Bölümler
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After decades navigating the high-stakes world of Hollywood as Chief Counsel for Walt Disney Studios, Steve Bardwil has traded legal briefs for guitar riffs. His recent leap into full-time musicianship culminates in the release of Nothing But Time, a deeply personal and collaboratively rich album produced by the legendary Joe Chiccarelli. What began as a lifelong side-passion has now become the central focus of a second act that blends Bardwil’s storytelling instincts with a joyful, rootsy rock sensibility.
In this candid conversation, Bardwil discusses the leap from boardrooms to bandstands, detailing his journey from advising Marvel and Pixar to collaborating with veteran session players and building a band with longtime friends. With his creative compass set toward optimism and connection, Bardwil shares how his music avoids melancholia in favor of inspiration; crafting songs that uplift without preaching. He also opens up about the intensive, detail-driven studio process with Chiccarelli, where no snare drum or tempo was left unexamined.
The result is an album that sounds both timeless and contemporary, echoing Bardwil’s deep respect for rock traditions while embracing modern studio craftsmanship. From rehearsal rooms to legendary stages like the Troubadour, Bardwil and his band are now delivering the kind of heartfelt performances that only come from a life rich with experience — and a clear-eyed commitment to starting fresh.
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Few writers can translate the sound of an album into a story with the grace and acuity of Jude Warne. Known for her deep dives into the lives of musical icons, Warne returns with her second music biography—this time turning her focus to the ever-evolving Boz Scaggs, titled Lowdown: The Music of Boz Scaggs. Her previous book on the band America set a high bar for weaving together scholarly research with a vivid narrative, and Jude raises it here as well. In both works, Warne’s dedication to craft is evident—not only in her encyclopedic knowledge but in the way she animates her subjects, turning mere musical timelines into journeys.
This conversation is not just about Boz Scaggs—though fans of his smooth soul, blues, and rock-fused catalog will find plenty to savor. It’s about the art of translating music into words, a task that Jude Warne accomplishes with rare skill. Her writing is at once meticulous and alive. She captures the essence of artists without reducing them to caricatures or over-polishing their mythos. As someone who had the joy of being reviewed by Warne—her piece about my album The Show was among the most insightful reflections I’ve read on my work—I can testify to her ability to listen deeply and render that listening into language.
In the following interview, we explore Warne’s process, her fascination with Scaggs’ shifting career, and what it means to be a writer about music rather than a musician. Her reflections remind us that while songs speak to the soul, great writing about music helps us understand why. Whether you're a Boz Scaggs devotee or just discovering his work now, Jude Warne will give you a new way to hear him—and maybe, a new way to think about how music becomes memory.
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Eksik bölüm mü var?
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Sons of Silver’s latest release, Runaway Emotions, reflects a band committed to creative collaboration and thematic depth. Fronted by lead vocalist and songwriter Pete Argyropoulos, the group includes seasoned musicians each bringing years of experience across different corners of the rock world. The album builds on their past work with a focus on strong ensemble playing and lyrical content that draws from both personal and social undercurrents.
In this interview, bassist Adam Kury (the current bass player with Candlebox) and drummer Marc Slutsky (Adam Ant's touring drummer) share their perspectives on the album’s development and the evolving identity of the band. They discuss their writing process, how the group navigates creative decisions, and what keeps the dynamic productive as they continue to record and release new material. The conversation offers a glimpse into how veteran musicians approach collaboration with both structure and flexibility.
While Pete provides the core lyrical vision, the strength of Sons of Silver lies in their ability to operate as a unit—balancing individual voices with a shared musical goal. Runaway Emotions captures that ongoing exchange, translating it into a sound shaped by experience, mutual respect, and an interest in staying true to each band member's artistic vision.
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Some of our most profound conversations often happen without words, music becomes the ultimate language — capable of revealing and transforming our perceptions, maybe even challenging them. Today, we're diving into just such a conversation with two artists whose latest musical collaboration speaks volumes: British jazz producer Robert Waite (known professionally as Daylight Robbery) and New York-based pianist Nick Marks. Their new project, Third Island Suite bridges the luminous traditions of Spiritual Jazz, the electric momentum of Fusion, and the lyrical pulse of Hip-Hop, forming a rich and unpredictable dialogue between sound and spirit.
Following the success of Daylight Robbery’s 2022 debut Moons of Jupiter (which I spoke to Robert about that year), which garnered over five million streams, this new album pushes Waite even further into uncharted territory. Drawing inspiration from John Fowles' metafictional classic The Magus, Third Island Suite offers more than just a musical experience — it loosely soundtracks a psychological odyssey through illusion, self-discovery, and the playful misdirections of a master trickster. Framed by the striking artwork of Cologne’s Jens Roth, the album finds its home on Melting Pot Music, released both digitally and on vinyl.
Today, we have the real joy of speaking with Nick and Rob about how they built this intricate sonic world together — how pianos, beats, imagination, and basslines became tools for storytelling that translate into a complex inner musical journey between two creatives. We'll explore how collaboration became their shared vocabulary and how, through music, they found new ways to communicate truths that words alone could never fully capture.
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William Hooker has spent decades making music on his own terms—loud, unflinching, and fully independent. A drummer, composer, poet and more with over 70 recordings as a bandleader, Hooker is a fixture of New York’s experimental underground, shaped by the Loft Jazz scene of the 1970s and carried forward through venues like CBGB, the Knitting Factory, and Roulette. His latest record, Jubilation, recorded live at Roulette in Brooklyn, is another chapter in a career defined by pushing boundaries, building community, and resisting easy categorization.
The following conversation with William digs into both the record and the mindset behind it. Hooker speaks plainly about what it means to work outside the mainstream—how playing free jazz often means playing for people who don’t yet know how to hear it. He talks about rehearsal as a way to build trust between musicians, about improvisation as a response to the space you’re in, and about the value of taking creative risks without overthinking them.
Throughout our chat, Hooker is generous but direct. He knows what he’s doing and why. He’s not selling a product—he’s sharing a process. There’s no mythologizing here, just decades of work and clarity about what matters. Jubilation isn’t a throwback or a statement piece—it’s just where Hooker is right now, doing what he’s always done: leading from the drums, assembling the right players, and trusting the moment to shape the music. In a city that rarely makes room for artists to grow old and stay weird, Hooker is still here—evolving, documenting, and finding joy in the chaos.
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Let’s face it—if the music industry were a spaceship, right now it might be sputtering through the void, looking for a little more rocket fuel. Algorithms are everywhere, attention spans are short, and too often, passion plays second fiddle to data. But every once in a while, someone shows up to remind us of what the industry used to be—wild, inspired, and driven by larger-than-life personalities who weren’t afraid to bet big and be bold.
Enter Paul Rappaport, or just “Rap” if you were lucky enough to know him during the golden age of rock. He wasn’t just in the room—he was the one setting the room on fire, bringing the magic of rock ‘n’ roll to life through legendary promotions, wild stunts, and a deep, unshakable belief in the power of music to move people.
In his brand-new book, Gliders Over Hollywood (Jawbone Press) Paul tells the untold stories from the trenches of Columbia Records, where he helped shape the careers of icons like Bruce Springsteen, Pink Floyd, Bob Dylan, Judas Priest, Billy Joel, and so many more. This isn’t just a backstage pass; it’s a masterclass in creativity, guts, and the human side of the music business—the kind of stories that might just help us reimagine the future by looking back at what made the past so electric.
From sword-fighting with Bruce Dickinson to floating a Pink Floyd airship, Paul’s career reads like a rock novel, but it’s all real—and it’s all heart. And as the industry asks itself what’s next, maybe it’s time to remember how it used to be done. Big ideas, crazy risks, and above all, a love for the music that seemed to make anything possible.
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Taking a shot, a risk, a gamble—whether in life, in love, or in art—requires a particular blend of courage, timing, and craft. Few folks understand that better than Eddie Schwartz, the Canadian musician and songwriter whose work has left a lasting imprint on popular music. Best known for penning Pat Benatar’s iconic “Hit Me With Your Best Shot,” Schwartz has built a career on moments when he stepped forward, took creative chances, and delivered songs that struck a chord with millions.
After launching his career as a solo artist in the early 1980s with albums like No Refuge and Public Life, Schwartz quickly proved himself as more than a performer—he was a songsmith of rare precision and emotional clarity. His compositions, including “All Our Tomorrows,” “Don’t Shed a Tear” (Paul Carrack), and “The Doctor” (The Doobie Brothers), showcased his ability to blend melodic strength with lyrical insight. Many of his own recordings have since been reimagined by other artists, a testament to the enduring quality of his songwriting. Beyond the studio, Schwartz has also taken bold shots as a producer, music rights advocate, and leader in global music organizations, earning honors including the Order of Canada.
My own introduction to Eddie’s music came not through a chart-topping single, but through the serendipity of flipping through records in a thrift store—finding one of his albums on a random shopping trip and being struck by the clarity and heart in his songs. That chance moment became a deeper journey into his catalog and career. Today, he continues to write and release new music, proving that the instinct to take your best shot—to create with purpose and passion—doesn’t fade with time.
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Teamwork - as they say - makes the dream work. Over the last several years, Org Music has been quietly amassing a catalog of well-produced reissues and original recordings in all genres. On the reissue front, however, the label has reached its goals by employing a select group of audio specialists all working toward the same goal: to find forgotten music deserving of a second chance to reach an audience, and to approach its restoration with straightforward respect and sincerity.
Org Music GM and COO Andrew Rossiter has assembled an A-Team for the most recent batch of reissues that includes mastering engineer, Dave Gardner - who was interviewed here at The Tracking Angle in November of 2023 - and archivist, Catherine Vericolli, who you’ll meet today.
Catherine has had much experience within the recording industry as a studio owner, engineer, and educator. Established in 2006, she created Fivethirteen recording studios in Phoenix, Arizona. She also directed the Archival Department at Nashville’s Infrasonic Sound. Catherine has also taught classes related to analog tape machine operations and maintenance at The Conservatory of Recording Arts and Sciences. Currently, she owns and operates Central Audio Archiving also based in Nashville where her archiving and digitization work led her to this current collaboration with Org.
The role of audio archivist is a curious one, maybe even a bit mysterious, but - as is the case in many fields - each link of the audio chain is as important as the ones that come before and after it. Roles of the audio archivist may include cataloging and taking inventory of tapes, restoring items that have been damaged over time, digitizing recordings, researching what is available (and discovering what might be missing) and - perhaps, most importantly, overseeing the analog tape transfers. It’s the audio archeology that takes place before final mastering is even discussed.
In the interview that follows, Catherine describes the good, the bad, and sometimes ugly world of restoration and how she and Dave forged a strong bond and friendship during their time working - in the field - digging through the Westbound catalog and bringing key parts of it back to life. She also shares some further details and hints about what listeners can expect regarding what might be Westbound’s most revered label members: Funkadelic.
Audiophiles love their audio provenance, but how far down the rabbit hole do you really want to go? That all depends on who you are; but if you’re ready for a deep dive into Org Music's Westbound reissues - or, just the reissue field in general - then read on: Catherine’s got the secrets you’ll want to learn.
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Time has always been at the heart of electronic music—its steady pulses, mechanical rhythms, and futuristic vision shaped the way we listen and move. Few artists understand this better than Wolfgang Flür. As a member of Kraftwerk during their most defining years, from Autobahn (1974) to Electric Café (1986), he played a role in setting the tempo for an entire musical movement. Decades later, he continues to explore the ever-accelerating relationship between music, technology, and the passage of time.
His latest album, TIMES brings this theme to the forefront. A collaboration spanning generations of electronic pioneers and a blend of retro-futuristic elements with contemporary production, TIMES acts as both a reflection on the past and a step into the future—capturing the cyclical nature of electronic music and the way it continues to evolve.
Joining us also is Peter Duggal, the producer behind TIMES and a longtime innovator in electronic music. With a career spanning back to the early ‘90s, Duggal has produced for Nintendo, remixed for Island Records, and contributed music to PlayStation VR. His collaboration with Flür began in 2015 and with TIMES, Duggal helps bridge past and future, blending classic electronic textures with modern production techniques.
Much like time itself, Flür’s approach to music refuses to stand still. While TIMES acknowledges the nostalgia of classic electronic sounds, it also embraces new ideas, new collaborators, and new sonic landscapes. It’s an album that looks back while moving forward, reminding us that in music—as in life—yesterday, today, and tomorrow are always connected.
Join us for an evening with Wolfgang Flür as we explore TIMES, discuss his career, and consider how electronic music continues to tick forward into the future.
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Jeannie Piersol, a striking yet enigmatic figure in the 1960s San Francisco music scene, is having her remarkable story told once more through The Nest, a highly anticipated anthology released by High Moon Records. With its unique blend of psychedelic rock, soul, and Indian influences, Piersol's music never fully received the recognition it deserved during her brief career. Yet, her work has long been cherished by those in the know, and The Nest compiles her most sought-after recordings, including rare demos, outtakes, and live performances.
The compilation is not just a musical journey but a historical snapshot of the Bay Area’s vibrant 1960s music scene. Piersol’s connections to prominent figures like Grace Slick and the Jefferson Airplane, as well as her collaborations with legendary musicians such as Minnie Riperton and Maurice White, place her squarely in the heart of that creative explosion. Despite the brief duration of her career, Piersol's recordings resonate with an authenticity and intrigue that have only grown over time. Alec Palao, a 5x GRAMMY® Award-nominated producer and curator of The Nest, has worked tirelessly to preserve and present Piersol’s legacy, offering insight into her life and the music that defined it.
In this interview, we’re excited to dive into the story behind the music with both Jeannie Piersol and Alec Palao (and with some technical help from Jeannie's son). Jeannie will share her experiences navigating the whirlwind of the 1960s music scene, her collaborations with notable figures, and the path that led her to walk away from it all. Alec will offer a glimpse into the painstaking process of producing The Nest and why these tracks, after all these years, remain as compelling as ever. Join us as we explore the legacy of an artist whose voice and vision are now being recognized as a vital part of rock history.
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For nearly a decade, Sleepersound has been more than just a band—it’s been a brotherhood bound by a shared passion for creating immersive, emotionally rich music. Their journey together has been defined by deep friendship and an unspoken understanding that transcends words, allowing their sound to evolve organically. From late-night jam sessions to the meticulous crafting of their third full-length album, My Own Dead Love, the band’s dynamic is built on trust and mutual respect, a foundation that fuels their creativity and sustains their unique sonic identity.
Loyalty is at the heart of Sleepersound. In an industry where bands frequently shift members or fall apart, these musicians have remained steadfast, dedicated to both their art and each other. They embrace a fully collaborative songwriting process, where every voice matters and each instrument weaves seamlessly into the fabric of their music. This commitment to one another has allowed them to push artistic boundaries, blending influences from post-rock giants like Mogwai and Radiohead to classical composers like Chopin and Tchaikovsky, all while maintaining a signature sound that is distinctly their own.
Above all, Sleepersound is a testament to the brotherhood that forms when musicians create something meaningful together. The bond they share is evident in the way they write, perform, and support each other through the highs and lows of making music. As they prepare to release My Own Dead Love, their connection is stronger than ever, proving that when a band is built on friendship, loyalty, and trust, the music that emerges is as timeless as the relationships that sustain it.
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For over three decades, Michael Andrews (aka Elgin Park) has been an integral part of the Greyboy Allstars, a band that has carved out a unique space in the world of funk, jazz, and soul. With their infectious grooves and deep musical chemistry, the group has remained a fixture on the scene, constantly evolving while staying true to their roots. As they prepare to release Grab Bag, a new compilation showcasing the full spectrum of their sound, Andrews reflects on the band’s journey, their creative process, and the art of keeping things fresh after all these years.
In this conversation, Andrews shares insights into the band's longevity, emphasizing the importance of mutual respect, individuality, and allowing space for personal growth. He discusses how their collective approach to music—both structured and spontaneous—has kept the Greyboy Allstars together for more than 30 years. We also touch on vinyl and a key detail included in this new release that collectors will no doubt appreciate.
Beyond his work with the band, Andrews has built an impressive career as a composer and producer, scoring major films and television projects, including collaborations with Will Ferrell and Seth Rogen. His ability to shift between different musical worlds—from funky jazz guitar to acoustic folk to cinematic compositions—highlights his versatility and passion for storytelling through sound. In this interview, he offers a glimpse into his influences, his approach to composition, and what continues to keep the Greyboys boogalooin' after all these years.
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Through addiction, industry upheavals, and personal reinvention, a rock survivor’s unwavering path forward.
Perseverance is more than just endurance—it is the art of weathering storms without losing sight of the horizon. For Josh Todd - the last remaining original member of Buckcherry - survival in rock and roll has never been about mere resistance; it has been about forward motion, an unrelenting push toward something greater. With the recent vinyl reissue of 15 on Real Gone Music, Todd finds himself looking back—not to dwell, but to recognize the grit and resolve that have kept him moving when so many others have faded.
Todd’s journey is one of endurance sharpened by intention. From the early days of Slamhound, where raw energy often outpaced direction, to the seasoned clarity of his present self, his career has been less about reinvention and more about refinement—a steady chiseling away at anything that does not serve the greater vision. His long-standing sobriety, maintained since the mid-1990s, has been more than a personal victory; it has been a quiet, steadfast rebellion against the industry’s norms. While countless peers were undone by excess or disillusionment, Todd stayed the course, his focus cutting through the noise like a compass pointing toward blue skies in the midst of a storm.
That same drive extends beyond music. When the world stood still during the pandemic, Todd refused to stagnate, earning a certification in phlebotomy rather than succumbing to inertia. For him, perseverance is not just about surviving hardship—it is about carving meaning from it, about turning each setback into a stepping stone rather than a stopping point.
Today, we explore his ethos: the lessons forged in decades of relentless touring, the will to hold a band together when gravity pulls it apart, and the mindset that transforms obstacles into momentum.
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Some artists walk, some artists run—but Michael Mayo flies. His latest album, Fly, isn’t just a title—it’s a philosophy. It’s about soaring past self-doubt, catching the updraft of creativity, and trusting that the music will take you exactly where you need to go. Raised in the rarefied air of music professionality—his mother has served as a powerhouse vocalist for Luther Vandross and Beyoncé, and his father is a multi-instrumentalist who was at one time Sérgio Mendes’ musical director—Mayo grew up with his feet barely touching the ground, swept up in a world of sound that would shape his own journey.
Now, with Fly, he’s reached his own altitude. The album was created at lightning speed—written, recorded, and pressed in what felt like the blink of an eye—and it captures the exhilaration of letting go and allowing the music to take to the sky. In this conversation, Mayo shares how he assembled an all-star crew to navigate this sonic adventure. He talks about the freedom of composing, the discipline of performing, and the lessons he learned from legends like Herbie Hancock and Wayne Shorter.
But just as important as the music itself is the journey—the travel, the late nights, the rigor required to sustain a career in jazz. Mayo opens up about life on the road, the reality of touring as a vocalist, and the balance between artistic freedom and the demands of performance. With wisdom passed down from both his parents and his mentors, he shares how he’s learned to protect his instrument—his voice—while still embracing the thrill of the ride.
So fasten your seatbelts and get ready for takeoff—because Michael Mayo is here, and you’re invited to join him in the friendly skies.
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In 1979, Blondie released their fourth album, Eat to the Beat. Little did the band know that nearly a half-century later, there would be a discussion of pressing beats onto a record made of beets that one could - in theory - actually eat.
Through a shared love of vinyl and an interest in investigating new and unique ways to make the process of pressing discs more environmentally sustainable, two record fans have joined forces to investigate the possibilities of starting a vinyl pressing plant in Iceland and - instead of using PVC - using the sugar beet! Meet Larry Jaffe - author of Record Store Day: The Most Improbable Comeback of the 21st Century and co-founder of the Making Vinyl Conference and Kevin DaCosta, a vinyl record manufacturing consultant & technical director for Evolution Music. The name of their new company is Thermal Beets.
Larry and Kevin describe the origin of their vision, why Iceland is an ideal location for their pursuits, and how the functionality of their new product may supersede that of the audio record as we know it today.
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In vino veritas, is a Latin expression which - when translated - means, “In wine, there is truth.” While that concept might be slightly romanticized, there’s no doubt that a little bit of truth, and a whole lot of vision - with nice cabernet - can influence an adventurous idea, or two. But, you’ve got to have the follow through the next morning to make all of those lofty thoughts reality.
With, or without wine, Michael Dorf is a visionary, someone who has the ability to see opportunities that others miss. It all started in the 1980s when he took a chance on opening the Knitting Factory in New York City. That club became a beacon of cutting-edge taste and style during the 80s and 90s at a time that was ripe for indie music to make its impact on the city’s larger cultural milieu. His next major venture was the City Winery food, wine, and performance space brand which - though originated in NYC - has since been expanded to several other locations nationwide.
While the success of those businesses no doubt make him proud, it’s the philanthropic angle to his imaginativeness that really inspires him. Michael Dorf Presents has produced several concerts with philanthropy in mind paying tribute to some of his favorite music and often featuring guest appearances by legends of the performing arts community.
March 26th at Carnegie Hall finds Dorf producing People Have the Power: A Celebration of Patti Smith which also happens to be the 20th anniversary of his concert series. 100% of net proceeds will go to music education for underserved youth, and concertgoers can expect to see Michael Stipe, Ben Harper, Kim Godon, Flea, and many other surprise guests on stage.
So, you might want to find yourself a safe space to listen to this episode and enjoy a glass of wine, and let Michael’s vision inspire your own. What are your dreams? What skills and interests do you have that can make the world a better place? Enjoy that pinot noir, but - like Michael - get ready to put in the work. -
Determination is an incredibly important part of success in any industry. But, in music and media, one must be constantly doing their thing in front of as many audiences as possible, all the time. Sure, this is an exhausting part of the gig, but - in many ways - it’s mandatory. Based in Los Angeles, Goldiie Lux had an interview scheduled with me during a week where the City of Angels experienced the worst fires it’s ever known.
While Goldiie (born Naomi Simon Summers) was just outside of the evacuation zone, she managed to meet me for this chat, even if it meant sitting in a car parked nearby her home as she checked on news about the fire's progress. As the saying goes, the show must go on, and it’s a showbiz lesson that Goldiie has clearly learned well. She didn’t let a once in a lifetime catastrophe stop her from meeting with me to talk about her recently released EP, SIN (South Music Group).
So, join me for a chat with Goldiie: it’s interesting to speak with an artist right at the beginning of their career, to try and guess the directions it might take. Here’s an artist who is eager to talk about her new music and plans even as the haze from the fires in Los Angeles surrounded her car and threatened the place she currently calls home. That’s determination: that’s Goldiie Lux. -
Good friends can get you through difficult times. They have your back through thick and thin, they know how to anticipate if you need support, and they can always be relied upon for understanding. However, when that friendship involves music, it can be even richer and more fulfilling.
José Medeles and Nathan Trueb have known each other for many years and have worked on a few projects in the past. They met at Jose’s world renowned drum shop - Revival Drum Shop in Portland, Oregon - when Nathan was looking to purchase some percussion instruments. After jamming and getting to know one another as musicians, they officially joined forces and created a new self-titled project that they call Another Glory.
Nathan and José both have that yin and yang that is a valued dynamic in any work group: Nathan feels most comfortable creating songs of a more traditional nature, while José tackles those compositions with some left-of-center approaches and concepts.
Nathan joins me to discuss the interweaving of both artists' creativity. We also talk about a few of the special guest stars that appear on this record, specifically Wilco’s, Nels Cline and Ben Harper, too! A mystery guest joins us during our chat, as well, but let’s keep that character a secret for now. -
Massachusetts has always been aligned with revolutionary thoughts. Anyone paying attention in elementary history classes knows that our very own American Revolution began in Boston Harbor with a little event known as the Boston Tea Party. Just because a thing is a certain way, doesn’t mean it should stay that way forever: that’s Boston, that’s America.
So, how about a revolution against the current state of the music biz? It’s no secret that there’s been a plethora of controversy surrounding streaming versus physical media and also the often unfair payouts that musicians earn. Enter Will Dailey, a Massachusstes-based singer and songwriter who’s decided to explore a few unique ways to share recorded music with his audience.
His latest album, Boys Talking will only be available in physical formats: both on CD and vinyl; but, no streaming. As you’ll hear Will explain, it’s an effort on his part to make a connection with those who love his music, to keep his compositions out of the wind tunnel that the streaming world can often feel like, and - of course - it’s a way for him to keep a larger percentage of the profits that come from selling physical media.
He’s got a keen perspective on these things that sound pleasantly out of step from the norms of the 21st century. In fact, they sound a bit...revolutionary. -
It’s not always what we say, sometimes it’s more about what we leave out; the silence in between our words can speak volumes. The same can be said of music, particularly the music of Roger Eno who has recently released a companion piece of sorts to his last release titled, The skies, they shift like chords (2023). This newest album is an extension to some of those musical thoughts and is named the skies: rarities. This release also continues his relationship with the Deutsche Grammophon label.
Eno has a long history of creating music, he’s released a number of solo albums, but has also composed for film and other media outlets. Of course, he’s also worked with his brother Brian Eno for many years, beginning with 1983’s Apollo which also featured Daniel Lanois.
As you’ll hear Eno explain, his recent exploration is a sort of artistic pattern of his that more musicians might consider trying out. Instead of releasing an album and moving onto the next idea, Roger continues to find ways in which each of his albums might be expanded, either built upon or deconstructed. In this conversation, Eno shares his process which gives us the opportunity to see the skies - musical and otherwise - from Roger’s vantage point.
Roger’s music might be considered very “serious” to many folks, but - as you’ll find - in our chat, we have a lot of fun.
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