Rounding the corners: In the run-up to recording Interpol’s latest release, Marauder, drummer Sam Fogarino repeatedly asked himself: “How can I make shit swing?” The post-punk veterans were six albums and more than 15 years into their careers, yet had never strayed from the rock influences of their home turf in New York City. Consulting with R&B greats such as Otis Redding’s drummer Al Jackson Jr. and funk hitmaker Terry Lewis pushed the trio’s sound into groovier territory, softening its trademark rigid guitar and drums.
Related stories
The Japanese House
On her sophomore album, In The End It Always Does, The Japanese House, aka Amber Bain, explores themes of love, loss, and identity. With her dreamy vocals and heartfelt lyrics, Bain captures the cyclical nature of relationships in a range of real experience that is unapologetically human. The album, co-produced by George Daniel of The […]
No blank pages
Shannon Spence awoke to her calling as a cartoon artist while pursuing a fine arts degree focused on printmaking at University of Virginia. In her fourth year, she took a course in sequential art–and she saw her future. “I realized what incredible potential comics were as an art form, and it just clicked for me,” […]
Informal arrangements
By Aaron Irons The Arcadian Wild finds uplift and grace amid warm harmonies on Welcome, the Music City string band’s latest effort, which blends elegance and heart-swelling dynamics with endearing revelations. Equal parts meditation and jubilation, Welcome offers connection and understanding in an era when such notions are at a premium. Lincoln Mick formed The […]
