
I recently spoke with Linda Perry, frontwoman of 4 Non Blondes and one of the most prolific songwriters and producers of the past three decades.
After “What’s Up?” became an era-defining hit in 1993, Linda stepped behind the boards and wrote and produced some of the biggest songs in pop music: Christina Aguilera’s “Beautiful,” Pink’s “Get the Party Started,” Alicia Keys’ “Superwoman,” plus work with Dolly Parton, Adele, Miley Cyrus, Celine Dion, Ariana Grande, Joan Jett, and Courtney Love. She was inducted into the Songwriters Hall of Fame in 2015, and made history in 2019 as the first solo woman nominated in the Grammy’s Producer of the Year category in fifteen years.
Now, Linda is stepping back to the front. Her first solo album in over 25 years, Let It Die Here, was released May 8, 2026 via Kill Rock Stars/670 Records. The 17-track record is a raw, cinematic reckoning with grief, family, and survival, written and recorded alongside the making of her new documentary of the same name.
Linda Perry: Let It Die Here, directed by Don Hardy, premiered at the Tribeca Film Festival and is rolling out theatrically through Mercury Studios and Evan Saxon Productions: New York was on May 8, Los Angeles today, May 13, with screenings continuing through May and June in San Francisco, Palm Springs, San Diego, Denver, and London, with many featuring live Q&As and acoustic performances from Linda.

They moved to NYC in 2023, looking for something beyond what small-town Georgia had to offer. They hit the ground running. A chance encounter with ’80s underground stalwarts Live Skull pulled them into the city’s noise scene and into orbit with Lydia Lunch and The Art Gray Noizz Quintet. In 2025, they toured with Gogol Bordello and shared stages with Bush Tetras and Jon Spencer.
Alongside the band’s thirteen albums, Jason has appeared in Peaky Blinders and stars in the new rave-era thriller Game, directed by John Minton and produced by Geoff Barrow (Portishead). We talk about drugs, therapy, breaking free from addiction, the birth of Sleaford Mods, artistic perspective, live performance, and the new record, Demise of Planet X out on Rough Trade on January 16th.
As the frontman and creative co-architect of Ultravox, co-writer of “Do They Know It’s Christmas?”, and the producer behind some of the most enduring records of the new wave era—including “Fade to Grey” and “Vienna”—he shaped synth-pop and post-punk at the moment both genres were finding their footing. His fingerprints are all over many eras.
Our conversation covers all of it and what it means to make art from a place of deep spiritual grounding. If you want to catch her live, she’s on the road this spring and summer for the Spirit of Love tour, kicking off April 22 in Jackson, MS and running through August. You can also find her at the New Orleans Jazz & Heritage Festival on April 24, the Ryman Auditorium in Nashville on May 1, and a New York-area stop at The Capitol Theatre in Port Chester on May 10.
Martin engineered and produced records for Sonic Youth, Swans, John Zorn, Afrika Bambaataa, and countless others across the no-wave and post-punk underground. We got into Martin’s life views, the relevance of New York culture, and the perils of capitalism.
Known for her iconic roles in Bound, Showgirls, Face/Off, and The Insider, as well as her Broadway turn as Sally Bowles in Cabaret, Gershon has carved out one of the most distinctive careers in the business. Music has always been a big part of her world too—she’s recorded albums, toured across America, and performed at Carnegie Hall three times alongside Sting, Laurie Anderson, Joan Baez, and Gogol Bordello.
Outside the Cadillacs, Sergio led the long-running punk-rock group Cienfuegos. He’s also collaborated extensively with Mimi Maura—including co-founding her band in 1999. Along the way he’s recorded and produced with artists such as Chris Frantz and Tina Weymouth, Debbie Harry, Mick Jones (The Clash), Big Youth, Los Auténticos Decadentes, Todos Tus Muertos, and Los Cafres. He has also released several solo albums and singles in recent years as Rotman, many of which have been produced by Pablo Martin.
After moving from Detroit to London, she immersed herself in the art scene, writing lyrics for Cerrone’s “Supernature” before breaking out with her 1978 debut Stateless. Its single “Lucky Number” became an instant classic—off-kilter, infectious, and unlike anything else on the radio—introducing her playful, theatrical voice and bold visual style to the world.
His iconic photographs of the Ramones, Patti Smith, Television, Blondie, Talking Heads, Richard Hell, and many more offered a window into that world that stays with us today. It’s an astonishing record.
Daniel and I talk about his electromagnetic tendencies, the formation of Bauhaus, his love of solitude and city, chrome, gear, how he first discovered the EBow, music he loves, and the Ashes and Diamonds album.
Beyond his work with the band, he’s shaped the sound of artists across genres—from The Orb, The Verve, and Paul McCartney to Kate Bush, Crowded House, Gina Birch, and Pink Floyd’s David Gilmour—blending experimental, dub, and atmospheric elements into a signature production style. His career bridges punk, mysticism, and radical creativity, making him one of the most singular figures in modern music.
I met Tytti back in September when we played the same Synthicide night, and I was completely blown away by her and her band Modem. They’re a synth-pop duo she started with Ville Valavuo in 2020, drawing on their shared love of the electronic sounds of the ’80s.









































