On this episode of Discologist, Eduardo and Kevin are spinning new-to-you tracks from Chicago singer/songwriter Lillian King, free jazz from revered saxophonist Alan Braufman, and modern folk by way of Arkansas from Willi Carlisle.

PLUS! DOJ is telling Live Nation and Ticketmaster that they just can’t be that into each other anymore, Apple Music drops the ultimate clickbait listicle, and more!

Dive into fresh neo-soul from Raye, explore indie-pop from The North Country, chill out with the musical collective Hour, and get electrified by Castle Rat’s D&D-inspired rock PLUS! Phish at Sphere, the hype machine and Cindy Lee, Taylor Swift’s return, A.I. Randy Travis, and more on an all-new edition of Discologist!

Bruce Hornsby returns with Non-Secure Connection, his most out-there set of songs in years, and Madeline Kenney is reminding us how awkward love can be on her sugary new LP Sucker’s Lunch.

PLUS! New music from garage rockers L.A. Witch from their upcoming LP Play With Fire!

It's likely that we'll look back at 2017 as the year almost everything fell apart, downerism ruled the land, and we came very close to being broken as a people. 

But we didn't break. We made it. And on this final installment of ChunkyGlasses: The Podcast for 2017, we're discussing the music that lifted us up, dropped us down, and sometimes even showed us the way, but never, ever let us down.

Thanks for tuning in all year. We'll see you soon. Until then be good to your ears, but be better to your people...

Moses Sumney has a voice from out-of-this world, and soul as deep as an ocean. On his debut LP, Aromanticism, the Los Angeles singer/songwriter swimming in a genre agnostic sea and coming back to land with one of the most unique, and best, albums of 2017. Marcus J. Moore (Senior Editor, Bandcamp) and Marcus K. Dowling (Decades, Capitol Wrestling) join Kevin in the basement to discuss this modern masterpiece.

PLUS! Aaron Abernathy's latest Dialogue (out 10/16) takes a hard look at the world we live in today and offers up some soulful answers in response. Get a listen to "Children Of The City," the first single from this modern masterpiece and #BeAPartOfTheDialogue.

First there were whispers. Then there was a video. And finally, after years of waiting there was a debut album. And just like that, Washington, DC "supergroup" The El Mansouris were gone.

Tune in as we dive deep into a minor masterpiece by a band that barely existed, but left a hell of a mark in the short time they had. 

PLUS! Tidal Talk is BACK, and now living in our darkest timeline where Net Neutrality is on its last legs and Justin Bieber is the only state approved music for the masses.

OK. That last part isn't true YET, but seriously guys...it's starting to look bleak out there.

PS. We've also got seven minutes of fresh PAIN from our friend Seán Barna for ya.

Freetown Sound, the latest LP from Blood Orange (aka singer/songwriter and composer Dev Hynes), was already one of the most anticipated releases of 2016 when it dropped. But nobody could have been prepared for the seemingly infinite amount of sonic truths, social commentary, and emotional revelations set free with each successive listen.

 Great albums are easy to spot coming down the pipe. Important albums only come along when they’re most needed. Freetown Sound is both.

Come hang out with Kevin, Marcus K. Dowling (Getting Over) and Marcus J. Moore (Senior Editor, Bandcamp) for a spell to get to the bottom one of the best albums of the year.

And speaking of "best albums"..

Aaron "Ab" Abernathy's Monologue, a potent mix of old school funk, jazz, and good old-fashioned songwriting, is coming soon. Whet your appetite with the first single from this remarkable album, "Favorite Girl".

A few years ago in the small town of Washington, DC, Maddy Wolpow-Gindi and Quinn Meyers (along with the steady hand of friend Jordan Grobe on sound) set out to host a few rock shows at their shared space above a Cajun restaurant known as The Bayou.

Over the course of two years that space which started out just hoping to turn out "a few rock shows" turned into one of the most vibrant and vital music venues the nation's capital has ever seen.

But all good (great) things come to an end, and so it was that the last bittersweet notes rang loud from Above the Bayou's withered bay windows out into the streets of DC in May of this year. 

Dead is dead, and the past is the past, but there are always stories to be received from those who were there.

This is theirs.