The Vinyl Guide - Artist Interviews for Record Collectors and Music Nerds

Neurosis's Steve Von Till reveals how the band secretly rebuilt itself, creating a career-defining album and making future plans for the Neurosis victory-lap that few thought possible. Topics Include: The Secret recording of An Undying Love for a Burning World Neurosis walked away seven years ago under uncertain circumstances Four remaining members reunited quietly at end of 2024 Aaron Turner brought in to help complete the musical puzzle Reunion tied to Firekeeper Alliance, a suicide-prevention nonprofit Heavy music framed as protective factor for indigenous mental health Steve reflects on tribal rhythms and humanity's forgotten earth connection Band knew instantly the new material had to be Neurosis Reunion forced confrontation with ego, identity, and aging as musicians Firekeeper Alliance's Fire in the Mountains offer pushed them forward Album written and recorded in secret across three studio sessions Secrecy maintained even among close friends touring together in Australia Fan reaction described as unexpectedly emotional, healing, and hope-filled Steve discusses reduced stigma around vulnerability in heavy music today Vinyl pressing strategy explained: budget-driven first run, quick sellout Running Neurot Recordings on a teacher's salary, tight cash flow Multiple color variants pressed across regional distributors and mail orders Debate over black vs. clear vinyl sound quality explored Steve's approach to buying vinyl: music over pressing obsession Talk turns to Melvins, Hazel Meyer, and DIY label camaraderie Where the line sits between fan service and variant exploitation Vinyl side-length considerations shaped decision to make a double LP Aaron Turner's artwork process detailed, sketched live in the studio Album title changed at the last minute, forcing new artwork Neurosis' visual style rooted in myth, symbolism, and Jungian archetypes Older catalog rights partly held by Relapse and other labels Steve wants a "forever version" repress of the band's earliest albums Original master tapes and artwork found corrupted or lost to time Talk closes on solo tour plans and hopes for Australia High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Blues legend Taj Mahal shares rare stories about Jimi Hendrix, the Rolling Stones, and the unreleased Bill Withers song that shaped his stunning new record. Topics Include: Taj Mahal discusses his new album, Time, and its origins Reveals his decades-long friendship and mutual respect with Bill Withers Explains how Bill Withers heard and loved this unreleased demo Bill Withers' wife gave final approval before the song's release Withers walked away from music rather than change his sound Why the industry pushed Withers to sound more commercial Taj shares why vinyl beats digital for capturing real sound Breaks down the "bell curve" problem with digital audio quality Approaches albums as full journeys, not three-minute singles Reveals how effortlessly he sequences songs like a live set Traces his musical roots to a tight-knit 1940s community Recalls learning piano, clarinet, trombone before finding the guitar Explains how guitar evolved from rhythm to lead instrument Names the blues legends who shaped his earliest influences Credits Ray Charles as one of his deepest musical influences Shares rare stories of jamming with Jimi Hendrix live Discusses bootlegs, tape trading, and the ethics of live recordings Compares the Grateful Dead's bootleg policy to other artists Tells the wild story of Rolling Stones' Rock and Roll Circus Recalls dancing Stones and Clapton watching him at the Whisky Explains how British rockers reintroduced blues to American audiences Describes his first-class trip to London and Stones' hospitality Reveals why Labor of Love was released only on vinyl Shares the surprising stat: vinyl never drops below 6% globally Talks new tour dates and hopes to return to Australia Photo by Mike Coeyman High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Peter Hook reflects on 50 years of music, the emotional weight of performing Joy Division and New Order live, and the many memories and ghosts of his past. Tickets for Peter Hook & The Light, Australia 2026 Topics Include: New Order toured Australia as early as 1982, helped by Factory Australasia's local support. Hooky calls Australia the only place he never wants to leave — he still suffers leaving every time. Peter Hook and the Light played their seventh-ever gig in Melbourne on their first Australian tour. He is now working through every New Order and Joy Division album ever recorded live. Get Ready features songs never played live as New Order, with Steve Morris largely absent during recording. The band's Grammy came from Orgy's heavy metal cover of Blue Monday — Hook loves the weird covers most. He revealed a plan to stage a full New Order classical concert, eyeing the Sydney Opera House. Ian Curtis performed with absolute conviction every single night — something Bernard Sumner couldn't match early on. Hook recalls first seeing Ian smash up a venue at 2:30am, dancing through broken tables — terrifying and electrifying. That chaotic Stiff/Chiswick talent show led directly to Rob Gretton becoming Joy Division's manager. Ian's lyrics, Hook says, are heartbreaking up close — Love Will Tear Us Apart masks devastating words in euphoric music. Singing Ian's words himself has given Hook a profound new insight into what Curtis was actually expressing. Tony Wilson signed them with a handshake — no contracts — while other labels arrived with thick legal documents. Bernard Sumner found the Unknown Pleasures pulsar image in a textbook; nobody planned the iconic sleeve. Hooky was actually sued for bootlegging the Unknown Pleasures artwork — which Factory themselves had originally stolen. Ian Curtis reportedly wrote a letter complaining about how Closer sounded — a detail Hook only learned years later. During Closer sessions, Curtis was being torn apart: marriage collapsing, new love, epilepsy worsening, the band pushing forward. Hook deeply regrets not seeing Ian before his cremation — but a gravedigger privately told him where Curtis is actually buried. The inquest into Ian's death so disgusted the band they decided on the spot to continue as New Order. Joy Division was deliberately boxed away for 30 years; Bernard called playing those songs "miserable" and refused to continue. Bobby Gillespie suggested the album playback concept so Hook could faithfully recreate Martin Hannett's studio sound live. Watching his son learn Joy Division bass lines at the same age Hook was then felt like staring into the past. Performing these songs, Hook says he is "living surrounded by ghosts" of collaborators now gone. The K-93 sessions saw Killing Joke's Geordie Walker move into Hook's Manchester home for six weeks, causing complete chaos. Those lost K-93 tapes mysteriously surfaced after the label went bankrupt — and Jaz Coleman promptly went silent again. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Lydia Lunch unpacks the raw origins of No Wave, her squatting-and-surviving New York story, and why after five decades of confrontational art, pleasure remains the ultimate rebellion. Australian tour tickets and show info here. Topics Include: Lydia Lunch is touring Australia and New Zealand in June She's performing Suicide and Alan Vega covers across multiple cities Australia holds deep personal meaning — Roland S. Howard, Tex Perkins, lifelong friends Lydia considers herself a comedian; most people are just too afraid to laugh Words are her primary art — music is just the machine gun She sleeps in two-hour shifts and wakes famished at 5am every day Creativity has no fixed time — she writes song lyrics in five minutes flat She self-publishes through 48-hour printing, selling books for $20, cost $4 True crime forensics and Matthew McConaughey in Magic Mike are her guilty pleasures Daily she rotates between war, politics, and apocalyptic comedy — Dear Ivanka included She's actively promoting new bands: Genra's Death, Bog Creeper, New City Slang Instrumental music — Budos Band, Yusef Lateef, Baba Zula — is her listening diet Suicide and Mars were already playing when she arrived in New York Suicide actually coined the term "punk rock" on flyers back in 1972 No Wave wasn't a movement — it was personal insanity in a decaying city The name "No Wave" just came out of her mouth in one interview If you couldn't play, you had to be brutally tight — or else She taught a homeless man she'd befriended to play drums for Teenage Jesus Teenage Jesus songs were written on a borrowed bass she barely understood She squatted an abandoned Tribeca building, running electricity from neighbours to rehearse Teenage Jesus singles on Migraine Records likely preceded the No New York compilation Beirut Slump was horror rock — described as a slug over a razor blade She arrived in New York with $200, a suitcase, and zero contacts Seeing Suicide at Max's Kansas City with ten people changed everything instantly Martin Rev gave teenage Lydia vitamins; Alan Vega was leather-bound and irresistible She boycotted Bowie and Iggy in Rochester — accidentally saving them from a drug bust Mick Ronson's Slaughter on 10th Avenue: the glam record Bowie quietly stole from Lou Reed — always a dick; Warhol — vapid, but his car crashes were great She owns every recording, every publishing right — everything she's ever made Her reward for a lifetime of rebellion: pleasure, rage, and zero regrets High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Black Flag vocalist Max Zanelly shares how she went from waitressing to fronting one of punk's most legendary bands and how the new lineup is carving their own space in legacy of the band. Australian tour tickets and info here. Topics Include: Max Zanelly checks in from Toronto, post-Canada tour Black Flag heading to Australia: four cities in late May One year ago, Max had just started rehearsing with Black Flag Only prior music experience: saxophone in middle school band A longtime fan, Max attended a Black Flag show in Vancouver Greg Ginn noticed Max singing every word from the front row Numbers exchanged; Greg said he wanted to make music someday A month later: the vocalist left, Greg offered Max the role Max sent vocal demos and flew to Texas to rehearse Already knew the full catalog; My War was the gateway album Side two's slow, sludgy tracks resonated the most deeply Favourite songs to perform live New recordings underway, still at early instrumental stages Max currently writing lyrics for a potential new Black Flag record Big age gap with Greg, but the band dynamic gels well Lineup reveal photos triggered massive online backlash before any shows Live shows quickly won skeptics over, including 80s-era veterans Henry Rollins is Max's personal favourite past Black Flag vocalist First rehearsals: nervous and shy about screaming into a mic Fake-it-till-you-make-it; fully unleashed onstage by the fourth show Voice conditioned gradually; 24-hour rest between shows is enough Bassist David sparked Max's interest in record collecting on tour Grew up religious; told mum she was just selling band merch Mum eventually came around; Max now inspiring women to start bands High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Filmmaker Dave Markey discusses his documentary "The Secret Lives of Bill Bartell", the punk scene's most fascinating, mysterious, and surprisingly influential behind-the-scenes figure. Stream it now  |  Order the Blu-Ray Topics Include: Dave Markey has a large record collection but stopped buying recently. Vinyl prices have skyrocketed — once cheap records now cost thousands. Dave bought records directly from band members at punk shows. Ian MacKaye sold Dave a first press Minor Threat 7". Dave bought Minutemen and Descendents EPs from D-Boon for a dollar. Dave made the Bill Bartell documentary for people who don't know him. Bill Bartell was unknowable — different things to different people. Dave tried making this film in the 90s; Bill refused to cooperate. The film was made ten years after Bill passed away. Bill Bartell faked backstage passes to get into arena rock shows. Bill named the Iron Maiden live EP Maiden Japan. Bill gave Steve Harris his outfit, worn in the "Run to the Hills" video. Bill saw no distinction between the Scorpions, the Germs, and the Beatles. Bill would tell artists exactly what he thought — no filter whatsoever. Bill told Steve Perry he was responsible for the worst night of his life. Bill told Beck "I don't like you" upon their very first meeting. Bill tried out as guitarist for Public Image Ltd in 1981. Kiss circulated photos of Bill to security: do not let him in. Bill befriended Sean Lennon, which led to a friendship with Yoko Ono. Bill's 1988 Beatlefest noise performance nearly caused a riot. Bill talked Kiss manager Bill Aucoin into discovering Generation X. That connection indirectly launched Billy Idol's massive solo career. Billy Idol himself didn't know Bill Bartell's role until recently. Bill gave Kurt Cobain Os Mutantes tapes, reviving the band's career. Pat Smear and Drew Barrymore were sought for the film but unavailable. Dave's band Painted Willie did Black Flag's final tour in 1986. Dave preferred Painted Willie's early Spinhead Records releases over SST output. The Bill Bartell documentary and Love Dolls films are now on Criterion Channel. Bill Bartell's Flying V guitar now hangs in the Punk Rock Museum, Las Vegas. Bill's money, connections, and secrets largely died with him — still a mystery. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

In a rare interview, Greg Ginn opens up about the latest Black Flag lineup, the SST catalogue, the possibility of long-overdue reissues and the legacy of one of punk's most beloved bands. Tickets for Black Flag's 2026 Australian Tour Topics Include: Greg Ginn is based in Texas but currently in Long Beach after a tour. Black Flag is heading to Hong Kong and then Australia next. This will be Black Flag's third tour of Australia. Rumors of new recordings remain unconfirmed — Ginn stays tight-lipped. The current lineup has been together for about a year. Band plays nearly two hours a night across two full sets. Proximity of bandmates in Texas keeps the band constantly tight. Ginn discovered punk through the Stooges, MC5, and New York bands. Television, Ramones, Blondie, and The Damned were early major influences. Ginn identifies more with open, varied 70s punk than 80s hardcore. He never planned to be in a band — guitar was a personal outlet. Finding like-minded people in the mid-70s was genuinely rare and meaningful. Ginn started a business at 12 selling ham radio equipment he built. He published his own amateur radio magazine as a teenager. Black Flag's first EP was recorded as a demo, not a label release. Nobody wanted to sign them, so starting SST was a reluctant default. Ginn has applied the same DIY experimentation to an organic fertilizer brand. He gets bored easily and improvisation is central to keeping music alive. Ginn stays connected to a song's emotional meaning, not just its notes. Seven band members once lived in a single room during Black Flag's peak. Lineup changes were mostly practical — commitment and lifestyle demands were extreme. Ginn isn't interested in nostalgia-driven reunions; best music matters most now. Fans frequently thank him personally for helping them through difficult life periods. He avoids fiction, movies, and video games — prefers reality and constant learning. SST vaults are mostly bare — nearly everything recorded was officially released. Ginn is open to remastering but skeptical of padding albums with leftover cuts. He notes Dead Kennedys recently remixed Fresh Fruit — and wants to hear it. Ginn doesn't own a working turntable; portability matters more to him than format. SST catalog reissues — including Stains, Dicks, Overkill — are a genuine possibility. Ginn believes Black Flag's songs remain timeless, attracting both parents and their kids. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Picts by Edward Colver Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide