Even though he likes to pick and chose his projects carefully, Jason Falkner has had an amazing run of recording dates—both on solo albums and as a sideman with the likes of Beck, Air and Paul McCartney—that would turn most musicians pea green. And Falkner has also been a crucial part of critically lauded releases by ’90s indie-rock heroes Eric Matthews, the Grays and Jellyfish, as well as getting his feet wet with original Paisley Underground cult combo the Three O’Clock. Falkner has a stellar solo set due out this summer called All Quiet On The Noise Floor that threatens to pass his previous solo release, I’m OK, You’re OK (from February), like a slow runner being lapped on the bases by a real speedburner. Falkner is guest editing magnetmagazine.com all week. Read our Q&A with him and our 2008 Jellyfish feature.
Falkner: R. Stevie Moore has become somewhat of a pen pal, and I am so proud to know him even if, for now, it’s just in a virtual sense. His music is impossible to define, and his output is staggering, with somewhere near 30 records released since the ’70s, all of which contain true gems that very few have heard. I not going to get into the “why isn’t this guy more famous?” bullshit that I hear regarding his (and even my own) career, because the thing to concentrate on here is R. Stevie’s dedication to his beautifully bizarre take on popular music. These are brilliant pop—and I mean pop in the classic sense—songs he writes, but the really interesting part of his process is the way these songs get arranged and recorded: very experimental, “bedroom recording,” greatest song ever thrown into Dr. Demento‘s blender. You know, people toss around the DIY term left and right, but this guy is a one-man do-it-yerself army. Favorite tracks of mine are “I Hope That You Remember,” “Play Myself Some Music,” etc. Get it all. We will collaborate on something soon and spew it into the universe.