The Blowfish. LOL!!!

To telemarketers and family members he’s Mark Reznicek — but to us, he’s Rez. Drummer extraordinaire for The Toadies and perpetual winner of “The Most Laid Back Guy In The Room” award. On this episode we talk to Mark/Rez about the Toadies’ new album THE CHARMER, finally working with the late Steve Albini, shoveling his dad’s driveway in Iowa, relocating to Texas, the highs and lows of being signed to Interscope, how the resurrection of the Toadies paid for his wife’s wedding ring, second acts, David Robinson, Circus Circus, and the feral hogs are here (but also NOT a Butthole Surfers song). PLUS!: What are the BEST(?!?) deep cuts by the Rolling Stones?

"MMMBop" is a song written and performed by American pop rock band Hanson. It was released on March 24, 1997, by Mercury Records as the lead single from their first full-length studio album, MIDDLE OF NOWHERE (1997). The song is the band's most successful single to date and was originally titled “MMMBappe” in honor of the Hanson brothers’ favorite soccer player: Kylian Mbappe. Mercury records —who signed Hanson because of the group’s perceived similarity to the Hanson Brothers from the 1977 Paul Newman film SLAP SHOT (1977)— forced the band to change the name of the song to “MMMBop” and instructed the group to publicly deny any affection whatsoever for the international sport of soccer. Its music video was directed by Tamra Davis. (Source: Wikipedia.)

It's the end of the tour as we know it and Scott feels fine... about everything other than the merch trolls. That’s okay, because he’s got World Cup fever. Speaking of bandwagons, Ben is on a Knicks high that the boys are determined to bring him down from — and Gabe is now a LIFERS podcast listener?!? Something smells. Plus!: Human centipedes, In & Out customers, scary t-shirts and WHAT’S THE BEST/WORST?!? album covers.

Scott’s in the Wisconsin Dells, but too tired to go to a water park. So Ben invents a rift between Scott and Gabe that only he can mend. Not to say that there isn’t a difference of opinion between the two: Gabe insists that the customer is always right — while Scott KNOWS they’re not. But since he has Noel Gallagher on his side, Scott remains steadfast in his refusal to sell the new 30th Anniversary vinyl of AS GOOD AS DEAD to people without record players. There’s a lot going on over here. Maybe Ben is right.

“You’re listening to SONG IMPLODER — where musicians take apart their songs piece by piece and tell the story of how they were made. And then talk shit about those songs and make you embarrassed you asked about them in the first place. On this episode we finish our two-part examination of Local H’s 2nd studio album: AS GOOD AS DEAD. Released in April of 1996, the album would prove to be the band’s commercial and artistic breakthrough, spawning several ‘90s alternative radio hits — including “Bound For The Floor”, “Eddie Vedder” and “Fritz’s Corner”. Now on the eve of a band sanctioned remastered re-release, we join singer/songwriter/guitarist Scott Lucas, producer Steven Haigler, and master of his domain Gabe Rodriguez to look back on the writing, recording and reception of the album that Lucas and many of the band’s fans have come to see as their biggest seller. I’m Ben Reiser.”

“You’re listening to SONG IMPLODER — where musicians take apart their songs piece by piece and tell the story of how they were made. And then talk shit about those songs and make you embarrassed you asked about them in the first place. On this episode we examine Local H’s 2nd studio album: AS GOOD AS DEAD. Released in April of 1996, the album would prove to be the band’s commercial and artistic breakthrough, spawning several ‘90s alternative radio hits — including the ubiquitous “Bound For The Floor”. Now on the eve of a band sanctioned remastered re-release, we join singer/songwriter/guitarist Scott Lucas, producer Steven Haigler, and master of his domain Gabe Rodriguez to look back on the writing, recording and reception of the album that Lucas and many of the band’s fans have come to see as their biggest seller. I’m Ben Reiser.”

The great Jack Douglas passed away earlier this week and we over at the LIFERS podcast —much like the rest of the world— have been thinking about him and all the wonderful records he helped to make. Scott was lucky enough to work with Jack on Local H’s fourth record (HERE COMES THE ZOO) and one of the last conversations they had with each other was actually an interview recorded at Gman Tavern in Chicago — which was then aired on episode 155 of our show. So 100 episodes later — here it is again. Unfortunately for you (and very fortunately for Scott) all the best stories were told beforehand over drinks at the bar. It was one of many priceless experiences Scott got to have with him. R.I.P., Jack.

Scott is in Texas. Texas sucks for cellular coverage. It is May 1st. Gabe is eating pizza. Ben is growing a beard. Scott is in a van. Movies are discussed. Texas is discussed. Pantera is discussed. Will this episode stay up on Spotify? Doubtful. Will this episode stay up anywhere after today? Doubtful. Listen while you can, but don't worry if you can't. In the meantime, come see Local H on tour with Toadies!