The music that influenced Alexei Shishkin’s Good Times
Alexei Shishkin, self-described “DIY nobody of the internet void,” returns with his eleventh album, Good Times, out today via Rue Defense. Built in just four whirlwind days with Bradford Krieger at Big Nice Studio in Lincoln, Rhode Island, the record is a freewheeling mix of indie, jazz, Americana, and slacker rock—an improvisational tapestry that mirrors Shishkin’s reclusive, studio-first ethos. Leaning into spontaneity and surrealist impulses, he crafts a diary-like snapshot of a brief, unfiltered creative escape.
Here, we dive into the artists and sounds that shaped the eclectic world of Good Times.
“Good Times is a collage of spur-of-the-moment inspiration. Process-wise, the album features surrealist techniques (automatism, collage, improvisation) both in the music and the lyrics. It was created from scratch in four days at Big Nice Studio in Lincoln, RI. For me, it was a vacation and a chance to play music with friend and producer Bradford Krieger. No road maps, no strategies, no blueprints. We started with a few loose, solo bass lines from Dave Kahn, around which Bradford and I built up the album. In a way, Good Times serves as a diary that tries to capture a lucid yet fleeting, four-day escape from reality.”
– Alexei Shishkin
‘Middle of Nowhere’ by Macabre Plaza
I’ve always thought that we live in a really insane time when it comes to media consumption. Something I go to a lot is a hypothetical scenario where you could get ten random people together in a room, ask them what they’re listening to/watching, and get different answers from everybody. Hell, I’ve been in those conversations myself; catching up with a friend and being like, “Have you seen The Studio?”, and they’re like “I haven’t yet, but have you heard the new Ezra Furman album?”, and I’m like “I haven’t yet, but…” repeat ad infinitum. But I digress… if there was ever an act who represented this era of endless art and popularization of hyper-niches, to me it’s Macabre Plaza. The ideas are cool, it’s experimental yet approachable, and the tunes come and go so quick that I always hit repeat.
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‘Ultimate Painting’ by Ultimate Painting
The way the guitars sound on this album has always really struck me. They’re loose, they’re jangly, they’re tasteful. I think this band was somewhat unlucky because it feels like their arc happened during that decade where “guitar music” sort of bottomed out. Like, if they existed ten years earlier or ten years later, maybe they could’ve stuck around a bit longer. Or maybe not. I think they broke up because of creative differences, and that’s not something that’s easy to just gloss over. Whatever. I’m just glad they gave us a few great albums.
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‘Spanway Hits’ by Flake Music
Like most millennial “indie” listeners, I grew up a big fan of The Shins, but it wasn’t until I discovered Flake Music that I felt truly satisfied. This tune is the opening track of the 1997 album When You Land Here, It’s Time to Return, which actually features a song called ‘The Shins’ buried as the ninth track. To me, Flake Music was a cool discovery because it sort of reminded me of those 90’s “college rock” (for lack of a better term) acts. I specifically think that for me it drew a line to Built To Spill, and that’s why it stuck with me so much. Highly recommend.
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‘Qi Velocity’ by Peel Dream Magazine
To round out my trio of opening tracks, I’ve got this incredible tune from Peel Dream Magazine. I think this was the first tune I heard from them, and if I recall correctly, my first thought was: “Stereolab?” There’re a few things I love about Peel Dream Magazine. I love how they let their songs develop. I love how they use textures and drones. I love how they don’t overplay. Nothing ever feels gratuitous. All of these are skills I’m still trying to develop, and hopefully by listening to Peel Dream Magazine albums on repeat I’ll absorb the knowledge through osmosis (because God knows I’m not going to study/practice).
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‘Valdez Off Crenshaw’ by Terrace Martin
This tune is originally off of 2016’s Velvet Portraits, but I’ve selected the version off of the incredible album that Terrace Martin made called Curly, which was dedicated to (and named after) his father. It’s a re-imagining of Donny Hathaway’s ‘Valdez In the Country.’ Martin has worked with a lot of amazing musicians throughout his career (Robert Glasper, Christian Scott, Kamasi Washington, Thundercat, the list goes on). Of all the tracks I’ve mentioned, this one feels like the most pointless to write about. You should just listen to it; it speaks for itself. As a matter of fact, listen to both versions and the Donny Hathaway tune if you can. The main hook really is amazing, can’t get enough.
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