When Nabil Ayers set out to write his memoir he could have focused on a long list of personal and professional accomplishments. He’s been a drummer in bands on major labels. He opened and ran a record store in Seattle that is known and revered worldwide. He has had his writing published in the New York Times, NPR and more. He has run a division (4AD) of one of the world's most revered indie record labels (Beggars Group) and currently is the president of that label’s U.S. operations.

In our final episode of the year (and final post for ChunkyGlasses) we’re talking about some of the music that meant the most to us and more.

Bill Frisell’s latest LP Four is a masterclass in subtlety and connection. To celebrate the release, we’re dishing up a brief history of Frisell’s work and what it means to the American songbook. Then we’re digging into the new album to find out if his latest fits comfortably alongside his earlier releases or if maybe he’s starting to go a radical new direction.

On 2016’s The End Of Comedy and its 2019 follow up Raw Honey, it was clear that Drugdealer, the LA-based musical project led by Michael Collins had one foot firmly planted in the era of AM smooth-rock glory. On Hiding In Plain Sight, Collins and his semi-rotating cast of co-conspirators fully embrace that aesthetic and in doing so not only accept their destiny as the inheritors of Steely Dan’s legacy but deliver one of the most forward thinking yet familiar sounding records of the year.

Swedish psychedelia masters Dungen are leaning into a poppier sound on ‘En Är F​ö​r Mycket och Tusen Aldrig Nog’, — their first album in seven years — but they’re losing none of the head-trippy goodness that fans have come to know and love. Join us as we dig into this far-out listening experience, discuss what music can mean if the listener doesn’t understand the language it is sung in, and more!

On this edition of discologist we’re spinning new tracks from Milwaukee’s Ladybird, Sweden’s HNNY, and then digging into 1992’s Play With Toys, the forgotten classic by the Michael Ivey fronted “hip hop” group Basehead from Washington D.C.

Tune in now for all this PLUS new music from Maximilian and the Reinhardt, and a discussion about THAT Pitchfork list that everyone is talking about.

For over a decade, singer/songwriter/Southerner Kim Ware has been crafting indie-folk songs full of heart and twang with her project Kim Ware and the Good Graces. On her latest album Ready, she’s digging deeper inside then ever before. The result is an album overflowing with brutal honesty, (often hilarious) youthful angst, and an emotional core that could melt even the most hardened of hearts. Join us as we sit down with Ware to discuss the new album, making music in isolation, teaming up with producer Jerry Lee, and much, much more.

PLUS! Music we love from Chicago’s Bitchin Bajas, some tasty guitar work from Jon Camp, and a whole lot more!

We’re kicking off Season 11 with a THICC episode packed full of great music!

Depending on who you ask, saxophonist Sonny Stitt is either one of the most revered players in jazz history or the guy who never said no to a session, no matter how schmaltzy. Over his career he played on hundreds of albums and we’re diving deep into one of his best, 1974’s Satan!

Depending on your frame of mind, black midi are either an acquired taste or one of the most essential bands of the 21st century. On their new album Hellfire, the trio continues to push their maximalist sound to its limits while polishing the execution of their high-minded art till it shines brighter than ever. If finding beauty deep within absolute chaos is your idea of a good time then tap in as we discuss one of the wildest, and best, albums of 2022 to date.

PLUS! Music we love from California Celtics The Fire, and new sounds from the wild, wonderful world of The A’s (Amelia Meath and Alexandra Sauser-Monnig)!

In layman’s terms, the Boltzmann Brain Theory imagines a universe where the only thing that matters is what we perceive. Are we beings flitting about in a universe of someone else’s design or are we simply “brains” floating briefly thru the void, imposing OUR universe on that emptiness and anyone who happens to cross our path?

That central idea was the spark that drove this piece for most of its development, but as it came in to sharper focus the question of “what?” or “why?” we exist and perceive became secondary to the act of perceiving itself.

We spend so much of our lives searching for answers — Why do I exist? Why would “God” allow so much suffering in a world of his own creation? Is Bigfoot real? — and rarely have the thought to simply let a moment be, let it go, and look forward to the next. And that’s where this piece landed.