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  • Across the Horizon Ep. 65: Chuck Johnson

    Across the Horizon Ep. 65: Chuck Johnson
    2026/06/18

    Host Bob Holmes of SUSS is joined by composer and multi-instrumentalist Chuck Johnson, one of the Curators in Vol. 2 of the Across the Horizon music series. In this episode they discuss his latest music as well as tracks from his guest artists Marielle V. Jakobsons and Cole Pulice. Chuck also features music from his DJ playlist that he performed at this year’s Across the Horizon night at Big Ears 2026, including Eiko Ishibashi, Natural Information Society, and Nina Keith.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 64: Marisa Anderson

    Across the Horizon Ep. 64: Marisa Anderson
    2026/05/28

    On today’s episode of Across the Horizon, host Bob Holmes of SUSS is joined by co-host Marisa Anderson, the Portland-based guitarist who just released The Anthology on UnAmerican Folk Music on Thrill Jockey Records. They discuss the new record, which was inspired by the personal record collection of Harry Smith, American polymath and major figure in the Beat movement. They also discuss a playlist from Marisa’s own collection including Fela Kuti, Kokoroko, Ennio Morricone, and others.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 63: Pan-American

    Across the Horizon Ep. 63: Pan-American
    2026/05/06

    On today’s episode of Ambient Country, host Bob Holmes of SUSS welcomes back Mark Nelson aka Pan-American to discuss his latest album, Fly the Ocean in a Silver Plane. Mark brings a playlist of music he's recently discovered including Hoavi, Sam Wilkes, Dave Easley, and Elori Saxl. They also discuss recent collaborations that Mark has released with Chelsea Bridge and MIchael Grigoni.

    For Flow State, we’re listening to two recent Pan-American records. We’re first playing that new LP, which came out in March. Its tender ambient pieces are made up of elegant strings, multi-layered processed guitar lines, and field recordings. We’re also revisiting his 2024 collaboration with Kramer, Reverberations of Non-Stop Traffic on Redding Road, which we previously described as ghostly Americana, as if William Basinski or The Caretaker were handed a guitar.

    Fly the Ocean in a Silver Plane - Pan-American (38m, light vocals on tracks 2 and 10)Spotify / Apple Music / YouTube Music / Amazon Music / Bandcamp / Tidal

    Reverberations of Non-Stop Traffic on Redding Road - Pan-American & Kramer (50m, no vocals)Spotify / Apple Music / YouTube Music / Amazon Music / Bandcamp / Tidal

    Have a great Wednesday.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 62: Balmorhea

    Across the Horizon Ep. 62: Balmorhea
    2026/04/15

    On today’s episode of Across the Horizon, Bob Holmes of SUSS reconnects with co-hosts Rob Lowe and Michael A. Muller of Balmorhea for a discussion about their latest release in Vol. 2 of the Across the Horizon music series. Rob and Michael also curate a playlist of influences from their early years in Balmorhea, which is on the eve of its twentieth anniversary, including music from Bexar Bexar, Pullman, Rachel Grimes, Will Ackerman, and many more. The playlists from this episode are available here.

    For Flow State, we’re listening to two of Balmorhea’s albums released on Deutsche Grammophon. The Trap, their latest album, came out in August of last year, and is an original score for a film written and directed by Lena Headey (not the M. Night Shyamalan Trap). As they discuss on today’s episode, that record is just Rob and Michael playing keys and guitar together. We’re also playing The Wind from 2021, which features a range of accompanists including cellist Clarice Jensen.

    The Trap - Balmorhea (24m, no vocals)Spotify / Apple Music / YouTube Music / Amazon Music / Tidal

    The Wind - Balmorhea (46m, spoken vocals on track 1)Spotify / Apple Music / YouTube Music / Amazon Music / Tidal

    Have a great Wednesday.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 61: Marine Eyes

    Across the Horizon Ep. 61: Marine Eyes
    2026/03/25

    On today’s episode of Across the Horizon, host Bob Holmes of SUSS is joined in this episode by co-host Cynthia Bernard aka marine eyes. In addition to her prolific ambient output, Cynthia is also one of the curator artists in Vol. 2 of the Across the Horizon music series. In this episode, she discusses the music and artists that she brought to the series, as well as a playlist of ambient artists that have inspired her own music including Nancy Wilson, Amiina, Julianna Barwick, and many more.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 60: Big Ears 2026

    Across the Horizon Ep. 60: Big Ears 2026
    2026/03/11

    Bob Holmes (of SUSS) speaks with artists featured at this year's Across the Horizon Showcase at Big Ears 2026. Pulled from interviews Bob has had over the last few years, the show features the music and artists who will be performing at this event, including Pan-American, Chuck Johnson, Hayden Pedigo, Gwenifer Raymond, Ken Pomeroy, Dave Harrington, Luke Schneider, Walt McClements and SUSS.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 59: Clarice Jensen

    Across the Horizon Ep. 59: Clarice Jensen
    2026/02/18

    On today’s episode of Across the Horizon, Bob Holmes of SUSS is joined by his co-host, the cellist and composer Clarice Jensen, to discuss the music of her friends and mentors: Max Richter, Jóhann Jóhannsson, Ryuichi Sakamoto, Stars of the Lid, and more. She also discusses her latest releases, including her submissions to the new Across the Horizon Vol. 2 series.



    This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.flowstate.fm/subscribe
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  • Across the Horizon Ep. 58: David Moore (Pt. 2)

    Across the Horizon Ep. 58: David Moore (Pt. 2)
    2026/02/04
    On today’s episode of Across the Horizon, host Bob Holmes of SUSS is joined once again by David Moore in the second part of his two-part conversation. David’s known for his work with Bing & Ruth and Cowboy Sadness, as well as his collaborations with Steve Gunn and Stephanie Coleman. In part two, he brings along a beautiful set of solo piano pieces from artists including Debussy, Philip Glass, Dr. John, Brother Theotis, and more. He also discusses Graze the Bell, a collection of solo piano pieces he released last week on RVNG Intl.Flow State also posed a few questions to Moore over email about his musical journey generally and his work on Graze the Bell in particular – that conversation follows the streaming links. While playing Graze the Bell, listen for the influences he discussed with Bob on the two Across the Horizon episodes. We’re pairing the new record with one of those influences, Glenn Gould’s Goldberg Variations, specifically the 1981 version, recorded a year before he passed away.Graze the Bell - David Moore (48m, no vocals)Spotify / Apple Music / YouTube Music / Amazon Music / Bandcamp / TidalGoldberg Variations (1981) - Glenn Gould (51m, no vocals)Spotify / Apple Music / YouTube Music / Amazon Music / TidalWhat’s your earliest memory of music?It’s really just flashes of many memories more than any complete one, and it’s not even that I remember it physically, but I do remember this feeling of being a tiny little thing and always bashing away on pots and pans. Apparently I had this compulsion to empty the kitchen cabinets and arrange everything in a big drum set on the floor. Just BANG BANG BANG. Bless my parents for putting up with it honestly. Maybe something that’s underappreciated is that behind a lot of drummers are very patient parents.How did you start playing piano? What was the first piano you played?I started playing the piano when I was six years old. I told my folks I wanted to learn, so one day I came home and we had a piano in the basement. That’s how they were. It was this little Kimball spinet that we traded up for a Yamaha a few years later. As for when I feel like I really started PLAYING the instrument, that was later. I was one of two drummers in my high school jazz band when the pianist, who was quite good, died tragically in a car accident in the middle of sophomore year. They needed someone to replace her, and the teacher knew I studied classical piano so he sort of volun-told me to switch instruments mid-year. I didn’t know anything about improvising or about jazz, but as I started learning I just became obsessed. That’s when everything changed. I had clarity. By the end of that year I had effectively quit playing the drumset and oriented my whole life and future around the piano. I still think about that girl almost every day. To be quite frank it’s been a heavy debt to carry.What were the early records or songs that pointed you in the musical directions you ultimately pursued in your solo work and as Bing & Ruth?The first time I heard Beethoven’s “Moonlight Sonata” it was less like I was hearing music and more like I was learning about a whole new sense. Sight, sound, touch, taste, smell, and… whatever this feeling was. It seems obvious, but the more you open yourself to being moved by music, the more you’ll get moved by music, and so it just kept happening. I found Bach, then Chopin and Debussy. Then as I got older and some of my mental health struggles started to present themselves, I had this whole special world I could go to for relief. By that point I also had McCoy Tyner and Bill Evans in the mix too. All this music became a ground to stand on when no other ground felt solid. Then, one day when I was 19 I stumbled into a Barnes & Noble in Kansas City and heard Steve Reich’s New York Counterpoint, and everything just immediately clicked into place. That’s when the whole thing became about developing this language, a voice to channel the emotive qualities of this more romantic and impressionistic piano music I had been drawn to with the motion and philosophies of minimalist composition. I’m still eating off that sandwich to be honest.The new record is solo piano. Tell us about the experiences and motivations around focusing on the instrument in this form.Every direction I have grown as a performer, composer, and human has come out of the piano specifically. It has always been this window through which I looked at and tried to make sense of the world, and it’s where almost everything I do musically starts and returns to. So for Graze the Bell, there’s something in me that feels like it’s important to honor that source, because in the end what I’m honoring when I do that is the human singular. So much of music and the performing arts more broadly is about interplay – a reaction sprouting from the space between us, but there is something so different about performing alone. It lets you explore more thoroughly the ...
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