At some point over the past decade or two, the broad term “indie rock” seems to have evolved to encompass stadium-filling rock and electronic acts while leaving the modest experimentation and softer tones behind. Which makes Jordan Lee’s persistent Mutual Benefit something of a comforting anachronism, as it carries over the chamber-folk sounds that defined 2009 (the year the project properly launched) into the present day as heard on his latest collection, Growing at the Edges.
While the Brooklyn-based musician’s soft vocals aren’t to be overlooked, the vintage sounds of the record’s instrumentals tend to have a transfixing quality, with the songwriter’s knack for orchestral collaboration clearly evident in the “Neighborhoods” session he recently filmed for us in which his backing band was evidently assembled while visiting LA. It’s no wonder the playlist of influences on his new record he was crafting for us took a turn toward the instrumental. “As I started going through songs I’ve been enjoying recently,” he explains, “I realized many of them were instrumentals that shared a sort of hazy, transitional quality—like sounds hidden behind reversed synthesizer, tape hiss, and distortion. I decided to lean into it and make a mix of liminal bangers.”
With Growing at the Edges being released this Friday via Transgressive, Lee is sharing his playlist with us below. Read on for his words on each track he included, and pre-order the new record here.
Gabriel Birnbaum, “Above a Forest with a House That’s on Fire”
This is a fresh single from Gabriel’s ambient-leaning solo project which perfectly captures the “first thought, best thought” instrumental tinkering that becomes profound because it hasn’t been fussed over. Instead it encapsulates a little moment in time. Gabriel co-produced my upcoming record, so we really got a window into each other’s processes.
Strawberry Runners, “Slip Through”
I’ve enjoyed Emi’s music for years, but the production and songwriting on this new self-titled album really grabbed me. I love the blown-out sort of Phil Elverum–style distortion over the delicate base of the song, which eventually gets matched by the raw vocals. It’s so cathartic!
The Goodbye Party, “Magnolia”
I can’t remember when I first heard this song, I think Mikey handed me a homemade tape of [his] Stray Sparks EP at a show we were both at. I already loved his sensitive yet anthemic guitar songs, but I was blown away by these experiments of cut-up radio programs and warbly choral samples.
The Spookfish, “The Tower”
When Dan and I were both living in Brooklyn at the same time, he was prolific, playing his nylon string guitar and microKORG synth almost every week at basements and rooftops and DIY spaces. I like how finger-picked guitar often evokes rolling hills and cozy, crackling fireplaces, but instead Dan subverts it to be very haunted and original.
Gia Margaret, “Hinoki Wood”
This is the opening track from the cheekily named album Romantic Piano. Even though I love Gia’s other work, I slept on this one because I was in the throes of finishing my record. When I finally was able to treat myself to new music, this was one that really stuck out. The compositions are great from beginning to end.
Işık Kural, “tırı-rii-ri”
This is off of Işık’s instrumental album, peaches, where the chance loops of field recordings are mixed together with extremely careful melodic ideas to make something so subtle it’s barely there, yet it infuses the air with a type of magic. It reminds me of how I would feel when I used to be able to smoke weed without an immediate anxiety attack.
Colleen, “Night looping - Movement III”
I don’t say this lightly, Colleen is one of my musical heroes. Her newsletter over the years made her musical journey into a completely open book, which demystified each part of the process when I was younger. The new batch of singles seems to be focused fully on synthesizer, and I’m excited to hear how the whole album turns out.
Lau Nau, “Sessilia”
Lau Nau (a.k.a. Laura Naukkarinen) was a huge early influence of Mutual Benefit ever since a record store clerk in Austin recommended Nukkuu, which collaged the sounds of her newborn child’s toys with bells, traditional Finnish instruments, and her beautiful voice. I’m still sitting with her new album 5 x 4, which is made up of voice and synthesizer compositions, but I’m intrigued so far.
Masahiro Takahashi, “Silky Lake”
I find Masahiro’s music to be very peaceful. I got his previous album on cassette and had a season of always wanting to play it during the mundane moments in our living room. “Silky Lake” continues in the same vein with vibraphone rippling until synths dance on it like little water bugs.
Flore Laurentienne, “Soir”
I admit this is a bit less “liminal” than the other songs, but I love this album and I wanted to go out with a bang. “Soir” is a meshing of neo-classical and pop sensibility—the sort of song that feels like it is soundtracking something dramatic happening in your life even though you’re just out running errands.
