Today’s guest post is by my colleague at work, Will Peischel, who first made a cameo on this newsletter in the Blithe Field letter. The way that I listened to Delroy Edwards during college is the way I listen to it now: as a form of escapism. The motif is always Los Angeles, and Edwards goes to great lengths to construct a photo negative of the Tinseltown, without the glitz or timelessness. Through his tracks and the label he houses them on, LA Club Resource, a 1990s anti-Hollywood emerges in decrepit, analog glory. There’s a brief video documentary on Edwards on Youtube, where he describes the inspiration for his motif. “I’m obsessed with the city because it looks so sleazy, parts of it,” he told the interviewer. That he gives the interview from a street-salvaged floral grandma chair in his apartment adds effect.
Delroy Edwards
Delroy Edwards
Delroy Edwards
Today’s guest post is by my colleague at work, Will Peischel, who first made a cameo on this newsletter in the Blithe Field letter. The way that I listened to Delroy Edwards during college is the way I listen to it now: as a form of escapism. The motif is always Los Angeles, and Edwards goes to great lengths to construct a photo negative of the Tinseltown, without the glitz or timelessness. Through his tracks and the label he houses them on, LA Club Resource, a 1990s anti-Hollywood emerges in decrepit, analog glory. There’s a brief video documentary on Edwards on Youtube, where he describes the inspiration for his motif. “I’m obsessed with the city because it looks so sleazy, parts of it,” he told the interviewer. That he gives the interview from a street-salvaged floral grandma chair in his apartment adds effect.