ifitbeyourwill S05E12 • Stella Birdie

A conversation with Stella Birdie feels like stumbling upon a secret diary—intimate, raw, and unexpectedly illuminating. Speaking from her candlelit porch in Australia as dawn breaks, Stella reveals how songwriting became her way to process emotions too complex for everyday conversation.

"I want to ruminate on things much longer than most people want to," she confesses, perfectly capturing why her music resonates so deeply. From childhood notebooks filled with song-like poems to her recent EP "Speaking Terms," Stella's creative journey follows a consistent thread: seeking intimate expression for experiences that defy easy articulation.

Her songwriting process begins with lyrics, usually captured in her phone's Notes app while walking home, processing the day. Unlike many artists who begin with melody or chords, Stella prioritizes the words and the emotional truth they carry. This lyrics-first approach explains the rare authenticity that permeates tracks like "Organ Donor" and "He Didn't Mean It"—songs that begin as personal catharsis before becoming universal connection points.

What's particularly fascinating is Stella's revelation about the therapeutic nature of her craft. "Closure is not real," she says with hard-earned wisdom, "and writing is a really good band-aid for coping with that fact." This perspective offers listeners a new way to understand why we're drawn to emotionally complex music—it gives voice to feelings we struggle to resolve in our own lives.

As sunlight gradually illuminates our conversation, Stella reflects on the beautiful paradox of performing painful songs with joy, watching audience members connect with her most vulnerable moments. There's something magical in this transformation—from darkness into light, from private pain into shared experience. For anyone who's ever found solace in a song that seemed written just for them, Stella Birdie's music provides both mirror and window into our shared emotional landscape.

Discover Stella's music across all platforms and catch her upcoming shows across Europe and the UK this May. Your new favorite lyricist is just getting started.

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“Some songwriters need to shut themselves off from the world to make music, all Stella Bridie requires is her iPhone. Thanks to her Notes app, the 25 year old can write anytime and anywhere”

Vogue Australia

“Perhaps the best songwriting I've heard this year. I could give a full five stars just to the line "am I meant to say what's honest 'til what's honest gets too hard?".”

Abby Butler, triple j

““He Didn’t Mean It” showcases her cathartic brand of indie-rock and stark, emotive songwriting”

Rolling Stone

“Lyrics leave a highly emotional yet freeing impact”

The Luna Collective

Advance Base • "The Year I Lived in Richmond” • 2025

https://advancebase.bandcamp.com/

The year I lived in Richmond

there was a killer on the loose

Four women slain in my neighborhood

It was all over the news

Deborah Lee Hill moved to Richmond

round about the same time as me

She was a peculiar one, the strong & silent type

I'd see her at the bar occasionally

The summer was hot that year in Richmond

Deborah didn't have an A/C

She slept with her second story bedroom window up

Just to catch a little breeze

She woke one night to an intruder

climbing in her window from a tree

Deborah up & ran for a kitchen knife

& stabbed him in his chest repeatedly

The coroner came to take the body

Deborah packed up all her things

She left in her pickup truck as soon as morning came

She'd seen all she cared to see

The rest of the year I lived in Richmond

they talked about murders on TV

Any child could tell you how that killer died

under the knife of Deborah Lee

Ezra Furman • Power of the Moon • 2025

https://ezrafurman.com

"I took over five years writing this song. I’m not saying that makes it good, but it does mean that it means a lot to me. It’s another in my series of songs that make sweeping declarations about ‘the human mind’ (cf. “Ordinary Life,” “Poor Girl A Long Way From Heaven”).

"The lyric is me taking on a problem I’ve had all my life: I believe in God and I can’t explain why to anyone; I don’t even understand it myself. I have no evidence, no argument and no doubt. I think it might just be the kind of brain that I have, one with a need to ‘take the frame from the painting / and let the colours bleed out into the room.’ I love a diffuse God, one who is everywhere, underlying everything, and who absolutely does not fit into my little consciousness with all its rational rules. My God makes no sense. That’s one thing I love about her. That’s how I know she’s much bigger than anything we could have invented.

"When things stop making sense, that’s when the world of night has its hooks in you. That’s when the moon takes over. You wake up one day and you realize you can never really understand anything, and then you’re into the poetic, under the power of the moon. 

"This spirituality of mine has, annoyingly, not alleviated the existentialist nausea I’ve always felt. I’m overwhelmed by this God-haunted world. The train is on its way to flatten you. The blues come around to devastate you. But I find myself enjoying this nauseous life anyway. Especially when we get a good drum machine going and Jorgen plays a hypnotic bass line and then Sam and Ben come in with their perfect parts and existence feels like a real cool time. 

"Amazingly, somewhere within me I believed that this could add up to a hit song. God, what’s my problem?” SB

Hallelujah The Hills • "Crush All Night (5 of Clubs)” • 2025

Featuring a dynamic guest vocal from Speedy Ortiz’s Sadie Dupuis (SAD13), “Crush All Night” embodies what frontman Ryan H. Walsh describes as “Dirtbag Rock.” Walsh elaborates: “In our band, we have a genre of song that we sometimes like to mess around with that we’ve titled Dirtbag Rock. ‘Crush All Night’ is a great example of a Dirtbag Rock song. I wanted this track to sound like running red lights and smoking cigarettes inside a church. But also, the lyrics try to rise above all that; the adventure might take in an old Camaro, but the stakes are mythical. And then the great Sadie Dupuis comes in on vocals and it just takes it to a whole ‘nother level. We hope this single, coming on the heels of ‘Fake Flowers at Sunset,’ will give listeners a hint at just how many different sounds we’ve packed inside the DECK.”

Matt Berninger • Breaking Into Acting ft. Hand Habits • 2025

https://found.ee/MB-GetSunk

ifitbeyourwill S05E11 • Owen Ashworth of Advance Base

Owen Ashworth returns to the podcast to discuss his latest Advance Base album "Horrible Occurrences" and the beautifully human stories woven throughout its tracks. Rather than rehashing his origin story (covered in our previous episode), we dive deep into his current creative approach and the emotional weight of performing these vulnerable new songs.

The conversation takes us into Owen's refreshingly authentic touring life—traveling solo in his Subaru Forester, staying with old friends or in characterful motels, and creating space to experience the towns he visits. "I really love traveling... gas stations and motels and diners and seeing the sites," he shares, describing a touring routine built around personal comfort rather than business optimization. This DIY ethic extends to his performances, where he typically sells his own merchandise and makes himself available to connect with listeners.

What emerges is a fascinating portrait of songwriting as a long-term pursuit of meaning. Owen reveals that some songs on "Horrible Occurrences" began as fragments written 15 years ago, only finding completion when new life perspectives illuminated their purpose. The fictional town of Richmond serves as a unifying setting—a deliberate creative choice that allowed him to build "a community where all these stories were fitting in with each other" despite spanning different times and experiences.

Perhaps most compelling is Owen's candid discussion about the vulnerability required to perform these songs. "These shows have felt very heavy," he admits, describing how the minimalist arrangements leave him emotionally spent. Yet he finds a meditative quality in performance, where the music itself carries both him and listeners through difficult emotional territory.

As one of indie music's most thoughtful storytellers, Owen continues to find beauty in everyday human experiences—even the painful ones. Check out "Horrible Occurrences" for its developed stories and beautiful reflections, and catch Advance Base live if you can for a uniquely intimate musical experience.

 

https://www.advancebasemusic.com/

orindal.com

The Moonlandingz • It’s Where I’m From • 2025

The Moonlandingz - Adrian Flanagan, Dean Honer and Lias Saoudi - will release their eagerly-awaited new album No Rocket Required this Friday, April 25 on Transgressive Records.

They have already shared early singles “The Sign of A Man” and “Roustabout” ft. Nadine Shah, and today they share one final preview that shows another side of the record. “It’s Where I’m From” was written 15 years ago by Flanagan after breaking both his arms in a bike accident. He was told by doctors he wouldn’t have full use of his arms again but in a defiant haze of Morphine he’d go to his home studio and attempt to write songs using one finger and a thumb on a mellotron, a midi keyboard and drum machine.

Flanagan explains of the track, “‘It’s Where I’m From’ was the very first song I wrote after my accident. I think I hit some kind of sweet spot between Johnny Cash doing ‘Hurt’ and something off Scott Walkers ‘Scott 2’ album, the track grounds you! I got busy with other projects and the track ended up dumped in a box at the back of a cupboard for well over a decade. During the final days of The Moonlandingz album recording sessions I rediscovered the CD with pretty much an album full of these beautiful songs on them, so I brought the rough demo to The Moonlandingz session. I got my friend Oliver Harrap to put some live drums over it, Alex White put some beautiful additional sax and flute on it and I put a new guide vocal on it with the intention of getting someone else to sing it before I completely re-recorded my original demo parts with my co producer Dean Honer!”

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she's green • Graze • 2025

“she’s green’s sound is a meticulous blend of soaring melodies.” 

- COMPLEX

“A major player in the bubbling North American shoegaze resurgence.” 

- PAPER MAGAZINE

“As bands around the world are leaning into louder, dreamier ways to make rock records, she’s green are a shining example of how to be inspired, but still have something new to express.”

- THE CURRENT

“An extremely exciting band to watch.”

- ATWOOD MAGAZINE

“Listening to she’s green feels like drifting down a glittering river in the sun, whilst simultaneously evoking feelings of sitting on a porch in the country as the dark sky cries.”

- THE MINNESOTA DAILY

Hiding Places, trust blinks., Tombstone Poetry Split x3 • 2025

Website 

"Very rarely do you find a band that, while new in the scheme of time, simultaneously sparks a feeling of fond and reverted sense of comfort; the kind you get when returning to the bands that were accomplices through milestones and memories."
-Post Trash

“Since forming, the band has cultivated and perfected a unique blend of hushed folk melodies along with the crushing subtlety of Elephant 6 style production […] taking a cult classic poise amongst the most taught folk knots and rock n’ roll softies alike.”
-Ugly Hug

ifitbeyourwill S05E10 • Tim Rutili of Califone

Ever wonder how the humming of air conditioners could inspire an entire album? Tim Rutili, the creative force behind Califone and former member of Red Red Meat, takes us deep into his unconventional musical world where everyday sounds become extraordinary compositions.

Rutili's musical journey reveals a fascinating evolution from his early punk roots to his current experimental approach. "In everything there's tonality," he shares, explaining how he once tuned his guitar to match the collective drone of neighbors' air conditioners while recording in Austin. This philosophy of finding music in unexpected places permeates his creative process, whether he's capturing rainfall on outdoor microphones or repurposing mechanical noise from nearby buildings.

What separates Rutili's work is his embrace of happy accidents and willingness to follow unexpected paths. He describes how Califone's songs often emerge through improvisation rather than traditional composition – band members responding to intriguing sounds, creating hours of experimental audio that later gets shaped into finished pieces. One standout track from their recent album "The Villager's Companion" began this way, incorporating environmental recordings that would never have existed through conventional songwriting methods.

The distinction between Rutili's deeply personal work with Califone and his professional film scoring provides fascinating insight into his versatility as a musician. "With scoring, it's like you're serving a story," he explains, contrasting it with Califone's music which can sometimes be so personal "it might be inaccessible to other people." His approach to performance follows a similar philosophy – treating songs as living entities rather than trying to perfectly recreate studio recordings.

Want to experience Califone's mesmerizing soundscapes in person? Catch them on the East Coast this May, or at their upcoming benefit show for California wildfire relief in Long Beach. As Rutili continues to find renewed joy in his craft, his music stands as a testament to the endless possibilities that emerge when conventional boundaries dissolve.

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califonemusic.com

ifitbeyourwill S05E09 • Avery Friedman

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What happens when lifelong musical appreciation finally transforms into creation? In this candid conversation, Brooklyn-based musician Avery Friedman reveals the surprisingly recent journey that led to her debut album "New Thing," set for April 2025 release.

From her earliest memories singing alto in her Ohio school choir to becoming a devoted music fan and reviewer in college, Friedman's path to making her own music was marked by one significant obstacle: debilitating performance anxiety. Despite loving harmony and understanding music deeply, she couldn't imagine herself as the performer rather than the audience. "I was a goalie in soccer," she reflects, "so it's not like I was totally averse to being in the spotlight in some way, but I was really, really scared."

The turning point came just two years ago when Friedman decided she had to try songwriting or risk permanent regret. That first attempt—simply playing chords and humming melodies—unlocked something profound: "How have I waited 26 years to do this?" Her creative process quickly evolved, typically beginning with guitar chord progressions that express her emotional state before weaving in melodies and lyrics that help process overwhelming feelings.

What makes Friedman's story so compelling is how she conquered the anxiety that had kept her voice hidden for so long. Through supportive relationships and deliberate mindset work, she gradually found confidence to share her music publicly. Now with two singles already released—"Flower Fell" and "Phone Booth"—and a full album on the horizon (available on vinyl and tape following the digital release), Friedman embodies what's possible when creative fear is finally confronted.

Discover how a late-blooming musical journey can produce work that feels both naturally inevitable and remarkably brave. Listen to Avery Friedman's singles now and mark your calendars for "New Thing" in April 2025—because sometimes the most authentic voices are the ones that take the longest to emerge.

 linktr.ee

“Singer-songwriter Avery Friedman delivers a potential cult classic with ‘Flowers Fell’.” – REAL GONE

“Having frequented bills with artists such as Sister. and Dead Gowns for the past year, Avery Friedman has consistently left an impression on those that have caught her sets, oftentimes performing solo, creating a space in which her vivid imagery and tender melodies greet new ears with welcome and understanding. Produced by James Chrisman (Sister.) and with contributions from Felix Walworth (Told Slant, Florist), “Flowers Fell” plays to the in-between moments as Friedman defines new beginnings.” – THE UGLY HUG

“With her natural ability to channel personal chaos into compelling storytelling, Avery’s debut signals the arrival of an artist ready to make a meaningful mark.” – AMPLIFY THE NOISE

“There’s this beautiful feedback buzz coursing through, and then the bottom falls out, hurtling you into this beautiful dreamland of pop magnificence.” – AUSTIN TOWN HALL

“She makes good use of this orbit to enlist some of New York’s most interesting musicians on the album. James Chrisman (Sister.), Felix Walworth (Florist/Told Slant), Ryan Cox (Club Aqua) and Malia DelaCruz (CIAO MALZ) all lend their talents, and together create a sound nuanced and ambitious enough to achieve Friedman’s vision.” – VARIOUS SMALL FLAMES

ifitbeyourwill S05E08 • Fionn Montague of Bedrooms

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Fionn Montague from the Dublin-based band Bedrooms takes us on a journey through their musical evolution culminating in their 2024 album "Perfectly Still." The conversation opens with memories of childhood weekends filled with disco, soul, and ballads—musical foundations that unconsciously shaped his approach to songwriting and melody.

Meeting vocalist Dev in high school (coincidentally the same school where U2 formed), the pair began crafting songs influenced by melody-focused artists like The Smiths, R.E.M., and U2. What began as punk-infused indie rock gradually transformed into something more atmospheric and distinct. A formative summer in Seattle exposed them to the Pacific Northwest's rich musical landscape, planting seeds for what would become their signature sound.

The turning point came through collaboration with producer Bill Ryder-Jones on their 2021 EP "Afterglow." This partnership allowed Bedrooms to consciously shape their sonic identity—creating space for Dev's unique vocals while incorporating elements of shoegaze and folk influences from artists like Duster, Galaxy 500, Big Thief, and Slow Pulp.

Without label support, Bedrooms self-funded "Perfectly Still," prioritizing artistic fulfillment over commercial considerations. For Finn, success manifests in creating music he genuinely enjoys and receiving authentic appreciation from listeners. The sold-out album release show at Dublin's historic Wheelans venue proved particularly meaningful, with fans traveling specifically to see them perform.

Looking ahead, the band hopes to release their album on vinyl while continuing to explore new sonic territories. As Finn notes with a laugh, "Every artist wants to have their David Bowie Berlin phase where it's like I'm going to go completely obscure and do something totally different."

Discover the beautiful, atmospheric world of Bedrooms on Bandcamp and immerse yourself in their meticulously crafted soundscapes that bridge nostalgic influences with contemporary indie sensibilities.

https://www.instagram.com/bedroomsband/

“If you’re gearing up for the upcoming Summer of Love. the bittersweet Irish dream-pop guitars of Bedrooms offer a perfect soundtrack to all the doomed crushes you’re about to have.”

Rob Sheffield, Rolling Stone

“If heady guitars and a dose of atmospherics are what you want to soundtracking these current rather reflective days, then Dublin’s Bedrooms have exactly the track for you.”

DIY

“We’re hearing elements of slowcore group Codeine, the snowdrift charm of Galaxie 500, and even the DIY songsmithery of Alex G, all distilled into something potent and unique.”

Clash

Avery Friedman • New Thing • 2025

“I wrote ‘New Thing’ in one sitting after riding the subway home alone at night for the first time since being mugged at knifepoint months prior. I was shocked and disoriented by the anxiety I experienced doing something so routine—I felt foreign to myself. It’s one of the first of my songs that I truly loved, which is part of why I chose it as the title of my upcoming record. I’m grateful for how this song continues to bring me back into my body.” – Avery Friedman

It’s a little bit of a new thing

It’s a little hard to predict

And I can’t quite describe it

But it’s like a magnet flipped

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Nick Bendzsa • Emotional Creampie • 2025

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Lily Seabird • Trash Mountain (1pm) • 2025

On Lily Seabird’s new album Trash Mountain, she continues plumbing the depth and humanity beneath life’s grimiest surfaces. Her lyricism is more incisive and intensely imagistic than ever. Grief, as presented on closing track “The Fight,” is “dozens of shoes never to be worn again”; elsewhere, there are unflinching lyrics, like “I gave myself this black eye / Loving you didn’t make me do that” and “Just hold me to one thing / And let it be loving you”—language that lodges itself into your skin like bits of glass. paste

Sarah Mary Chadwick • Soundtrack • 2025

“Harrowing and emotional with just the power of Chadwick’s voice and piano.”
— BrooklynVegan

“Poetic and raw.”
— Under the Radar Magazine NZ

“Chadwick performs her signature sucker-punch, an elegant kill switch from poetry to blunt reportage, intrinsically linked and blood related to the almost chintzy, dark drama of her piano.”
— Guitar Girl Magazine

“‘Take Me Out To a Bar’...a tragic short story in the form of a song – and intensely relatable.”
— Rolling Stone AU/NZ

“‘Take Me Out To a Bar’ is a devastating, jukebox-worthy heartbreaker.”
— AudioFuzz

“An intense composition in which Chadwick’s raw and powerful voice and piano create a deeply emotional atmosphere … blending childhood memories, identity conflicts, and the search for meaning.”
— TECO APPLE

“...the collection crackles with a spirit of deep spontaneity, deep emotions and an undercurrent of humor that further establishes Chadwick as a singular voice in the contemporary music scene."
— NPR

ifitbeyourwill S05E07 • Danny Bateman of FROG

Danny Bateman's musical journey unfolds like a richly textured composition – beginning with classical piano at age seven, where he discovered the profound connection between player and composer. "I'm experiencing what Mozart's body feels like 200 years later," he reflects, highlighting how this early training built the foundation for his innovative approach to songwriting.

The pivotal moment came during his first recording studio session as a teenager. Witnessing the magic of production techniques—overdubbing, multiple takes, vocal doubling—crystallized his future path. "That was when I knew this is what I want to do for the rest of my life," Bateman shares, though he admits his real education came through hands-on experience rather than formal training.

What makes Bateman's creative process uniquely compelling is his embrace of improvisation and structure simultaneously. "Form creates the walls that you sit in," he explains. "Without form, nothing means anything." This philosophy manifests in his latest project with FROG, "1000 Variations on the Same Song," inspired by Lil Wayne's mixtape approach—marathon recording sessions yielding dozens of improvised pieces. With his brother Stevie on drums, Bateman captures spontaneous creative moments, later selecting the most memorable to re-record on his increasingly lo-fi eight-track tape machine.

The results speak for themselves—sold-out shows at venues like Bowery Ballroom and an upcoming West Coast tour with rapidly disappearing tickets. For aspiring musicians, Bateman offers crystal-clear advice: "You need to fail a lot, iterate, attempt." He emphasizes that accumulating "reps" through prolific creation is the only path to mastery. Most importantly, "If you're not having fun, then the song isn't good. If you are having fun, then the song is good."

Ready to experience FROG's unique sound? Catch their West Coast tour kicking off next week, or dive into their extensive catalog featuring some of indie music's most joyfully authentic compositions. The beauty of Bateman's approach lies in its simplicity—creating music worth making for its own sake, with each new recording building toward something increasingly extraordinary.

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Following the critical and commercial success of 2023's ‘Grog,’ cult New York duo Frog return with ‘1000 Variations on the Same Song,’ their sixth album.

 

'1000 Variations on the Same Theme' is an eclectic, emotional, and lyrically vivid collection. These songs see Daniel Bateman refer to My Chemical Romance, Gucci, Stillwell deals, fatherhood, and the 6 train (“I was listening to a lot of Mozart, Kodak Black, and Prince, but it doesn't really sound like any of those.”). 

 

Musically, songs like “TOP OF THE POPS VAR. I” and “DOOMSCROLLING VAR. II” touch on the frenetic Indie Rock that defined their earlier work, while the idiosyncratic Alt. Country of ‘Count Bateman’ and ‘Grog’ can be heard on ‘WHERE U FROM VAR. III’ and ‘ARTHUR MCBRIDE ON THE LOWER EAST SIDE VAR. X.’ Singles like ‘JUST USE YR HIPS VAR. VI’ and December’s ‘DID SANTA COME VAR. IX’ also introduce a smoky lounge element to Frog’s sound.

 

However, as Daniel explains it, these are all just variations on the same song:

 

“1000 Variations on the Same Song is a theme and variations—there are times in your life as a songwriter where you'll start a bunch of stuff that all sounds alike, which can be a problem, something that you want to excise from yourself. This time, I decided to embrace it and take it as far as it could go.

 

"The first four variations were recorded in one long take, ("HOUSEBROKEN") is the last one in that sequence. I added piano and doubled the vocals, etc, but basically, all those songs were done in one 15-minute stretch. If you’re working quickly and your goal is to finish an entire album or more in one night, amazing things can happen. How many songs can you write using the same chords? How many songs can you record and finish in one day? The answer to both is near-infinite with the right environment and mindset.”

television skies • Time of My Life • 2025

https://televisionskies.com/

Television Skies is a New York City based duo blending infectious pop rock energy with a vintage, feel-good vibe. Known for their anthemic hooks, raw emotion, and rebellious spirit, they create songs that hit with both nostalgic intensity and punk rock heart. Television Skies is redefining alternative pop music on their own terms — staying true, and free from disguise. Inspired by artists like The 1975, Coldplay and Arctic Monkeys, the duo craft intoxicating songs that speak to universal themes of love, identity, and perseverance. 

The Bones of J.R. Jones • Shameless • 2025

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“‘Shameless’ is taking the long way home to retread your past,” says The Bones of J.R. Jones (aka Jonathon Linaberry). “The inevitable inner conflict and perhaps guilt that rise up from past decisions, that were maybe made in haste and in passion. I think we all struggle with the ‘what could have been’ question. What arrogant fool can’t look back and wonder? I am just trying to recognize that in this song.”