Throughout the year, Atwood Magazine asks music industry members to contribute essays that explore themes of art, identity, culture, inclusion, and more.
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Today, Virginia-based DIY singer/songwriter Alexei Shishkin shares insights into the creation of his upcoming 'Good Times' LP, an album crafted entirely from scratch in just four days.
On September 5th, Alexei Shishkin will release 'Good Times,' marking his eleventh full-length album. As a prolific artist, this album was recorded shortly after the debut of his feature documentary, 'Play By Ear.' In the time leading up to this announcement, Shishkin would unveil four more records while also hosting ‘The Word Cloud,’ a weekly radio show on Brainrot Radio. Notably, between the release of the first and second singles from 'Good Times,' he will be launching the Rue Defense Tape Club in collaboration with his long-time label, which will feature a podcast and cassette subscription service.
Despite Shishkin's extensive catalog, ranging from a Built to Spill covers EP to smoky jazz, 'Good Times' stands out. He created the album in just four days, embracing spontaneity, collaboration, and inspiration from diverse sources such as video games, poetry, and European football. The outcome is an intriguing and eclectic LP that feels both coherent and beautifully crafted.
In this guest essay for Atwood Magazine, Shishkin recounts his experience recording ‘Good Times,’ which releases on September 5th via Rue Defense.
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by Alexei Shishkin
In late July 2023, I traveled to Big Nice Studio in Lincoln, RI, to record some music.
Having visited Rhode Island many times, I had developed a strong impression of what Providence and its neighboring towns were like—coffee milk, hot wieners, Dunkin’, Irish pubs, Savers, a smoky biker bar, an open mic night with a lengthy sign-up list, the fantastic clam chowder at The Lodge, keno… It all created a tapestry of past experiences that shaped me.
The studio is operated by Bradford Krieger, whom I first contacted through a cold email back in 2016. My opening line was, “Hey there, I tweeted at you the other day.” Little did I realize that I would end up collaborating with him consistently over the next decade.
Throughout those years, I gradually became more comfortable in the studio and learned many lessons. Initially, I prepared demos, enlisted friends to play, sent out charts (or my own simplified versions), had my lyrics ready, recorded mostly live, and brought along a photographer to capture the moments. I sought to elevate my DIY approach and was quite meticulous about it.
After several multi-day recording sessions over a few years, I came to realize that “elevating my DIY” was simply not my pace. The later sessions involved less preparation and fewer people. I discovered that over-preparing made the process feel tedious, and too many collaborators slowed things down. We weren’t aiming to create the next big hit—there was no need to overanalyze every tone and melody.
Fast forward to late July 2023. I had just arrived on a 6 A.M. train from New York and found myself in Bradford’s car at the Amtrak station. There were no other players, no notes, and no instruments. This trip was purely about having fun, utilizing whatever the studio offered, and most importantly, playing music—without road maps, strategies, or blueprints.
“What are you trying to do?” Bradford inquired as he swung open the big, red, horseshoe-adorned door to the studio.
“Good question,” I responded. And it truly was. I had no clear plan; I was mostly eager to see what we could create from nothing. We had our bassist, Dave Kahn, for half a day, so I set up some drum loops and had him improvise bass lines for about thirty minutes. From there, we gathered lines to build upon.
Bradford and I spent the next three and a half days crafting all the songs that would appear on 'Good Times.' There was no pretense, minimal editing, and a lot of free-flowing experimentation.
We had plenty of instruments and equipment at the ready, allowing us to quickly add that one necessary chord from a 12-string guitar, incorporate sound effects from “Disco Elysium,” or integrate a quirky kalimba phrase (which you’ll hear as Bradford asks, “You tryna track that thing?” on “Magpie”). It was a seamless environment, and throughout all my recording experiences, both at Big Nice and elsewhere, it was the most enjoyable session I’ve had.
After the lengthy train ride back home to NYC, life returned to its usual routine, filled with work, financial issues, and other concerns. I found myself back in reality after my brief escape.
It wasn't until a
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DIY singer/songwriter Alexei Shishkin discusses the process behind his forthcoming album 'Good Times,' which he crafted from the ground up in only four days.