Few musical formats have had the comeback narrative that vinyl has in the last decade or so. A new documentary film, Vinyl Nation, explores the enduring appeal of LPs and the subculture that’s grown around them recently — including the rise of Record Store Day. I talked with directors Kevin Smokler and Christopher Boone to learn more about the film’s origins and how the project came to fruition.
We’re pleased to be debuting new music from Michael Zapruder. “New Quarantine” is the new single from Zapruder’s new album Latecomers. You may also know him via his earlier project Pink Thunder, which found him adapting 20 poems by a host of writers into critically acclaimed songs. I spoke with Zapruder about the song’s origins, its unexpected resonance in 2020, and the long process of making Latecomers.
I still rent DVDs through the mail. There’s usually a lag time of six-to-eight months between the time I add a movie to my queue and its arrival. I always forget what I’ve requested by that point and get a kick out of the small-scale time travel, the reminder of what I was thinking months prior. This took a wrong turn back in March. The first three movies to arrive during the onset of the Covid quarantine were Soylent Green, The Omega Man, and The Andromeda Strain.
What happens when autofiction meets doom metal? That’s the question Lee Klein poses in his new book Neutral Evil ))), inspired by a visit to a Sunn 0))) concert in Philadelphia in early 2017. As the book’s narrator takes in the concert’s atmosphere, he ponders questions of family, safety, and aging — a fascinating glimpse into a particular headspace surrounded by a fascinating sonic space.
Erik Hall isn’t 18 musicians, but you could be forgiven for thinking that he is. He’s recorded music as a solo artist and with the group In Tall Buildings; before that, he also had stints in His Name Is Alive and NOMO. For his new album, he opted for a particularly ambitious maneuver: recording Steve Reich’s Music For 18 Musicians. The ensuing record is both a loving version of a minimalist classic and a work that shows the impressive flexibility within Reich’s composition. I talked with Hall about the making of this album and his own musical journey over the years.
What would you say if I told you that one of the year’s best ambient/drone albums was made from field recordings of bats? That’s the story being Ultrasonic, the 8th album to be released under the Field Works name. Stuart Hyatt, the man behind the project, recorded the sounds made by bats in Indiana. From there, the recordings were used by a group of prodigiously talented musicians — including Kelly Moran, Noveller, Eluvium, and Christina Vantzou — to create a series of stunning ambient soundscapes. I talked with Hyatt via email about the project’s genesis and the permutations that this album underwent en route to its completion.
The last time I spoke with Ted Hearne was in 2014; the subject was The Source, his collaboration with Mark Doten inspired by the work of whistleblower Chelsea Manning. Now, Hearne has returned with a new album, Place — a collaboration with Saul Williams, in which Hearne addresses questions of gentrification in Brooklyn’s Ft. Greene neighborhood. It’s a work that involves countless vocalists, found audio, and a complex structure; it also involves moments of sublime beauty. I talked with Hearne about the genesis of Place and how he developed the themes contained within it.
On January 26th, Billie Eilish and her brother Finneas O’Connell stole the stage at the Grammy awards collecting a total of 5 Grammys, including the most prestigious award of ‘Album of the Year’ for their 2019 album When We All Fall Asleep, Where Do We Go? Billie and Finneas entirely produced and wrote the album (with mixing and mastering by Rob Kinelski and John Greenham). Apart from all of the wonderful accolades, awards, and personal stories behind this masterful album, there’s something completely missing from mainstream praise and reviews of this record: its dense narrative and compelling themes.