Under the Radar Podcast

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.

Warpaint are back after six years with Radiate Like This, their excellent fourth album after 2016's Heads Up. According to drummer Stella Mozgawa, completing the album while isolated from bandmates Emily Kokal, Theresa Wayman and Jenny Lee Lindberg was challenging. Theirs is a band that have always thrived on the intimacy of being in the same room during the songwriting process, and after finally coming together in between babies, solo albums and cross-country moves, the pandemic forced them to work individually in their separate home studios, isolated from one another. Stella had the added disadvantage of being away from her own home studio, grappling with different time zones. In spite, or perhaps because of all those challenges these four women— who Stella describes as being almost 'married to each other in a four-way polyamorous relationship' — have put out one of their best albums to date.Many thanks for making this possible — Stella for a heartfelt chat. To Virgin Music and Rough Trade for use of all songs. And Ethan Jacobs at Sacks & Co. for support at every turn.Songs Featured: "Hips," "Undertow," "Disco/Very," "New Song," "Send Nudes," "Champion," and "Melting."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.

In our final episode for Season 2, we listen to some raw tape that didn't make the Julien Baker episode. And we're joined by not one but two fans. Allison, a teenage fan, from Louisiana, shares how Julien's music helped her through her own bouts of depresson during the pandemic. And Azin Samari, a documentary editor on "The September Issue"—the award-winning film about Vogue magazine, Amazon docu-series "Lorena" and more recently, Hulu's "Sasquatch." Azin is currently working on a documentary about the refugee crisis. She discusses her experience with religion, editing for documentary, and its similairities to editing for audio.Thanks to Matador Records for use of the song "Appointments." And Katie Nelson from Grandstand Media for support with music clearance. A big, big thank you to the many Julien Baker fans that reached out. We could only pick one but feel free to record a voice message and I promise to play it on a future mini-episode. And of course to our guest Allison, thank you for sharing the music in your head with all of us in the world — it's a truly special thing. Links to the other episodes discussed — Black Belt Eagle Scout, Ezra Furman, Travis and Lucy Dacus. Julien Baker will tour with Angel Olsen and Sharon Van Etten, for the Wild Hearts Tour, from 21 July to 21 Aug 2022. Remember Season 3 will drop July 7. Write us an Apple Podcast review, or again send me a voice message. If you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

We listen to some raw tape of Jamie Stewart—from experimental, art-pop band Xiu Xiu—that didn't make it to the main episode. And we're joined by a Xiu Xiu fan, Bay Area-electronic musician Alex Olive who shares how elements that we might ordinarily find off-putting in Xiu Xiu's more discordant, noize-led and sometimes frightening work is vital to her art and life. We also discuss gender dysphoria, trans rights and In true Xiu Xiu form, Sanrio characters. Follow Alex Olive @olivecraving on Instagram and be sure to check out her Bandcamp here.Much thanks to Rob Wilcox at Polyvinly Records and Sydney Christensen at Kill Rock Stars for use of songs. Also to Catherine Herrick from Motor Mouth Media for additional support. Last but not least to Jamie for graciously helping us reach out to his loyal fanbase. And a big, big thank you to the many fans that did reach out. We could only pick one but feel free to record a voice message and I promise to play it on a future mini-episode.To listen to the Ezra Furman episode from Season 1, please head here. And here's my interview with Ezra on motherhood.Write us an Apple Podcast review, or again send me a voice message. If you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

We listen to some raw tape of Courtney Barnett before she pressed record for our interview. We are also joined by a true fan of her music—Paul Kondo, of The Podcast Gumbo Newsletter. Not too long ago we were "hotsauce" in that newsletter. Paul recommends three podcasts in each gumbo newsletter, with an added extra podcast mention, thrown in as hot sauce. Paul shares with us the first albums he coveted—The Last Waltz, Martin Scorsese's 1978 documentary of The Band's final performance in San Francisco featuring friends such as Neil Young, Bob Dylan and Joni Mitchell —still ranks high for him decades later; his favorite Courtney Barnett song; and how pleased he is that Under the Radar is that rare music podcast, that actually plays music.Please head to Bandcamp to purchase music from Jen Cloher's self titled album. And for tickets and more information about Courtney Barnett's own, curated festival, touring this August, head to Here And There Festival. Thank you to Milk! Records, Mom & Pop and Grandstand Media for clearance of songs used in this episode. And for the Caroline Rose episode, head here.Write us an Apple Podcast review, send me a voice message or if you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

Memphis-bred singer/songwriter Julien Baker's third album Little Oblivions revisits familiar themes in her confessional writing — faith, addiction, mental health and her sense of isolation. However, in the process of writing the album, Julien had to undergo more transformation than ever before. She now has a radically different understanding of God, of her own struggle with addiction, and how she squares that with her own queer identity. She's also attempting to be kinder to herself. The catalyst for much of this change was losing her sobriety in 2018. It prompted her to cancel shows and step away from her music career — the thing that she loved the most — and possibly giving it up altogether, as she went back to University to finish her degree.Many thanks for making this possible — Thank you Julien for your love of God and returning to music-making. To 6131 Records for use of "Sprainked Ankle." To Matador for use of all other songs from albums Turn The Light Out and Little Oblivions. And to Kobalt Music Publishing for all songs. Special thanks to Abby Rubin from Beggars Group, and Katie Nelson at Grandstand Media for additional support.Songs Featured: "Hardline," "Sprained Ankle," "Claws At Your Back," "Faith Healer," "Ziptie," "Ringside," and "Relative Fiction."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

Experimental art-pop and noize band Xiu Xiu's single "Rumpus Room" found me on a particular low day in early 2021. I remember puttng it on, cranking the volume up and jumping around like a sugar-ed up toddler in a boucy castle. There's hints that the song is about more serious things but in that moment I needed joy and bouce—and that's what I found. Jamie Stewart began Xiu Xiu 20 years ago. The band has seen many configurations and different members. For the last decade, Xiu Xiu's been a duo of Stewart with Angela Seo. Xiu Xiu's music is often confronting either thematically or in the noize elements that Jamie employs. Diving into it, is its own reward. Their latest is OH NO, an album of duets. It features Sharon Van Etten, Angus Andrew from Australian band, Liars, Twin Shadow, Owen Pallett and LA's First Wave punk pioneer, Alice Bag.Many thanks for making this possible — Thank you Jamie for all the noize, madness, mayhem and beauty. And that infectious laugh. To Kill Rock Stars for use of "I Luv The Valley OH" and "Apple For A Brain." And to Polyvinyl for use of all other songs. To Catherine Herrick from Motor Mouth Media for media support.Songs Featured: "Rumpus Room," "I Luv the Valley OH," "I Luv Abortion," "Apple For A Brain," "Honey Suckle," "Sad Mezcalita," "Saint Dymphna," "I Dream Of Someone Else Entirely," "Antz," and "Bottle of Rum."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

English rock duo, Mike Kerr and Ben Thatcher are Royal Blood. When they burst on the scene with their eponymous, debut album in 2014—boasting an old school rock sound reminiscent of Led Zeppelin and Black Sabbath, they were immediately hailed the saviors of guitar rock. Their sophomore album, How Did We Get So Dark followed the same playbook. There's an evolution in their sound on Typhoons, their latest studio album. It harks back to their eclectic roots. Both honed in their skills playing in various bands from soul and pop to funk and indie rock, as well as at church services and with wedding bands. It now also begs the question—where will Royal Blood go next?Many thanks for making this possible — Thank you Ben for picking up those chopsticks way back when you were knee high to a grasshopper. To Warner Records for use of Master Recordings and Warner Chapell Music for use of all songs. To Rick Gershon at Warner Records for the endless support. And to Ness Smith-Savedoff for additional editing help.Songs Featured: "Typhoons," "Figure It Out," "Out of The Black," "I Only Lie When I Love You," "Trouble's Coming," "Boilermaker," "Limbo," and "All We Have Is Now."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

Australian indie rocker Courtney Barnett's latest album Things Take Time, Take Time is an attempt to be kinder to herself. To not worry about the big picture of how to stay successful or even sane after achieving then sustaining global stardom against the backdrop of a world that seemed to be burning at each turn. Instead, she shfts her mind and focus on the small comforts — regular Zoom calls with friends during the Pandemic, taking in the laid-back beauty of a Joshua Tree sunset, the blush of a new love and the acceptance of the cycles of change in life. By Courtney's own admission she finds it hard to say the right thing in any given moment, and perhaps that's why songwriting is such a precious outlet for her. Anonymous Club, a new documentary by her longtime collaborator and friend, Danny Cohen (scheduled for released in 2022) will reveal the scope of her turmoil during the darkest days of her last tour. But for now she is employing her best defense 'being annoyingly optimistic."Many thanks for making this possible — Thank you Courtney for giving us a piece of your heart, even when it hasn't been easy. To Mom & Pop Records for use of all songs. And to Katie Nelson and Grace Jones at Grandstand Media for all the support.Songs Featured: "Rae St," "Avant Gardener," "Pedestrian At Best," "City Looks Pretty," "Nameless Faceless," "Splendour," "Oh The Night," and "If I Don't Hear From You Tonight."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

We listen to some tape that didn't make the main SPELLLING episode. And are joined by podcaster Alexandra Cohl of The Pod Broads who discusses the different pieces that she thinks an artist like SPELLLING brings to her music. From the lasting effects of transgenerational trauma that manifests itself on SPELLLING's track "Haunted Water," to her bi-racial identity that quietly informs all her work. Alexandra—whose partner is multi-hyphenate rapper, producer and Empire State Music & Arts festival founder, Kerry Blu—also sheds some light on the ways artists of color have felt about the previous administration's mishandling of the pandemic. And as a creative couple—and a singer herself—she reveals how they had to set boundaries for themselves during the difficult New York Shelter in Place. Follow Alexandra on Instagram @pod.dralandand on Twitter @poddraland Be sure to listen to her podcast The Pod Broads. And for Kerry Blu's fresh new EP, The Game Is The Game, please head to Spotify.Write us an Apple Podcast review or if you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

Bay Area-based experimental artist Chrystia Cabral started making Gothic-inspired music as SPELLLING, in 2017. The dabbling and experimenting of her first two albums were instructive but have now given way to something more intentional. The bewitching vocals and haunting soundscapes of Pantheon of Me and Mazy Fly are still present but her art has evolved and expanded sonically and thematically on her lush, third record The Turning Wheel. She pulls from Science Fiction authors, fairy tales, Disney and Afro Futurism—building worlds intended for fans of her music to inhabit and seek refuge.Many thanks for making this possible — Tia for taking us through the looking glass and into space. Thank you Sacred Bones Records for use of music. And to Sam McAllister at Pitch Perfect PR.Songs Featured: "Always," "Walk Up To Your House," 'Real Fun" "Little Deer," "Queen of Wands," "The Future," "Emperor with an Egg," "Boys at Schoo," "Revolution" and "The Turning Wheel."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

We hear a bit of tape from Sleaford Mods singer Jason Williamson that did't make it to the main episode. Our guest is musician, producer and award-winning podcaster Martin Zaltz Austwick. He shares some of his thoughts on the class warfare endemic to the music of Sleaford Mods and why he sets a higher bar for pop music. As the co-host of Song by Song podcast—a show about the music of Tom Waits—we of course, discuss the genuis of the left-of-field autuer!Please visit Martin's blog Year of The Bird to hear the four volumes of music and read the incredible journey of unexpected twists and turns that his life took that year. Follow him on Twitter @martinaustwick and support his music-making as Pale Bird, on Bandcamp.Write us an Apple Podcast review or if you prefer to share your thoughts via email, drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Hosted on Acast. See acast.com/privacy for more information.

On Sleaford Mods latest album Spare Ribs the Nottingam duo keep their aim firmly at the ruling political class and their mishandling of the pandemic. As the U.K. reels from further economic unraveling thanks to the harsh realities from the Tory push for Brexit, coupled with a decade of austerity measures, Jason Williamson's agit-punk over Andrew Fearn's sly beats continues to give voice to the everyman and their frustrations. Lyrically, the rants are richer, more poetic and in parts intimate, stripping it of the machismo that his image might first brandish to the casual listener. Williamson sheds light on this shifting perspective. He is still shouting about the world outside but also ruminating on parts of his interior life that may have been previously locked away.And after a hard slog to the top, they appear eager to extend a hand to nascent women artists. Watch out for newcomer Billy Nomates and Australian, Amy Taylor, from Amyl & The Sniffers—both have excellent features on this album.Many thanks for making this possible — Thank you Jason for giving a F*ck. To Rough Trade Records and Abby Rubin at Beggars Group for use of songs. Jason Williamson and Andrew Fearn for use of "Don't Want A Disco Or 2." And Talia Miller at Rough Trade Records for additional support.Songs Featured: "Nudge It," "Jobseeker," "Don't Wanna Disco Or 2," "BHS," "Shortcummings," "Elocution," "Mork & Mindy," "Top Room," "I Don't Rate You" and "Out There."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.

We hear two pieces of tape that didn't make it to the main Adrian Younge episode. Both speak to these awkward and sometimes very difficult conversations on race that we should all be having, especially in the aftermath of George Floyd and this country's race reckoning. We also speak to a promising young artist, jaythehomie, from emo-rap duo RoeShamBeaux about his thoughts on Adrian Younge's album The American Negro and the things he learnt that weren't in any history book. He also shares his own experiences with racism and the concept of double consciousness, growing up in suburban Virginia. Follow @RoeShamBeaux on twiitter, instagram, Spotify and Apple Music. Check out this last EP Emergency here. and look out for new music later this year. Write us an Apple Podcast review or if you prefer to share your thoughts with us via email, please drop us a line at celine.teoblockey@undertheradarmag.com — and you might be featured on the podcast. Get your latest print copy of Under the Radar magazine here. Hosted on Acast. See acast.com/privacy for more information.

The cover art of Adrian Younge's album The American Negro depicts the shocking image of a man hanging from a tree. Flip the cover over and the other image reveals that on his back is a note which reads 'This n***** voter." You may ask "Why, do we need an image so offensive? Or an album like this one now?" A multi-hyphenate artist dedicated to shining a light on the unsung heroes of soul, jazz and culture, Adrian also shares a deep love for history which he is keen to impart to us. As he believes knowledge and education are the key to understanding our current social ills.The American Negro is a multi-pronged project that includes a short film called TAN and Younge's podcast Invisible Blackness. His conversations with Public Enemy's Chuck D and Brian Jackson, Gil Scott-Heron's jazz collaborator on "The Revolution Will Not Be Televised" and some of the most crucial albums of the '70s contributing to the Black Consciouness —are illuminating and not to be missed.Many thanks for making this possible — Adrian for taking on this work of helping us all to educate ourselves. To Dru Lojero at Linear Labs for assistance with music clearance. To Jazz Is Dead for use of Masters and to Sony Publishing. Thanks to Shazila Mohamad and Zoe HInes at Grandstand Media for additional support.Songs Featured: "The American Negro," "Bitches Do Voodoo," "Sirens," James Mincey Jr," "Margaret Garner," "Race Is A Fellacy" and "Light On The Horizon."To share your thoughts on this episode, email: celine.teoblockey@undertheradarmag.com Hosted on Acast. See acast.com/privacy for more information.