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Episode Overview In this episode, JimmyJames & Just Jim sit down with The Flashing Astonishers, the long‑running Syracuse indie/post‑punk band whose history stretches from their 1995 formation, through an eight‑year hiatus, to a full reunion in 2010. Guitarists Dan Musclow and Gregg Yeti, bassist Chuck Gwynn, and drummer Tony Tornebene dive into their origins, influences, studio stories, and the strange lore that’s grown around their music.The conversation quickly turns into classic Astonishers chaos: overlapping stories, inside jokes, questionable memories, and unexpected detours into band mythology, songwriting oddities, and whatever the future might look like for them. Band Background Formation: 1995Location: Syracuse, NYHiatus: Eight‑year break in the early 2000sReunion: 2010Related Project: Gregg Yeti & the Best Lights (2007) Current Lineup • Gregg Yeti — Guitars• Dan Musclow — Guitars & Vocals• Chuck Gwynn — Bass• Tony Tornebene — Drums Topics Covered Early Days & Influences • What it was like going to school with Jim Anderson.• How each member first fell in love with making music — the albums, instruments, and first records that set them on their path.• The band’s formation in 1995 and the early chemistry that shaped their sound.• Sonic touchpoints: Sonic Youth, Teenage Fanclub, Sugar, Pavement, Guided by Voices, and other bands that helped define their aesthetic. Songwriting & Creative Process • A look at how tracks like “The Back Nine” (Forever Unprepared) and “The Star Off Machine” take shape.• How their process has shifted or stayed the same across decades. Albums & Key Tracks • “Lip Balm” (Everything Is Going to Stop) — its unmistakable ’90s feel and the story behind the Morrissey nod.• “I’m Not One” — how its tight, punchy rhythm came together in the studio.• “Only Gone” — the reflective, melancholy‑bright moment on The Star Off Machine, and why a more fleshed‑out version appears on On Involuntary Bliss.• “Too Many Cigarettes” — whether it’s autobiographical or a character study, and how fans responded.• “Capsized” — why Allison Gates was brought in for vocals and what she added to the track. Gregg Yeti’s GBV Connection • Gregg’s contribution to the Guided by Voices tribute compilation Sing for Your Meat (2011), covering “Quality of Armor,” and what it meant to appear alongside The Flaming Lips, Superdrag, and others. Band Lore & Humor • Do cats really see ghosts?• Who is the King of Cans?• Who broke the stained glass — and why?• The mystery of the villainous Manchester Priests. Live Shows & Activity • Touring history: regional vs. national.• Whether the Porches EP sparked the desire to play live again. Genre Identity • If someone finds their record in a shop, should they look under indie rock, post‑punk, college rock, or “should have been huge”? What’s Ahead • Upcoming releases, future shows, and where The Flashing Astonishers are heading. Follow The Flashing Astonishers: • Website: https://bio.site/flashingastonishers • Bandcamp: https://theflashingastonishers.bandcamp.com/ • YouTube: https://youtube.com/channel/UCDxDXhiHelPdSWVLtUmUp_A • Facebook: https://www.facebook.com/theflashingastonishers/ Follow Gregg Yeti: • YouTube: https://youtube.com/@greggyeti About Post‑punk Heartstrings Post‑punk Heartstrings explores artists who lead with emotion, commitment, and originality — following the deeper threads that connect sound, memory, and meaning. Facebook: https://www.facebook.com/PostpunkHeartstrings/ YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ Instagram: https://www.instagram.com/postpunkheartstrings

Episode Overview In this episode, JimmyJames and “Just” Jim sit down with Greg Gordon and Cooper Gillespie of LANDROID, the high‑desert art‑rock trio rounded out by Nigel Roman, who was unable to join the interview.Greg and Cooper explore the band’s origins, their creative chemistry, the philosophical threads running through their work, and the stories behind the songs that define their latest album. Topics Covered Musical Beginnings – Greg and Cooper trace their earliestmusical memories and how their paths eventually converged. High Desert Influence – How the stark beauty and isolationof the high desert shaped their sonic identity. Early Albums & Pre‑LANDROID Bands – A look back at theprojects and bands they were in before forming LANDROID. Songwriting Process – From initial sparks to fully layeredproductions — including Greg’s desire to write a 30‑minute track. “The Beginning” – Why this track feels like stepping into analter‑ego for Cooper, and how Nigel’s contributions shaped the song. “Yellow Sea” – Cooper discusses her fascination withmortality and the group reflects on near‑death experiences. Gnosticism & Spiritual Curiosity – How learning aboutGnostic ideas influenced the album’s themes and a broader conversation aboutreligion. Songs as Self‑Confession – Cooper chooses “Sometimes.” Gregchooses “The Ending,” inspired by a vivid dream. Songs as Alter‑Ego – Cooper: “The Beginning.” Greg: “Say MyName.” Quiet/Loud Dynamics & Pauses – How LANDROID usessilence, restraint, and sudden bursts of sound to create emotional tension. Greg’s Love of Layering – Vocals, synths, textures — whystacking sounds is central to their identity. Reproducing Music Live – The challenges and surprises oftranslating studio complexity to the stage. Creative Conflict – Do they ever argue creatively? And whatthey do when a song simply isn’t working. “Closing Doors” – The mood, the lyrics, and the emotionalweight behind the track. “Autonomous” – Themes, textures, and how the song fits intothe album’s larger arc. “Stay” – The choppy metal‑style guitar, Phil Collins‑inspireddrums, and how the track came together. What’s Coming Up – Future plans, new music, and whatLANDROID is excited about next. Featured Songs (Clips Included) “So Say We All” – intro “Lost in Transmission” – transition from intro “The Beginning” “Yellow Sea” “Sometimes” “The Ending” “Say My Name” “Closing Doors” “Autonomous” “Stay” WHERE TO FOLLOW AND SUPPORT LANDROID: Official Band Website: https://www.landroidmusic.com/ Apple Music: https://music.apple.com/us/artist/landroid/1469591125 Bandcamp: https://landroid.bandcamp.com/ Facebook: https://www.facebook.com/landroidmusic/ YouTube: https://youtube.com/landroidmusic Instagram: https://www.instagram.com/landroidmusic Tiktok: https://www.tiktok.com/@landroidmusic Spotify: https://open.spotify.com/artist/7DIJjtbZhJdqXSVSFfBWyP?si=xkPGQDZGTcaeThyWeeX2wA&nd=1&dlsi=125b811b6db84926    Connect with Post‑punk Heartstrings Post‑punk Heartstrings explores artists who leadwith emotion, commitment, and originality—following the deeper threads that connect sound, memory, and meaning. Facebook: ⁠https://www.facebook.com/PostpunkHeartstrings/⁠ YouTube: ⁠https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp⁠ Spotify: ⁠https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ⁠ Instagram: ⁠https://www.instagram.com/postpunkheartstrings YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ Instagram: https://www.instagram.com/postpunkheartstrings

Episode Summary After more than two decades away from releasing music, Craig Douglass Miller—frontman of the 90s Dallas band The Reach and now the creative force behind Blueburst—joins us for a deep, funny, and vulnerable conversation about rediscovery, mentorship, depression, and the long road back to making art. Craig opens up about the years he spent convinced he was“done,” the advertising career that took over, the drinking that diverted him, and the quiet creative ember that never fully went out. He talks candidly about the emotional through‑line from The Reach to Blueburst and the longing thatshaped both eras. And of course, we get into the pivotal role of MartyWillson‑Piper, whose guidance, friendship, and gentle pressure helped Craig rebuild confidence, finish songs, and step back into the musical life he thought he’d lost. Key Topics Craig’s 20‑plus‑year hiatus from releasing music How COVID, stillness, and a guitar‑filled house cracked thedoor open Mentorship, accountability, and the creative partnershipwith Marty Willson‑Piper The emotional DNA connecting The Reach to Blueburst Depression, confidence, and the fear of failure The 90s Dallas scene, mailing cassettes to college radio,and the strange gap between industry interest and tiny crowds Why echo pedals never stopped being cool Writing personal lyrics vs. character‑driven songs (thatstill end up being personal) Reflections on aging, contentment, and the themes behindSupernovaBlueburst — Official Links Website: https://blueburst.band/Bandcamp: https://blueburst.bandcamp.com YouTube:https://www.youtube.com/@blueburstmusic Facebook: https://www.facebook.com/blueburstmusic Instagram: https://www.instagram.com/blueburstmusic Connect with Post‑punk Heartstrings Post‑punk Heartstrings explores artists who lead withemotion, commitment, and originality—following the deeper threads that connect sound, memory, and meaning. Facebook: https://www.facebook.com/PostpunkHeartstrings/YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kpSpotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZInstagram: https://www.instagram.com/postpunkheartstrings

In this episode, we sit down with Gregg Yeti of The Flashing Astonishers for a wide-ranging, humorous, deeply human conversation about friendship, Syracuse music history, shoegaze influences, DIY culture, and the long, winding road of making art over decades. Gregg shares stories from his early days hanging out in basements, the musical influence of Jim Anderson, discovering bands through mixtapes and 120 Minutes, forming The Flashing Astonishers in the mid-’90s, and navigating the chaos, creativity, and camaraderie that shaped the band. He also opens up about personal struggles, the band’s long hiatus, his prolific solo years, and the renewed energy behind their recent recordings. Highlights: Growing up in Syracuse and discovering alternative music through friends, MTV, and mixtapesEarly basement hangouts, Telecasters, and the seeds of songwritingThe formation of The Mildreds and eventually The Flashing AstonishersRecording early demos in a bathroom and bringing them to Pyramid StudiosInfluences including Ride, Slowdive, My Bloody Valentine, Pavement, Guided By Voices, and Teenage FanclubStories behind songs like Back Nine, Lip Balm, I’m Not One, and Only GoneGregg’s solo years as Gregg Yeti & The Best Lights and Leopard PonyThe band’s breakup, personal challenges, and eventual reunionThe making of the Porches EP and a mountain of unreleased materialThe joy of physical media, DIY packaging, and planting creative seedsFuture plans for new Flashing Astonishers musicBand Lineup: Gregg Yeti — guitar, bass, vocals, songwritingDan Musclow — vocals, guitar, songwritingTony Tornabene — drumsChuck Quinn — bass Songs & Artists Mentioned: Back Nine, Lipbalm, I’m Not One, Only Gone, Capsized, plus references to The Cure, The Swirlies, and more. Closing: If you enjoy deep-dive conversations about alternative music, DIY culture, and the stories behind the songs, follow Post-punk Heartstrings for more interviews, album discussions, and musical archaeology. Follow The Flashing Astonishers: Website: https://bio.site/flashingastonishersBandcamp: https://theflashingastonishers.bandcamp.com/ YouTube: https://youtube.com/channel/UCDxDXhiHelPdSWVLtUmUp_A Facebook: https://www.facebook.com/theflashingastonishers/ Follow Gregg Yeti: YouTube: https://youtube.com/@greggyeti Post-punk Heartstrings explores artists who lead with emotion, commitment, and originality—following the deeper threads that connect sound, memory, and meaning. Facebook: https://www.facebook.com/PostpunkHeartstrings/ YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ Instagram: https://www.instagram.com/postpunkheartstrings

In Episode 53 of Post-punk Heartstrings, we sit down with legendary drummer Aaron “A-Train” Smith, whose career spans alternative rock, new wave, and influential Christian music scenes from the 1980s onward. Aaron shares stories from his time with The 77s, his work in the post-punk/new wave world with Romeo Void, andrecording sessions with artists like Rich Mullins, Charlie Peacock, Chris Taylor and Ojo Taylor. Along the way we talk about musical influences, Nashville sessions, and the unique intersection of alternative music and faith-based communities. Aaron also reflects on his early musical upbringing, learning drums as a kid, and the winding path that led him fromNorth Carolina to Sacramento and eventually Nashville. If you enjoy deep dives into alternative music history and behind-the-scenes musician stories, this is an episode youwon’t want to miss. Episode Highlights • Aaron’s early musical influences and learning drums in North Carolina • Joining The 77s and the band’s creative peak in the late 80s and early 90s • The famous drum solo in the live version of Mercy Mercy • Playing with Vector, Romeo Void and The 77’s during the new wave era • Recording and touring with Rich Mullins and the Ragamuffin Band • Nashville session work with Charlie Peacock and Margaret Becker • Recording stories and studio memories with Steve Scott • Working on projects including recordings with Chris Taylor and more recently Ojo Taylor’s BEHOLD album Songs Featured in This Episode • Caught in an Unguarded Moment –The 77s https://open.spotify.com/artist/2S6tJwZf8kzP0bQm7m4VqW • Desperately – Vector https://open.spotify.com/search/vector%20desperately • Higher Ground – Chris Taylor https://open.spotify.com/search/chris%20taylor%20higher%20ground Artists & Projects Discussed The 77s https://open.spotify.com/artist/2S6tJwZf8kzP0bQm7m4VqW Romeo Void https://open.spotify.com/artist/3IbXhW2hYhI8M2YF3yJf9Y Rich Mullins https://open.spotify.com/artist/6zZySmcFZ2zvR3yQY7dF9V Charlie Peacock https://open.spotify.com/artist/3y2YhKkK8QbP8S9Pq7Z3t3 Margaret Becker https://open.spotify.com/artist/6qF2iV7R7E4kP9hGQeW0k0 Steve Scott https://open.spotify.com/search/steve%20scott%20music Post-punk Heartstrings explores artists who lead with emotion, commitment, and originality—followingthe deeper threads that connect sound, memory, and meaning. Facebook ⁠https://www.facebook.com/PostpunkHeartstrings/⁠ YouTube ⁠https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp⁠ Spotify ⁠https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ⁠ Instagram ⁠https://www.instagram.com/postpunkheartstrings/. 🎵 Songs & Artists Featuredin This Episode • A Girl in Trouble (Is a TemporaryThing) — Romeo Void https://open.spotify.com/search/A%20Girl%20in%20Trouble%20Romeo%20Void • Caught in an Unguarded Moment —The 77’s https://open.spotify.com/search/Caught%20in%20an%20Unguarded%20Moment%2077s • Higher Ground — Chris Taylor https://open.spotify.com/search/Higher%20Ground%20Chris%20Taylor • The Altars — Ojo Taylor https://open.spotify.com/search/The%20Altars%20Ojo%20Taylor • Mercy Mercy (Live) — The 77’s https://open.spotify.com/search/Mercy%20Mercy%20Live%2077s • Minor Characters — Steve Scott https://youtu.be/zty_menBhBc?si=65FbRRslKjIgSvRl • Papa Was a Rollin’ Stone — TheTemptations https://open.spotify.com/search/Papa%20Was%20a%20Rollin%20Stone%20Temptations • Sunshine — Ray Charles https://open.spotify.com/search/Sunshine%20Ray%20Charles • Desperately — Vector https://youtu.be/F1oT8W5tY_I?si=oWi57SUjYj0WswQ2 • What Is the Mystery — SteveScott https://youtu.be/elC06ATHkro?si=aUE3I2_HcjcyqAEC

In this episode of Post-punk Heartstrings, we sit down with Emmett and Daniel of The Swoon for a deep, candid conversation about their origins, their music, and the strange, beautiful path that led them from a town of 800 people to national stages and legendary studios. We start at the very beginning — childhood friendships, next-door neighbors, and the formative experiences that shaped their creativity long before a band existed. From riding bikes at night and playing Dungeons & Dragons to discovering music through parents’ record collections and late-night video programs, Emmett and Daniel trace how imagination and curiosity fueled everything that followed. The conversation explores: Growing up in Cottonwood, Minnesota, and how isolation sharpened creativity Family influence, especially poet parents and homes filled with literature and music Early musical experiments, homemade drum kits, and first rehearsals in basements, garages, attics, and church buildings Playing shows at youth groups, American Legion halls, and early festivals The awkward, chaotic reality of first gigs — and how perseverance slowly turned embarrassment into confidence Pivotal moments include: Winning Battle of the Bands competitions at Falcon Heights, Sunshine Festival, and Cornerstone Festival The excitement — and disappointment — of a record deal that fell apart during negotiations How religious expectations and denominational differences unexpectedly derailed a label contract The turning point when Charlie Peacock stepped in, leading to sessions at Neverland Studios in California Inside the Neverland Studios recordings: Charlie Peacock’s role as producer and creative guide The collaborative influence of Derri Daugherty (The Choir), including studio support and sonic shaping The realities of analog recording, limited time, and expensive tape Song selection, production decisions, and the band’s growing confidence in their artistic voice We also discuss: The evolution of the band’s name, from Restricted Access to The Swoon The literary roots of the name, inspired by Emmett’s mother’s poetry Early influences including The Beatles, Bob Dylan, Men at Work, and U2 Comparisons to U2 and the band’s embrace of performance, commentary, and emotional intensity in live shows Throughout the conversation, Emmett and Daniel reflect with humor, honesty, and humility — sharing not just the highlights, but the missteps, doubts, and near-misses that shaped The Swoon’s legacy. This is a rich, heartfelt episode about friendship, faith, creativity, and what it means to keep making art even when the path forward isn’t clear. Follow The Swoon Website: https://theswoon.band/ SWOONTube: https://theswoon.band/video/ YouTube: https://www.youtube.com/channel/UCOJ2i66WETgYaSQDFSc5Khw/videos Facebook: https://www.facebook.com/theswoonband Remember The Swoon (Facebook group): https://www.facebook.com/groups/2412843425690573 Follow Jeffrey Kotthoff (Lo-Fidelity) Facebook https://www.facebook.com/jeffrey.kotthoffBandcamp (Lo-Fidelity Records) https://lo-fidelityrecords.bandcamp.com/Related video Austin Dacey – What I Did on My Summer Vacation https://www.youtube.com/watch?v=v8ZBNmBQTQo&list=RDv8ZBNmBQTQo&start_radio=1 Follow Post-punk Heartstrings Facebook: https://www.facebook.com/PostpunkHeartstrings/ YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ Instagram: https://www.instagram.com/postpunkheartstrings/

In this episode of Post-punk Heartstrings, we sit down with Ronnie Martin—the visionary songwriter and producer behind Joy Electric and Dance House Children. Ronnie reflects on a lifetime of chasing songs rather than trends, committing to pure analog synthesis, and staying faithful to a sound long after it stopped being fashionable. We talk about songwriting over technology, isolation versus influence, and the idea of pursuing a perfect song—one that may never fully be written. A recurring touchstone throughout the conversation is The Sun Always Shines on TV by A-ha—a song that represents longing, restraint, and emotional clarity, and one that continues to inspire Ronnie’s creative pursuit. This episode explores: Growing up surrounded by music, from crooners to classic rock to early alternative The origins of Dance House Children and the Blonde Vinyl era Building Joy Electric around pure analog synths The importance of not quitting, even without validation Why feeling always matters more than perfection Joy Electric – Spotify https://open.spotify.com/search/Joy%20Electric Dance House Children – Spotify https://open.spotify.com/search/Dance%20House%20Children “The Sun Always Shines on TV” – A-ha https://open.spotify.com/search/The%20Sun%20Always%20Shines%20on%20TV Post-punk Heartstrings explores artists who lead with emotion, commitment, and originality—following the deeper threads that connect sound, memory, and meaning. Facebook https://www.facebook.com/PostpunkHeartstrings/ YouTube https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp Spotify https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ Instagram https://www.instagram.com/postpunkheartstrings/

The Julies join Post-punk Heartstrings to reflect on their history, influences, and enduring impact. The conversation begins with a mention of The Holy Hour, the All-Cure podcast they recently appeared on, before diving into how each member discovered music. Chris recalls exploring his parents’ record collection—The Beatles, The Monkees, Dylan—and discovering Run DMC, Erasure, New Order, The Cure, and The Smiths. Patrick shares how a “good weird uncle” introduced him to The Cure and The Police, opening the door to The Clash and Siouxsie and the Banshees. Before The Julies, Chris ran sound for their precursor band, Garden Party. From there, The Julies formed, developing a sound shaped by shared influences, experimentation, and evolving tastes. They discuss The Church as an influence and soccer as an unexpected point of connection. The band recalls playing in the Philadelphia scene, crossing paths with bands like The Ocean Blue, and early live favorites like “Wake Up Christine” and “Wish”. They reminisce about creating their first self-made cassette, Discovery, and reflect on growing up in fundamentalist homes. Landing on Flying Tart Records allowed them a better creative fit than larger labels. Recording the January EP was formative, with Patrick excited by the studio experience. Working with Bill Campbell of The Throes captured their live energy—“Friday and Faithless” is highlighted as a standout. The feedback at the start of “Wake Up Christine” was a happy accident. The discussion moves to The Lost Mixes, with Dave Barbe of Sugar producing two tracks for a rawer sound. They then dive into the Lovelife EP, noting its unusual post-breakup release and enduring fan resonance, with stories of nationwide fans sharing its impact at the Always & Always release party. After the breakup, some members continued as Riviera, while Patrick relocated to Philadelphia and played with other bands. The Lost in Ohio reissue of Lovelife helped inspire new music as The Julies. They discuss recording Always & Always with producer Kyle Pulley at Headroom Studios, including its artwork and thematic ties to New Order’s Power, Corruption & Lies. Patrick jokes that if Heaven exists, it should have a dance floor—communal joy over streets of gold. Songs from Always & Always are explored: “Black Metal” — a B-side born from file-trading; Chris highlights the “black metal lyric sheet” line “The Weight of Your Hand” — guitar tones and textures “Symmetry” — imperfection, beauty, and emotional imbalance “Angels of the Underground” — a tribute to formative artists “Summermouth” — the song that moved the band as listeners as much as creators, guided by Alex’s musical leadership Their upcoming album (planned for February 2026) is intentionally sequenced as “a book”. Live shows remain uncertain, though fan interest is high, and Patrick’s project Tugboats gets a brief nod. The episode closes by revisiting the mystique of The Julies—the emotional weight and enduring impact of their music remain as strong as ever. Original members:Chris Newkirk – vocalsJohn Bada – bassGreg Hohman – drumsPatrick Zbyszewski – guitar Current members:Chris Newkirk – vocalsPatrick Zbyszewski – guitarAlex Yost – bass / multi-instrumentalist 👉 Follow The Julies • Bandcamp: ⁠https://thejulies.bandcamp.com/music⁠• Spotify: ⁠https://open.spotify.com/artist/39TjpeRcKdR13572B3XHPm?si=omC1VfleRzGgLPaDmaeq1A⁠• Facebook: ⁠https://www.facebook.com/thejuliesofficial/⁠• Instagram: ⁠https://www.instagram.com/thejuliesofficial/?hl=en⁠👉 Follow Post-punk Heartstrings • Facebook: https://www.facebook.com/PostpunkHeartstrings/ • YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp• Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ?si=584433f19b9448b8• Instagram: https://www.instagram.com/postpunkheartstrings/

**✨ Episode 049 — John Easdale of Dramarama From Looney Tunez to Color TV** 🎙️ Guest: John Easdale 🎧 Band: Dramarama 📅 Episode: 049 🔥 Topic: Four decades of songwriting, survival, and the unexpected rise of “Anything, Anything (I’ll Give You)” In this episode, I sit down with John Easdale, singer and songwriter of Dramarama, for an in-depth conversation covering the band’s origins in New Jersey, their underground rise, their accidental Los Angeles breakthrough, and the creative cycles that have kept their music vital for 40 years. We explore his earliest inspirations, their first recordings at Looney Tunez Records, the legendary impact of “Anything, Anything,” the band’s breakup and rebirth, and John’s evolving relationship with success, creativity, and longevity. 0:00 – 2:43 🤘 Fan moments & the long-term consistency of Dramarama’s sound 2:43 – 8:13 🎵 Early musical beginnings — first 45 purchased, Beatles years, drums, prog rock → Bowie → Sex Pistols → punk 8:13 – 16:00 📼 Looney Tunez Records basement days • Early 7” with “You Drive Me,” “A Fine Example,” and a cover of “Femme Fatale” • Why they chose a Velvet Underground song to gain recognition 🎧 Clip: “Femme Fatale” 16:00 – 21:54 🎛️ The Comedy EP → Cinema Verite How a French DJ helped launch the band internationally 21:54 – 29:09 📻 Rodney Bingenheimer discovers the band on KROQ; thought they were French • The rise of “Anything, Anything (I’ll Give You)” 29:09 – 32:34 🎸 The twin lead guitar dynamic • Peter = “tasty, cleaner” • Mark = “wild, crazy” 32:34 – 37:50 💿 Standout tracks on Cinema Verite • Why Box Office Bomb & Wonderamaland weren’t widely available • Last Cigarette • Reissue after Nightmare on Elm Street 4 37:50 – 41:37 🏷️ Chameleon Records & the making of Hi-Fi Sci-Fi 41:37 – 48:32 ⚡ The ’90s, grunge, and the rise of “alternative” • The Vinyl album • Song: “Train Going Backwards” 48:32 – 54:17 🥁 Clem Burke (Blondie) joins for the Vinyl tour • “Introduction/Hey Betty” 54:17 – 58:55 🎤 “Work for Food” 58:55 – 1:05:39 🌅 Life after the band’s breakup 1:05:39 – 1:12:00 💼 The music business, solo work • Roller Skating on Rattlesnakes • The Bent Backed Tulips (Eggbert Records) 1:12:00 – 1:19:00 📺 Bands Reunited experience 1:19:00 – 1:21:00 💔 Everybody Dies (2005) • Written as a second solo album for Greg Dwinnell (eggBERT) • Released on 33rd Street Records 1:21:00 – 1:23:38 🌐 Early-internet anecdote: people arguing Dramarama was a “made-up band” 1:23:38 – 1:28:30 📀 Color TV (2020) and releasing it during COVID 1:28:30 – 1:30:36 🎤 Ending the album with a Heatmiser/Elliott Smith cover: “Half Right” • Talk of Elliott Smith and Scott Miller 1:30:36 – 1:34:39 💔 “The Bottle and the Bell” from Everybody Dies • “I was God and thought I knew better” 1:35:00 – 1:39:00 🎫 Memorable fan moments, concerts, VH1 Bands Reunited, first California shows 1:39:00 – 1:43:00 🌟 How John’s definition of success has changed over time 1:43:00 – end 🙏 Wrap-up & thanks 🌐 Website: https://www.dramarama.us/ 📸 Instagram: https://www.instagram.com/dramaramaofficial/ 👍 Facebook: https://www.facebook.com/dramarama/ 🐦 Twitter/X: https://twitter.com/DramaramaBand ▶️ YouTube: https://www.youtube.com/@dramaramaofficial 🎧 Spotify Artist Page: https://open.spotify.com/artist/5bYy43LckWm8MLy1zNhEWH Instagram: https://www.instagram.com/postpunkheartstrings/ Email: [email protected]

🎙️ Post-Punk Heartstrings — Episode 048 🎬 US Kids: An Alternative Music Rebellion 📍 Host: JimmyJames S. Butler 📍 First Mate / Co-Host: Jim Anderson 🎤 Guests: John Smeby & Todd A. Zeller 🌐 Us Kids Website: https://www.uskidsrockumentary.com/ 📘 Us Kids on Facebook: https://www.facebook.com/UsKidsAnAlternativeMusicRebellion 📸 Instagram: https://www.instagram.com/uskidsrockumentary/ Todd Zeller Instagram: https://www.instagram.com/toddazeller/ John Smeby Instagram: https://www.instagram.com/john_smeby/ ⭐ Episode Summary Filmmakers John Smeby and Todd A. Zeller join host JimmyJames S. Butler and first mate Jim Anderson to explore the creation of US Kids: An Alternative Music Rebellion, a documentary celebrating the explosive creativity of the Christian alternative and post-punk underground and the stories of the musicians who built it. They discuss their musical origins, radio roots, the emotional weight of interviewing beloved artists, the massive archival mission behind the film, and much more. 🔍 Episode Highlights • 🎧 Early music memories & first albums • 🎹 John launching Reality Rock (1982) • 🎥 Todd’s videography path & Gene Eugene tribute connection • 🤝 How John & Todd teamed up to create the film • 🗃️ Behind-the-scenes digitization & archival rescue work • 💿 The US Kids double-vinyl soundtrack • 🕊️ Emotional interviews with legendary artists • 🚧 Production challenges, surprises & breakthroughs • 🤯 Artists they wanted but couldn’t secure • ❤️ Why the documentary feels like a “family reunion” • 🔄 How the filmmaking process reshaped their perspective 🎵 Music Featured in This Episode 🎶 “In Our Valley” — The Sea Hymnal 🎶 “God Rules” — Undercover 🎶 “River on Fire” — Greg Lawless 🎶 “Heart Lost in Nowhere” — The Altar Boys 🎶 “Desperately” — Vector 🎶 “I Want to See Heaven” — Mad At the World 🎶 “Sanctuary” — Daniel Amos 🎶 “Under Lock & Chain” — Ric Alba 📚 Other Topics & Stories • 🌱 Childhood musical beginnings • 🕍 Discovering Christian alternative culture • 🎤 Live show memories: Petra, Servant, Undercover • 🤘 KISS pajamas, trading cards & early fandom • 📼 Building the US Kids digital archive • 🧡 Reconnecting musicians after decades • 🎨 Crafting the artwork, editing style & tone • 📝 Encouraging feedback from Sam Phillips • 📀 Soundtrack curation with Jason Dean (Reality Rock) • ⚙️ Technical challenges behind the film’s creation 🙏 Special Thanks Appreciation to the GoFundMe supporters and friends of the project: Michael Pritzl • Jason Dean • Rob Birks • Robert Reynolds • Dan Michaels • “Spun Counter Guy” • And many more. 👉 Follow Post-Punk Heartstrings • Facebook: https://www.facebook.com/PostpunkHeartstrings/ • YouTube: https://www.youtube.com/@Post-punkHeartstringsPod-wf5kp • Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ?si=584433f19b9448b8 • Instagram: https://www.instagram.com/postpunkheartstrings/

In this second half of our conversation with legendary drummer Richard Ploog (The Church, Groom Epoch), we explore his post-Church journey — from collaborations with Peter Koppes, Steve Kilbey, and Marc Gable to the surreal, space-infused sounds of Groom Epoch. 🎵 Joining Peter Koppes and The Well How Richard was invited to join Peter Koppes’ project The Well, recording Iridescence and Water Rites. Includes a clip of “Faith” from Water Rites. 🎧 Listen to “Faith” – The Well 🤝 Performing with Steve Kilbey & Marc Gable Richard recalls performing with Steve and Marc, reflecting on Steve’s many collaborations and taking Ibogain on tour. 🛸 The Birth of Groom Epoch How Groom Epoch came together — and why the band is named after Groom Lake (Area 51, Nevada). 🎻 Amanda Brown (The Go-Betweens) Amanda contributed electric harp, oboe, and backing vocals on the Groom Epoch track “Cosmic Artifice.” 🎧 Listen to “Cosmic Artifice” – Groom Epoch 🎚️ Inside the Groom Epoch Albums A discussion on the band’s evolving sound, layered arrangements, and Richard’s unique vocal cadence and production style. 🌀 On Surrealism Jim asks whether Richard still considers himself a surrealist — and how that perspective shapes his songwriting. 🎧 Song-by-Song Insights 💜 “Love Divine” — Layered textures, crunchy guitars, and possibly electric harp. 🎧 Listen on Spotify 🌍 “Earth First” — Features guitarist Brett Myers (Died Pretty). Richard recalls Brett’s solo work on “Out of the Unknown.” 🕊️ “Fodder for Zion” — Written about the conflict in Syria. 🎧 Listen on Spotify 🌌 “Cosmic Artifice” — A lush, surreal sonic landscape (clip included above). 🚀 The New Groom Epoch Album Richard teases the band’s fourth release, continuing to explore new musical territory. 🎭 The Gaslight Puppet Show Includes guitar contributions from members of The Sunnyboys and other musicians from Australia’s post-punk scene. 👨‍👦 Family & Serendipity Richard talks about his son Irie Ploog, and shares a surreal story about accidentally walking into a Tin Machine rehearsal with David Bowie singing “Ashes to Ashes.” “Faith” – The Well “Love Divine” – Groom Epoch “Fodder for Zion” – Groom Epoch “Cosmic Artifice” – Groom Epoch 📍 Host: JimmyJames S Butler and First Mate - Jim Anderson 🥁 Guest: Richard Ploog 🎧 Listen to Groom Epoch on Spotify 💿 More from The Well (Peter Koppes) 📺 Follow Post-Punk Heartstrings for more artist conversations. • Richard Ploog • The Church • Groom Epoch • Iboga Gazebo 👉 Follow Post-Punk Heartstrings for more deep dives into the sounds that move us: • Facebook • YouTube • Spotify

In this first part of our conversation with Richard Ploog, legendary drummer for The Church, we trace his journey from early musical beginnings to the band’s breakout years in the 1980s. Richard shares stories of his Scottish pipes and drums roots, his early punk days with The Name Droppers, The Brats, and Exhibit A, and his transition into the shimmering, atmospheric sound that defined The Church. We explore his first recordings with the band, the evolution through The Blurred Crusade, Seance, and Starfish, and his reflections on collaboration, creativity, and departure during Gold Afternoon Fix. If you’ve ever wondered what it was like behind the kit during the making of The Church’s classic era—or how Richard’s musical curiosity led him toward later projects like Iboga Gazebo and Groom Epoch—this episode dives deep into the rhythms, inspirations, and evolution of one of post-punk’s most distinctive drummers. 🕰️ Topics & Highlights • Early fascination with bagpipes and marching drums • Joining his first punk band, The Brats / Exhibit “A”, and “Life on the Dole” • Auditioning for The Church and recording “Too Fast For You” • Reflections on The Blurred Crusade as the band’s first masterpiece • The “fashion clash” behind Seance’s production • Collaborations on Heyday and Starfish • Insight into the creative process and learning “by osmosis” • The Gold Afternoon Fix sessions and his departure • Post-Church work with Iboga Gazebo and the album Dose Age 🎧 Songs Featured “Fraulein” – The Church (Too Fast For You) “Life on the Dole” – The Brats “Almost With You” – The Church (The Blurred Crusade) “Electric” – The Church (Seance) “Monday Morning” – The Church (Gold Afternoon Fix) “Visualize” – Iboga Gazebo (Dose Age) 🔗 Connect & Explore More Richard Ploog – https://en.wikipedia.org/wiki/Richard_Ploog The Church – https://thechurchband.net Groom Epoch – https://groomepoch.bandcamp.com Iboga Gazebo – https://ibogagazebo.bandcamp.com 👉 Follow Post-punk Heartstrings Facebook – https://www.facebook.com/postpunkheartstrings YouTube – https://www.youtube.com/@postpunkheartstrings Spotify – https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ?si=203dac51c4f84f9b

In this episode, we sit down with brothers Chris and Pat Bradley of June Cleaver and the Steak Knives—a band whose music hovers between tongue-in-cheek satire and fearless experimentation. With roots in post-punk, art-rock, and a love of found sounds, their sound pulls from an eclectic range of influences: Wall of Voodoo, They Might Be Giants, Devo, The Residents, The Cure, and beyond. ✨ We talk about: 🎵 The evolution from early instrumental records ➡️ albums with more vocals 🎚️ How they craft an album’s flow despite genre-hopping tracks 🥁 The use of unusual instrumentation, sampling, and found sounds 🎨 Their love of album artwork & immersive vinyl listening 📀 The concept and storytelling behind Short Tales of Science Fiction and Family Dissonance (2024) 🔥 Song Spotlights: • ⚡ Completely Lose All Self Control – machine-gun vocals, sharp guitar licks • 🎻 Infantile Dreams – Radiohead textures + violin layers • 🎸 This Mess – raw early post-punk, in the spirit of Wire & Magazine • 👁️ With Her Eyes – quirky Devo-like satire (“brass knuckles on her lashes” 🔥) • ⏳ Multitasking – ominous choruses on tech’s speed & distraction • 🎹 Quarantined – layered vocals, pandemic reflections, haunting piano & synths • 🚫 Xenophobia + John – no subject matter is off-limits 💡 From 2003’s Cleavage to 2024’s Short Tales of Science Fiction and Family Dissonance, June Cleaver and the Steak Knives prove that every track can be a strange, satirical, and cinematic experience—like a little David Lynch movie in song form. 🎧 Explore more music from June Cleaver & the Steak Knives: Spotify Apple Music Bandcamp Official Website YouTube Channel 👉 Follow Post-punk Heartstrings for more deep dives into the sounds that move us: Facebook YouTube Spotify

In this episode, we sit down with Peter Koppes, founding guitarist of The Church, to explore the deep currents of his musical life—from early influences to legendary albums, solo works, and new collaborations. What we cover in this conversation: • 🎹 Early beginnings: Why Peter’s first love was the Hammond Organ, how he wound up on drums, and the Beatles’ surprising link to bossa nova. • 🎸 Forming The Church: The transition from Precious Little → Baby Grande → The Church, and setting the record straight on Steve Kilbey’s “firing” from Baby Grande. • 🌌 The Church’s legacy: Recording Starfish, the happy accidents behind “Under the Milky Way,” and Peter’s reflections on key tracks like Almost With You, Reptile, and A New Season. • 🥁 Behind the music: Richard Ploog’s contributions, producers pushing drummers to click tracks, and what changed between Starfish and Gold Afternoon Fix. • 🎼 Solo artistry: Manchild & Myth and From the Well—his painterly approach to songwriting and the role of collaborators. • 🌀 Syncretism project: A creative partnership with Dave Scotland, the track “I Live,” and weaving cultural/ambient elements into new soundscapes. • 🌱 Family & future: Reflections on boxing lessons as a child, the spirit in music, and his daughters’ project Rain Party. A candid, wide-ranging conversation with one of alternative rock’s great sonic architects. 👉 Follow Peter’s music: Website: https://peterkoppes.com/ YouTube: https://www.youtube.com/channel/UCdn2kYdQR2yQJ6YcU0QluJQ/featured X: https://x.com/peterkoppes Facebook: https://www.facebook.com/peter.koppes.3 Spotify: https://open.spotify.com/artist/5ENOFSRHD8RnVWRp4gQJha?si=pU-8kinsTBiteH-ciPTG8g 👉 The Church: Shadow Cabinet: https://shadowcabi.net/ 👉 Snow Koppes: Bandcamp: https://snowkoppes.bandcamp.com/album/supastar 👉 O and Shea: Spotify: https://open.spotify.com/artist/2vw6GFtH8CBLQmXATwArqW?si=rny5tquYQ2qkmlBzFGQMkg Bandcamp: https://oandshea.bandcamp.com/ 👉 Follow Post-punk Heartstrings for more deep dives into the sounds that move us: Facebook: https://www.facebook.com/PostpunkHeartstrings YouTube: https://www.youtube.com/channel/UCjKWsuzqWiSY0vln1Py5ahg Spotify: https://open.spotify.com/show/3kngtZ8HsbDL0YFt4m6otZ?si=8c5782e8d30e4258

Floodland by The Sisters of Mercy: Choral Doom and Drum Machines in the Twilight With special guest Jerry Ossevoort In this episode, we wade through the sonic fog of Floodland, the 1987 landmark from The Sisters of Mercy. With personal stories, deep dives, and a few laughs, we unravel the gothic myths, machines, and melodrama behind one of the most iconic albums of the era. We open by sharing our first brushes with The Sisters of Mercy: Jimmy first heard “This Corrosion” but didn’t love it—so he never explored the rest of the album Jim recounts his own discovery story and first impressions Jerry came to SOM from a very different starting point: 1950s music Airdale’s track “Space Is Falling” comes up, with a reference to SOM that caught our attention 📌 And yes, the band’s name comes from a Leonard Cohen song featured in the 1980 film The Gun Runner—a literary touchstone that fits Eldritch’s brooding, poetic aesthetic. We revisit the band’s early days and explore the Floodland era mythos: The Sisters formed in 1980 in Leeds, England Patricia Morrison’s role in the Floodland sessions remains one of rock’s more elegant mysteries SOM trading cards and other cult fan artifacts spark memories and conversation Jerry shares a concert story involving a flying cigarette from Andrew himself The “Dominion” video was filmed in Jordan and gives off major Hellraiser or Indiana Jones vibes And yes, they once toured with Public Enemy We also talk about the striking contrast between Andrew Eldritch’s singing voice and his regular speaking voice—both equally iconic, in very different ways. Dr. Avalanche isn’t just a drum machine—it’s a character in the band’s lore. From early hardware to upgraded samplers, this unblinking rhythm section keeps time with eerie consistency Brendan (of The Mourning) even has a tattoo of the band’s Merciful Release label logo, joining Chris from JC&tSK in paying tribute We share our own experiences using drum machines and discuss whether Avalanche feels cold and mechanical—or oddly emotional and essential We discuss how Andrew Eldritch brought in producer Jim Steinman to co-write and co-produce “This Corrosion.” That move helped secure a £50,000 advance, and the result was one of the most over-the-top, anthemic tracks in goth history. Jimmy admits that “This Corrosion” didn’t click with him at all when he first heard it—and that kept him from giving the rest of the album a fair shot for years. We also explore the possible meaning behind “Lucretia My Reflection,” often read as a tribute—or critique—of Patricia Morrison. Here comes the eternal question: Is Floodland a goth album? Eldritch has famously rejected the goth label for decades Yet between the cover art, the tone, the themes, and the fanbase… the case for “yes” is hard to ignore We explore how Floodland compares to work by Bauhaus, Siouxsie, or The Cure Does the album define goth, transcend it, or parody it? We break down the songs that make Floodland such an enduring and unusual experience: “Dominion/Mother Russia” opens with a Cold War flourish “Flood I” introduces the spiritual, apocalyptic tones that echo throughout “Lucretia My Reflection” is taut, cryptic, and endlessly cool “1959” closes the core album with stark minimalism “This Corrosion” is either high drama or pure camp—or both “Flood II,” “Driven Like the Snow,” and “Neverland” deepen the mood further We also touch on bonus tracks “Torch” and “Colours,” added on the remastered version of Floodland, and give a nod to follow-up album Vision Thing. Despite the acclaim, Floodland marked the beginning of the end for SOM's studio albums. 🖤 Thanks for listening to Post-Punk Heartstrings. Subscribe for more tales of eyeliner, machines, and majestic melancholy.