Sad Dad Radio Hour

In the latest episode of the show, the dads dig into Joy Division's Closer. Released in the summer of 1980, the album was the final studio album by the Manchester, English rock band. If you didn't know, the album has been considered the "crown jewel" of post-punk, as frontman Ian Curtis reveals an introspective look at his life prior to his untimely death. It's dark, claustrophobic, and hauntingly beautiful as Curtis invites the listener into his word. It's what Hot Topic wishes it was. Socks are optional.

In the first episode of season three, the Dads are on the road to find out about one of the pillars of the Sad Dad genre with Cat Stevens' Tea for the Tillerman. Released in 1970 by British folk rocker, Cat Stevens, the album asks hard hitting questions about parenthood, children, and oddly specific boats. Plus, the album was ranked on Rolling Stone's "500 Albums to Hear Before You Die," so its got that going for it--which is nice. Go ahead, grab a beverage and put your feet up... It's sure to be...wait for it... the cat's meow. Get it?! Meow?

In the final episode of season two, the dads discuss some of their favorite albums from 2019. We're talking about music from Purple Mountains, Sufjan Stevens, and more. It’s a “Hurricane Party” for sure! That's really it. I mean, what else do you want? A cookie? Maaaaan, we are all about some animal crackers—you know what I’m sayin?

In the last album of the season, the guy cover literally, one of the best albums of all time-- Modest Mouse’s The Lonesome Crowded West. Released in 1997 on Up Records, the band met with producer, Calvin Johnson, at Moon Studios where for seventeen consecutive days they recorded, before holding a second, smaller session with Phil Elk in Seattle. During these recordings, the band refined the sonic landscape it debuted just one year prior with their first studio album—This Is a Long Drive for Someone with Nothing to Think About. And while that release was a breakthrough with the public eye, the band truly garnered a following with this album, as it would come to define modern indie rock. And the record, while not explicitly autobiographical, provides insight into the throughs and dwelling of Isaac Brock as he muses over malls, Montana, and modern religion.

In the latest episode, the Dads discuss one of the most intoxicated bands in the history of rock n' roll-- The Replacements. The Minneapolis alt. rockers released Tim, their major label debut on Sire Records, in the fall of 85. Produced by Tommy Ramone, the band blasts its way through roughly 40 minutes of some of the best tunes from this side of the Mississippi... whatever side that is. Paul Westerberg, Chris Mars, and the Stinson brothers deliver eleven tracks that are filled with heart-on-the-sleeve adolescent rock. So kick back, crack a brew, and listen to our dumbasses talk about one of the best "Sad Dad" albums of all time. So being your own lampshade, as this episode is sure to be a hootenanny!

In episode seventeen of season two, the Dads go a little bit mad with the first ever Mad Dad Radio Hour. In it, they discuss the Misfits' Twelve Hits From Hell. Originally recorded in 1980, the album was soon scrapped, and parts of it were reverse Frankensteined into various EPs and singles. However, the original recordings almost saw the light of day back in 2001, and even went as far as to producing physical copies that were sent to stores, but band members Glenn Danzig and Jerry Only called off production and the album was scrapped for a second time. On the project, Danzig pummels his audience's puny face with power chords and songs about ghouls, ghosts, and goth girls. Hell, (get it--hell!) it even has songs about haunted hotels, vampires, and spoOOOOOoooooky dungeons. Thus, it's a perfect album to play at Halloween.

With Fall officially here, the guys examine Left and Leaving by Winnipeg mega-stars, The Weakerthans. It really is the perfect fall weather album. If you didn't know, the Weakerthan’s are fronted by John K. Sampson, who left his job as bassist for punk rockers, Propaghandi, to play much more introspective and emotional music. "Left and Leaving" sounds pretty much exactly how you’d expect a Canadian indie-rock album called “Left and Leaving” to sound. The lyrics are evocative, the melodies capture a certain cold-weather nostalgia, and the result is the kind of record that makes you enjoy being lonely. So sit back and relax, as we go over some crisp indie tunes.

In episode fifteen of season two, the guys discuss the Pixies’ 1989 record— Doolittle. Which in the words of journalist Ben Sisario, Doolittle is “one of the most violent pop albums ever recorded, if not in body count then in the starkness of its calamities.” And obviously, said dude is not wrong, The guys are talkin' Old Testament brutalities alongside guns, eyeball slicin' and people being crushed to death by tons of sludge from New Jersey. Yet, despite all its death and destruction, it’s an album that’s been enjoyed by decades upon decades of music fanatics thanks to some delicious pop tunes. Hell, modern music would be where it is now without the gigantic influence the Pixies had.

In episode fourteen of the second season, the guys attempt to break down Sir Elton John's Tumbleweed Connection. Released in 1970, Bernie Taupin and Elton explore a loose concept album over America's western frontier. As the dynamic duo "come down in time" to the late-nineteenth-century, they discuss guns, sons, and soldiers. Yeeee-oooo... it's a rootin' tootin', sarsaparilla sippin' one heck of a time. So pour yourself some country comfort, stick some straw between your teeth, and spend an hour with us as we figure out what makes this album a "Sad Dad" classic.

The guys are back to talk about one of the most mysterious voices in indie rock with (Sandy) Alex G’s DSU. Since his early days on MySpace, YouTube and Bandcamp, Alex Giannascoli has been a student of the Sad Dad canon; however, while most artists simply pay tribute to their influences, Alex pushes the envelope and reaches new sonic boundaries on each project he releases. Dream State University, more commonly referred to as DSU, was no exception when it came out on Orchid Tapes (home of Soccer Mommy and Ricky Eat Acid) in 2014. On the project Alex G. muses about life in his early twenties, as he gives listeners a peek into the world surrounding him via his home recordings.

In the latest episode, the Dads discuss what could easily be argued as the best album of 2014 with Sun Kil Moon’s Benji. Frontman Mark Kozelek is no stranger to the indie rock scene due to his years with the Red House Painters, solo material, side projects, and cover albums (we’re looking at you Tiny Cities). Yet, despite the success of his previous works, Benji was an important milestone which relaunched Mark’s career in the public eye. The album serves as a continuation of his first foray into stream-of-conscious lyrics that were heavily featured on his previous album--Among the Leaves. On this album in particular, Mark returns to his Ohio roots and explores his fragile family tree. It’s an album filled with death and despair, as Mark reflects upon the recent passing of his second cousin, Clarissa, and the history of his hometown.

Today, the guys are "shining a light" on one of critics' favorite indie rock albums to come out of the early aughts with Wolf Parade’s studio debut-- Apologies to the Queen Mary. Released in 2005 on Sub-Pop records, and produced by none other than Modest Mouse’s own Isaac Brock--the Victoria, B.C. band crafts a sonic ruckus that summons a fusion of indie pop and prog. rock. In fact, in the words of Sub-Pop’s own press release, they make “music that sounded like burnt toast, or like two pinball machines in a slow motion bareback horserace." So, sit back, relax, and enjoy.

In the tenth episode of season two, the Duke Boys are at it again as they break down Everclear's So Much For the Afterglow. Released in 1997, the Portland based act, headed by Art Alexakis, was trying to prove that they were no one hit wonder after their previous album-- Sparkle and Fade. Briefly produced by Jim Rondinelli (Weezer's Pinkerton and Wilco's Being There) who was quickly replaced, and after having the original draft of the album deem "half baked" by the label, the band returned to the studio and crafted their most successful album to date. The rest, as we say, is history.

In the ninth episode of season two, the guys discuss Galaxie 500's 1989 record-- On Fire. The Harvard indie rock band released this project just one year after their 1988 debut, “Today” (which Thurston Moore dubbed "the guitar record of 1988"). With the help of their producer, Kramer, this album in particular double downs on dazed and dreamyness of their first album with great results despite the interpersonal drama that always haunted the band. In fact, if you didn't know, Pitchfork ranked it as the 6th best album of the 1980s. Needless to say, it’s an album with a great history. So sit back, and relax.

In episode eight of the second season, the Sad Dad Radio Hour discusses the tragic history of Jason Molina with Songs: Ohia’s “The Lioness”. Originally released on Secretly Canadian back in 2000, Molina’s voice delivers a powerful sermon over love and work. In addition, on this particular project, Jason’s unique delivery is bolstered by relatively sparse instrumentation provided by the members of Arab Strap. Needless to say, the albums is powerful, haunting, and unique as the man that made it.

In the seventh episode of the second season, the guys tackle one of the best albums to come out within the past twenty years with Bright Eye’s 2005 release— I’m Wide Awake It’s Morning. It’s an album that begs to be heard again and again, as Conor Oberst and Company deliver an intimate and introspective take as they explore the struggle of what it means to be human in this beautiful, terrible world that we all find ourselves surrounded by. As Andy Dufraine says in Shawshank Redemption, “there are places in this world that aren't made out of stone. That there's something inside... that they can't get to, that they can't touch. That's yours.” Clearly, this is one of those albums.

The guys are back with their latest release over John Darnielle and The Mountain Goats’ first studio album, Tallahassee. To jump right in, this is a concept album over a couple’s doomed relationship. In fact, the main artist behind the Mountain Goats, John, at one point would say, “The album was about these characters I’d dreamed up a long time ago; their broader story involved an alcohol-soaked trek from California through Nevada and then bottom-crawling across the country until they wound up in northern Florida”. Seriously, album pulls no punches. I mean, after all this album takes place in Tallahassee, and if inland Florida doesn't scream depressing, we don’t know what does.

In the fifth episode of season two, the guys cover Waxahatchee’s 2013 sophomore record-- Cerulean Salt. The album is a stripped back and emotionally exposed indie rock record that was one of the first and finest examples of the indie boom happening in Philadelphia during the 2010’s. Building on her evocative lofi debut, American Weekend, Katie Crutchfield delivered a record that contained all of the emotional gravitas of the previous album, but encapsulates it in a more mature and sophisticated look at how relationships with family, friends, and significant others change as we age.

In the fourth episode of season two, the guys talk about Sad Dad Legends-- Wilco. Headed by frontman, Jeff Tweedy, Summerteeth is their third studio album(not counting a Woody Guthrie tribute of sorts with Billy Bragg). It's the first album where the band’s alt-country tentacles begin reaching towards an expanding psychedelic direction. It’s a mixture of dark lyricism and eclectic instrumentation which was fueled by American Spirits, Diet Coke, and opioids. Its very sad… and it’s very dad. So join us on another hour long adventure as we talk about what Jeff Tweedy describes as the “hyper-sexual nature of Wilco’s music”.

In the third episode of season two, the guys talk about blink 182's third studio album-- Enema of the State. Released in 1999, the project is a soufflé of California Pop-Punk scene of the time. Layered over power chords and palm muting the band’s lyrics combined sincere feelings with sophomoric humor. And while now it might seem like baby’s first pop punk album, each song is a expression of desperation and anxiety, as our hormonal heros fumble their way through life.