Low-Noise

What does it mean for an album to sound effortless?

Released in 1988, Shooting Rubberbands at the Stars by Edie Brickell & the New Bohemians arrived at a moment when polish often equalled intent. And yet, this record seems to resist that logic, drifting between folk, jazz and pop with a looseness that feels almost accidental. In this episode, we explore how that looseness is constructed. Because beneath the offhand delivery and conversational tone, there’s something far more deliberate at work. Songs stretch, hesitate, and circle back on themselves. Nothing feels forced, but nothing is entirely casual either. It’s an album that doesn’t push for attention, and perhaps that’s why it endures. A record built on instinct, restraint, and the quiet confidence of not needing to prove anything.Sometimes, precision isn’t about control, it’s about knowing when to let things be.

I do hope that you enjoy this episode.

Mathew Woodall

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Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

What happens when a record label tries to map the sound of a moment?

Originally released in 1970, Fill Your Head With Rock is a double LP sampler that captures a shifting musical landscape, where folk, rock, jazz and experimentation begin to overlap. Featuring artists such as Santana, Chicago and The Byrds, it feels less like a compilation and more like a curated snapshot of transition. In this episode, we explore the sampler as an artefact -how it functioned as both introduction and invitation, a way of guiding listeners through a rapidly expanding catalogue of sound.

I this episode I am in discussion with Keith Cheshire.

Mathew Woodall

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https://buymeacoffee.com/lownoise

Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.

What does it mean to make music that feels both rooted in the past and quietly expansive at the same time? In this episode, we step into the world of Jonathan Wilson, a songwriter, producer, and sonic architect whose work draws from Laurel Canyon tradition while reaching into something more immersive and textural. This is music shaped as much in the studio as it is in the song itself, layered, detailed, and deeply attentive to sound and space. Not just compositions, but environments.

I do hope that you enjoy this episode.

Mathew Woodall

https://www.facebook.com/share/1F15mx4ea3/

https://buymeacoffee.com/lownoise

Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.

What does it mean to compose music that feels both ancient and futuristic at the same time?

In this episode, we drift into the haunting, textural world of Jóhann Jóhannsson, a composer whose work dissolves the boundaries between classical form, ambient sound, and cinematic atmosphere.
This is not background music. It’s a space to inhabit. Tune in, slow down, and listen closely.

I do hope that you enjoy this episode.

Mathew Woodall

https://www.facebook.com/share/1F15mx4ea3/

https://buymeacoffee.com/lownoise

Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.

What happens when a pop album stops behaving like a collection of songs and starts operating like a system?

In this episode, we explore Slave to the Rhythm, the 1985 collaboration between Grace Jones and Trevor Horn that blurs the line between pop, performance art, and studio experiment. Built from fragments, repetitions, and reconfigurations of a single track, the album feels less like a record and more like a hall of mirrors, where identity, authorship, and control begin to dissolve.

I do hope that you enjoy this episode.

Mathew Woodall

https://www.facebook.com/share/1F15mx4ea3/

https://buymeacoffee.com/lownoise

Why buy me a coffee?

Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).

Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.