"True Music" was written and recorded inside a few weeks, very late at night in my Brooklyn NY apartment, using only a built-in laptop microphone and free recording software with no plug-ins. It formed as a restorative accident, raising me out of my sufferings (depressive anxiety, a broken knee, housing drama and associated healthcare difficulties). It's the first "solo" album I've written since "Feed A Pigeon, Breed A Rat" (2021), which featured 20 guest singers/soloists.

Confused, forlorn, and 36, I reached out to music to document my huge, irrelevant, dangerous love, and to be saved in it. "Good enough" methods employed in less-than-ideal conditions revealed that far outside being located in a mind, I was in an environment, so I was finally able to make my first album as an adult. More than usual, I tried to limit the harmonic and lyrical material to what the songs told me was economically necessary, and it seems reasonable to read the junky and spare sonic profile of the album as a counterpoint to the carefully wrought Fievel Is Glauque studio album "Rong Weicknes" (released October 2024 on Fat Possum Records), the production and release of which took a lot out of me.

But "True Music" is also just representative of what I personally like best: writing every night, documenting the writing in "good enough" recordings right away, and moving on. I don't have "demo-itis," I have "demo-philia" (which coincidentally also literally means "love of the people," and I do think songs are in some sense a kind of people): all musicians know from experience that representation is not neutral and that perfectionist production techniques can detract from the "aliveness" of immediate, "good enough" recordings. But I've already said too much, so I'll stop here before drowning the music in my alibis. By the way, the Bandcamp and physical versions of the album come with 7 extra songs cut from the "official" album. Thank you for listening. :-)