Whatever Comes Next with Tom Osman

It would be hard to think of a more suitable name for the latest record by Richmond, Virginian four-piece Dumb Waiter. Having formed back in 2012, Change (out this Friday) sees the band not only introduce vocals for the first time, but completely re-design their whole sound.
Having spent several releases honing a complex meld of proggy, avant-garde metallic rock, the band decided they were done with musical complexity, instead wanting something more direct. The result of this transformation is Change—a record not only direct, but harsh, harrowing and anxiety inducing.
Such a change, to quote the band from the title track of the latest album, doesn’t come easily.
But as hard as that may have been, they did it and I’m here with vocalist/guitarist Nick Crider and bassist/vocalist Keith Paul to hear from them how and why it was time to totally reinvent the band.
Album art by Taylor White
Band photo Nicholas Crider
Thanks to Monica at Speakeasy PR
Check out Change on bandcamp
Follow the band on Facebook and Instagram
Check out Nick Crider’s visual work at Ickhouse
For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The Underground
Check out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠
My music on Ampwall
Podcast artwork and logo: Get A Real Job Kid
Intro 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

Although Glenn Morrow recently retired from running Bar/Non Records (the record label he founded 40 years ago), he’s still closely connected to the label.
In fact Bar/Non Records, as well as celebrating its 40th anniversary, is about to release Morrow’s latest set of songs from his band Glenn Morrow’s Cry For Help, the playfully titled Our Final Album Vol. 1.
So let’s dive into the history of the label and the history of Morrow the musician. Let’s discuss it all, from Morrow’s early bands A and The Individuals, to the birth of the record label and their early and fruitful work with enduringly unique They Might Be Giants.
Well, ok, there’s not time in an hour to discuss everything, but there’s still time to talk Hoboken, Lou Reed and The Velvet Underground, Bob Bert and his new record Beach Bongo Bloodbath (see episode 143), The Swimming Pool Q’s and Anne Richmond Boston (see episode 133), Alex Chilton and more besides.
Check out Glenn Morrow’s Cry For Help playing with Psych-O-Positive and Love, Burns at The Pet Shop in Jersey City on July 30th.
For more more updates visit the band on facebook or Instagram.
Check out Our Final Album Vol. 1 on bandcamp and Rhyme-Reason
Thanks to Howard at Howlin’ Wuelf Media.
For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The Underground
Check out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠
My music on Ampwall
Podcast artwork and logo: Get A Real Job Kid
Intro 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

American recording engineer Martin Bisi started BC Studio in Gowanus, Brooklyn, New York City (originally as OAO Studio) with Bill Laswell and Brian Eno 45 years ago.
Having worked with names like Afrika Bambaataa and Lydia Lunch, he was involved in the nascent days of both hip-hop and no wave. As an engineer and producer Martin is greatly respected and having worked extensively with underground legends like Swans and Sonic Youth continues to work with cutting edge artists at BC Studio.
That’s just one part of the story though, because Martin also has a long and fascinating history as a musician in his own right.
This Friday sees the release of the latest Martin Bisi album, Dancing On The Power Lines, an album as bursting with creativity, activist spirit and humour as you could hope for from someone so dedicated to the musical underground for so many years.
We discuss the latest album, his own musical evolution, Gowanus, some fascinating family history, collaborations and communities.
Back in 2014 a documentary marking the first 30 years of BC Studio was released, Sound and Chaos: The Story of BC Studio. Stay tuned for an updated documentary short, marking 45 years of BC Studio, due later this year.
Check out Dancing On The Power Lines and more Martin Bisi music, videos, links and other materials on his website here.
Thanks to Dan at Discipline PR.
Photo credit: Ego Sensation (thumbnail), Basti
For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The Underground
Check out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠
My music on Ampwall
Podcast artwork and logo: Get A Real Job Kid
Intro 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 first time Tim Gotch joined me (alongside bandmate Charlie Hernandez on episode 51 of Whatever Comes Next) Sleepbomb were poised to release The Sleeping Dead—a musical companion to George Romero’s Night of the Living Dead.
Eighteen months later, with the cinematic-doom band, having released their follow-up record, Songs in the Key of Conan (Koolarrow Records), an alternative score to the 1982 Arnold Schwarzenegger fantasy movie Conan the Barbarian, what better time for a catchup?
Tim and I discuss the record, the movie, live shows, the environmental aspect of touring and Roadburn Festival (and when I’m going to get my act together and attend!).
Thanks to Zoheb at Qabar PR.
Listen to and buy Songs in the Key of Conan here.
All things Sleepbomb here.
For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The Underground
Check out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠
My music on Ampwall
Podcast artwork and logo: Get A Real Job Kid
Intro 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 initial lifespan of New York City indie-rock group Hypnolovewheel lasted only from 1986 to 1993, but in that relatively short time the band released five albums—starting with 1988’s Turn! Turn! Turn! and culminating with Altered States in 1993.
While the band’s fine body of work has been hard to get hold of in the digital age, the band recently got the rights back to their catalogue and now, happily, Parallel Universe a career-spanning retrospective gets a full release (having previously been available on a limited vinyl run).
And that’s what guitarist Dave Ramirez and I are here to discuss. Which is to say we’re going through the story of Hypnolovewheel. The formation, the releases, the tours, Yo La Tengo, Steve Albini, Kramer, Jesus Lizard and other names that pop up along the way.
Sadly, drummer Peter Walsh is not around the be able to celebrate the release of Parallel Universe (having passed away in 2021), but for the remaining members of the band Dan Cuddy, Dave Ramirez and Stephen Hunking, the possibility of a few shows this year seem to be crystallising—you can follow the band on Instagram for updates.
In the meantime, check out Parallel Universe in all its glory on bandcamp right here.
Thanks to Howard at Howlin’ Wuelf Media.
Hypnolovewheel on Instagram.
For more stories from the musical underground you can read my new column at New Noise Magazine: Mapping The Underground
Check out my latest album ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Real Silence on Drama Recorder⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠
My music on Ampwall
Podcast artwork and logo: Get A Real Job Kid
Intro 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