ABOUT

An Evening at the Fetzicon Lounge—the creation of my own soundtrack to a 1970s, vaguely European, B-movie. For one of those films where it appears that more time, energy, and resources were put into the soundtrack than the movie itself. Perhaps the film was just an excuse to make the music? 

These days there’s an extraordinary amount of noise with many words being thrown around, and nothing makes more sense to me than working on instrumental music in solitude. Not living in a world that is being algorithmically given to me, but creating my own little worlds. 

Fetzicon is my creative universe—the back studio behind my home where I write and record music, as well as make art and designs.  This music was written late at night on guitars, basses, and synthesizers. And then with my morning coffee I’d edit and make sense of the evening’s mess… nighttime for the creation of ideas and morning-time for the execution of those ideas. 

This album was co-produced with my friend (and Grammy Award-winner) Jeremy Ferguson who works out of his Battle Tapes studio where we tracked this material, just a couple blocks away. Ferguson has a wonderful ear, taste, and sonic palette. And we get to the finish line without needing many words said. Once tracked, I bring it back down the road to Fetzicon to complete. The music was all made entirely in my neighborhood—the Inglewood neighborhood of East Nashville, Tennessee, which is overly-saturated with musical talent. 

The album was tracked with my long-time musical collaborator Jon Radford on the drums—I can rhythmically read his mind and his drum feel pops directly out of my LP collection and right back into the room. I made an effort to do almost all of the additional instrumentation myself as a challenge. I got nearly there, but in the end I got a little help from my friends… there’s the vocal stylings from East Nashville’s Nicole Atkins and Philip Creamer, keys, vocals, and synth touches from my wizardly neighbor Patrick Sansone (Wilco, Autumn Defense), and my British musical brother Spencer Cullum (Steelism) contributed a couple wonderful steel guitar moments.  

The fidelity of this album is important to me. I’m trying to bring back the concept of listening room lounges and active listening on HI-FI systems - rather than that passive-streaming-playlists-through-buds nonsense. The album was lovingly mastered and cut by Grammy-Nominated engineer John Baldwin and pressed at the new Paramount Press in Denver, CO on audiophile-grade ultra vinyl. Making vinyl sonically and visually at the highest level has become a passion. If we are still going to make physical media, let’s go all the way!

So with all that said, I’d love for you to take a break from 2026 and join me for a cocktail and an evening of listening at the Fetzicon Lounge.