Whatever Comes Next with Tom Osman

West Berliner Alexander Hacke and American-born Danielle de Picciotto both have no shortage of their own artistic and musical credits stretching back to the 1980s. While their collaborative paths have intersected over several different projects over the years, hackedepicciotto is the most enduring—with the duo’s 10th album LICHTUNG to be released on the 10th of July via Mute. A beautiful, otherworldly record, layered with electronic and acoustic instrumentation (as well as the pair’s elegantly intertwining voices) there’s plenty about the duo’s latest release to dive into. There’s also time for us to touch on the pair’s experiences of Berlin before, during and after the fall of the wall, why they finally settled down after years of nomadic existence, how they take their music on the road and on stage, Danielle’s writing practice, and a few funny tales featuring Alexander’s time in Einstürzende Neubauten and former Bad Seed Mick Harvey—the three having all worked together in Crime & The City Solution. Photo by Mara von Kummer. Thank you to Howard at Howlin’ Wuelf Media.Order LICHTUNG and check out more from hackedepicciotto on bandcamp.hackedepicciotto website.See hackedepicciotto at silent green Kulturquartier, Gerichtstraße 35, 13347 Berlin, Germany on the 27th of June (info and tickets here) with more upcoming shows listed on the pair’s website. For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The UndergroundCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

The members of Limerick, Ireland’s sludge metal band TOOMS have been making music together since before TOOMS was even a thing. Having started out together first as Gaia, bassist Anto Donnellan, drummer Kieran Grace and guitarist/vocalist Alex Hölzinger decided in 2017 the time had come to take the music into a new dimension and so TOOMS was born. Following their debut full-length album The Orb Offers Massive Signals in 2020 the existential black hole that was the global Covid pandemic was not strong enough to completely derail the band—with the trio having now released their follow up KARST on Fiadh, Cursed Monk and Road to Masochist. Visit the TOOMS bandcamp page for KARST and all things TOOMS. Follow the band on Instagram.See TOOMS live in Galway and Cellar bar on the 26th of June, supporting Bad Aul Dose with Skellig and Partholón — tickets here. For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The UndergroundCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Chicago Illinois’ The Claudettes have been through various transformations since their instrumental, two-piece origins of 2013’s Infernal Piano Plot…HATCHED!The most recent evolution has been the introduction of powerhouse singer Rachel Williams, who came in after the band parted ways with previous lead singer Berit Ulseth.Throughout every permutation punk-raised pianist Johnny Iguana has been leading the charge, and with the band’s latest album Garage Glamour (Pravda Records) released tomorrow Johnny joins me as we run through the history of The Claudettes, from their earliest beginnings right the way up to now. Along the way there’s time for us to talk about many musical influences and inspirations, from Bob Mould to Raymond Scott. We talk punk, we talk blues, we talk rock n’ roll and more. It’s all for the love of the music and if ever I felt like my poor, neglected guitar needs to be given some attention, it’s certainly the case after this conversation. Visit The Claudettes for releases, videos, upcoming shows and more. The Claudettes on bandcamp. Thanks to Howard at Howlin’ Wuelf MediaCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Twenty-plus years is a long break to have in almost any relationship. But while Nathan Carson and Joshua Blanchard (together known as Point Line Plane) originally called time on the musical project they formed together at the turn of the century back in 2005, the end of Point Line Plane did not mean the end of the friendship. Just as well, because when the stars aligned and SKiN GRAFT Records proposed a remastered reissue of the duo’s eponymous debut, Carson and Blanchard had already been discussing playing shows together again. Fast forward to now and Point Line Plane have played a number of shows in May (several with an also-reformed Dazzling Killmen), with three more dates to come in June (culminating with a performance at the final date of this year’s Caterwaul Fest in Minneapolis). Add to that, the remastered debut is out tomorrow (digitally and on vinyl for the first time). While Point Line Plane received no small amount of attention during their first run, this was at a time before the ubiquity of online representation. Put another way, the impact the band made isn’t reflected online. So let’s do our small bit to right that wrong as Nathan Carson joins me to discuss all things Point Line Plane past, present and future, other musical projects and his agency Nanotear Booking. Buy Point Line Plane from bancamp. Point Line Plane on Instagram.Thanks to Mark at SKiN GRAFT RecordsPhoto by Lucy FurFor more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The UndergroundCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

The electronic/industrial underground is one of the most intriguing, magickal and mysterious realms in modern music. The mythologies surrounding groups like Throbbing Gristle, Psychic TV and Coil are rabbit holes easy to go tumbling down.The late Peter “Sleazy” Christopherson was (more or less) a founding member of all three bands mentioned above. He was also one half of experimental electronic group Soisong. Ivan Pavlov (best known for his enduring CoH project) was the other half of this musical union and on this day of 22.05.26 is releasing a book documenting the project’s history. The book is a fascinating dive into the world of Soisong, including email correspondences between Sleazy and Ivan, interviews, marketing strategies, press releases, photos and other artefacts that chart the life of this project. Complemented by two CDs, the book is being released as a one-time-only edition.Ivan Pavlov joins me to discuss the book and the story of Soisong, as well as sharing tales from his friendship and collaborations with Sleazy and John Balance (Geoff Rushton) from their Coil days. The world of Coil (and its neighbouring constellations) has been a huge source of fascination and inspiration for me since I first discovered the Musick to Play in the Dark albums over 25 years ago. A little while back I had to stop buying every fresh Coil reissue that comes out before it became necessary for me to start selling organs. It was a huge treat and honour to talk with Ivan and I will be poised to buy a copy of the book when it becomes available today. Soisong will be available in a hardcover edition of 222 numbered copies. If you are also keen to get yourself a copy get your trigger finger ready. The book release is scheduled for 22:05 CET tonight (that’s five past nine this evening for people in the UK) when the link to buy will go live. At that time (probably for about 3 minutes before they sell out) you’ll be able to buy a copy from the link here.You can also visit Soisong on bandcamp here and listen to Soisong Broadcast #13 (released on Wednesday to coincide with the release). Huge thanks to Ivan for his time and to Dan at Discipline PR for making this conversation possible. More links to Ivan Pavlov’s work:CoH websiteCoH on facebookCoH on bandcampSoisong on facebookFor more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The UndergroundCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

The Visible Heaven (out May 21st on The Circle Music) marks the first new music from Boston-formed, post-punk/gothic-rock band Requiem In White in over 30 years. Following the band’s split in the 90s, singer Lisa Stockton-Wilson and multi-instrumentalist/producer Doc Hammer first continued making music together as Mors Syphilitica before going on to pursue their own separate projects. In 2024 the vinyl reissue of the band’s early material by The Circle Music planted a seed which led to Hammer and Stockton-Wilson working on new material again—the result being The Visible Heaven. Intended as a continuation of where the band left off (as well as being an opportunity to capture a sound the band felt had never been truly represented on record) the forthcoming album lacks nothing in dark, grand power. Hammer and Stockton-Wilson join me to discuss the record, the band’s early years and reminiscences of the late Type O Negative frontman Peter Steele. Lisa Stockton-Wilson photo by LiAnn GrahmThe Visible Heaven via The Circle MusicRequiem In White on bandcampThanks to Dom at 3-NationCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Earlier this month saw the release of Andros Insidium on 20 Buck Spin, the sixth album by Leila Abdul-Rauf under her own name. Metal fans may know Leila as the singer and guitarist for death-metal group Vastum (the band she has fronted since its formation in 2009), but she has been involved in a number of projects over the years, some very far from the realms of metal. According to Leila people often pigeon-hole her solo output as “ambient” music, but she considers “cinematic” to be a better descriptor. Listening to Andros Insidium this does feel like a more appropriate term—the album being rich in textures and instrumentation. Sometimes the music inhabits a sonic world reminiscent of the otherworldliness of Dead Can Dance, at other times (like on the album’s harrowing title track), the stark piano and vocal presence is more in the lineage of Diamanda Galás. It’s dark, intense and at times harrowing music. Leila joins me to discuss the album, collaborations, mythology, imagery and how creative freedom and financial insecurity go hand-in-hand for independent artists. Photo by Alex ParraAlbum art by Justyna KoziczakAndros Insidium on vinyl and CD from 20 Buck SpinLeila Abdul-Rauf on bandcamp Catch Leila Abdul-Rauf live:May 28 Center for Computer Research in Music & Acoustics (CCRMA) Palo Alto, CA May 30 First Church of the Buzzard Oakland, CALeila Abdul-Rauf on InstagramThanks to Dave at Earsplit PRCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

For the past 10 years Curran Reynolds has been one third of PR group The Chain, alongside Justin Pearson (Deaf Club, 3 One G) and Brandon Gallagher (Trace Amount). As with Justin and Brandon, Curran also makes music—on top of helping to represent artists navigating the music industry in his role at The Chain. This Sunday (April 19th) will see The Chain co-presenting an event to celebrate their 10 years together at Elsewhere in Brooklyn. The event is being co-promoted by Saint Vitus and will feature all three members of the Chain—Justin in the recently reformed Swing Kids, Brandon’s Trace Amount and Curran’s project Body Stuff (amongst other acts).Curran joins me to discuss the forthcoming event, The Chain, Body Stuff, and stories from his time working with Today Is The Day and from his years working as a publicist at Earache Records. Photo: Paul Roura Visit The Chain World for more information about Chain X and links to buy tickets. Body Stuff on bandcampCurran and Body Stuff on InstagramCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Since the mid-80s, Jarboe has been an important figure in the musical underground. While many will have first come to know her through her mesmerising performances as a member of Swans from 1985 to the band’s initial breakup in 1997, Jarboe has now been releasing music under her own name for roughly 35 years.1991’s Thirteen Masks showcased her versatility as a singer and songwriter and with each successive release Jarboe has continued to explore the possibilities of compositional architecture. From the harrowing intensity of 1998’s Anhedoniac, to the drone-metal-infused Mahakali ten years later, to the beautiful and highly atmospheric Illusory from 2020, Jarboe’s next musical step can never be predicted. Sightings (released this Friday on Consouling Sounds) builds from an experience Jarboe had several years ago where a particular vireo bird appeared in her garden every day for a whole summer, seemingly performing directly for her. Recordings of this bird’s versatile song became the foundation for the album’s centrepiece “Vireo Serenade”. Once the idea of Sightings was born, Jarboe brought in several friends and collaborators, (including Thor Harris and Father Murphy’s Freddie Murphy and Chiara Lee) to help create an album that once again explores new musical terrain, while continuing to signpost her enduring Buddhist meditative practices. Jarboe joins me to discuss the album, nature, danger, creativity and how she navigates the music business as a DIY artist who has never courted mainstream attention. Visit The Living JarboePre-order Sightings from Consouling SoundsThanks to Dom at 3-Nation Check out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Though post-punk unit Black Beach was officially born in 2012, Steve Instasi, bassist Ben Semeta and drummer Ryan Nicholson had already been playing together under different names. In fact, Ben and Steve have been playing together in various bands since Steve was 12. So Mail Thief (out this Friday on Best Brother Records) is certainly far from the trio’s first rodeo. But while the band already have several releases under their belts, Mail Thief is Black Beach’s first collaboration with a label (thanks to the band linking up with Best Brother Records). With Mail Thief channelling strains of The Birthday Party, as well as longstanding inspirations like The Fall and The Stooges, Steve joins me to discuss the record, how the band’s sound has evolved over the years and tales from many years of performing and touring. And on the topic of tours, Black Beach will be playing along the East Coast of the US from the 1st of April, preceded by an album-release show on Saturday the 21st of March at Deep Cuts, Medford, MA (supported by Pinklids, Nice Guys and Dinos). Incidentally, on the 4th of April, Black Beach will be sharing a stage with Luna Honey, whose Maura Pond appeared on this podcast all the way back on episode 47—if you haven’t already given that interview a whirl, the might like to do so. She’s great and they’re great. For all Black Beach links and to listen to and pre-order Mail Thief click here. Check out the Best Brother Records catalogue here. Thanks to Joe at Stereo Junk PRCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Songwriter, performer, producer, sitcom-theme-tune writer, radio host, Ben Vaughn has many strings to his bow from decades working in the arts and entertainment world. Since January of this year, ‘podcast host’ can now be added to the list, as Vaughn (alongside co-host Laura Pochodylo) present “Straight From The Hat With Ben Vaughn”. On each episode of the show Pochodylo (a manager at Sun Records in Nashville) draws out names at random from a hat. Every name has some connection to Vaughn from his years in music and TV and so the stories spontaneously follow. Five episodes have been aired so far, featuring stories of Vaughn playing with Lynyrd Skynyrd, how he ended up writing music for Third Rock From The Sun and (in the most recently aired episode) his role as producer on the Ween record 12 Golden Country Greats.For sure I wasn’t going to miss the chance to get more entertaining Ween-related stories out of Vaughn, but just like with his podcast there was no shortage of topics to dive into and insights to gain from his years in the music business and beyond. Click here for links to Straight From The HatCheck out Ben Vaughn’s website (including links to his music)Thanks to Howard at Howlin’ Wuelf MediaCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com

Blunt Knife Castration is an extreme-metal project born out of a fascination with 70s/80s horror movies, a botched surgery and the shadow of the Covid pandemic.Blood & Oil, released this Friday on Remorseless Records is the third release from Simon Bryant under the Blunt Knife Castration name—Simon handling all the playing and recording, with the project being a solo venture up till now. Currently Simon is in the midst of rehearsing with two newly-recruited members, the intention being to take Blunt Knife Castration onto stages in Simon’s local Kent in England and hopefully beyond. With the dirty, noisy, overdriven spirit of sludge-metal icons Eyehategod a musical reference point since 2024 demo Chewed Up And Spat Out, Blood & Oil sees Blunt Knife Castration continue to evolve as Simon channels a more introspective, inner darkness. Simon joins me to discuss the latest record, the project’s origins, his years away from heavy music and plans for the future. Closing track: “Guilt Pig” (Remorseless Records, 2026)Check out Blunt Knife Castration on bandcampThanks to Kyle at Good Boy PRVisit Remorseless RecordsCheck out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠My music on AmpwallPodcast artwork and logo: Get A Real Job KidIntro music: “Detachment” by Tom Osman This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tomosman.substack.com