I’ve shared a bit of this new LP from Ezra Feinberg, but the album’s really not something that can be parsed out into bits and pieces. Feinberg made his mark in the sorely undersung band Citay, fusing guitar flash and virtoistic playing with a sun-baked good nature that was way ahead of the Cosmic Americana curve that’s reared its head the last few years. He’s since taken to more Kosmiche waters, with a stunning LP in 2018, Pentimento and others, which he’s ably expanded upon with the rippling Recumbent Speech. Now navigating territory smoothed by Terry Riley and canonized by the German synth set — think Harmonia, Cluster, or Rother’s solo works – the new territory suits him. Naturally there’s the stamp of Eno as well, but with Tim Green, Chuck Johnson, Robbie Lee, and Jonas Reinhardt in tow, Feinberg is building soundworlds of his own that recall the light spirit of Citay, but embrace the new age with wide-open eyes.
While the mood is serene, Feinberg has plenty of rhythm at play on the album. As with his previous outings his string work often creates a loping underbelly to tracks, but he’s meshing the repeated phrases with the soft skitter of drums that range from whispered shapes of a pulse to prog and jazz touches that feel at home with their ‘70s precursors. Most welcome here is the pedal steel of Johnson, who uses it to shade in the songs with a darkness that cools off the abundant ease of the album. Feinberg’s compositions use their players as subtle, yet essential layers. Even the vocals of Mandy Green and April Haley are woven between the cataclysmic crumble of “Ovation,” one of the album’s true highlights. With his previous outing, Feinberg set the stage for this new chapter in his output, but with Recumbent Speech he’s crafted a cosmic high water mark that should be touchstone for anyone looking to elevate minimal records for years to come.
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