What does Ezra Feinberg sound like?

The review of ‘Soft Power’ by Ezra Feinberg

Four years on since his last album, ‘Soft Power’ sees New York based guitarist, composer and psychoanalyst Ezra Feinberg approaches quiet music to turn up its volume. This is a lightly jazz-infused web of acoustic guitars mixed with guest musicians adding a psychedelic flair to gentle melodies. Quietly unassuming, it’s a lovely album for Sunday afternoon strolls and late-night relaxing.

‘Future Sands’ opens the album with lush flutes and airy whistle synths that wail over the gentle guitar arpeggios. With David Lackner guesting on various flutes and electronic wind instruments, it’s difficult to tell what instrument is real and what is a synth. Its the merger of both that gives the album its character and Ezra carries that into the title track. ‘Soft Power’ is a summery strum that is full of weightless buoyancy. The lack of bass lets the brushed percussion, flutes, synths and lead guitar shimmer and glisten like an RPG beach town theme.

Ezra Feinberg often circles around the edges of chamber jazz sounding a little like outfits such as Penguin Cafe. The long repetitive rhythms and melodies of ‘Pose Beams’ allow pianist Robert Lee and granular synthist Jefre Cantu-Ledesma to freeform duet over the top. The track transitions from cosy home slice-of-life background music to an aural cascade of soft climaxes. In most albums, this would be a huge finale but as Ezra is showcasing the power of soft music, even the climactic parts are a soft caress. ‘Flutter Intensity’ brings the synth from Hot Butter’s iconic ‘Popcorn ‘, and mixes it with vibraphone and a shuffling bed of guitars.

The album’s centrepiece is ‘The Big Clock’. I’m reminded of the second disc of Kate Bush’s ‘Aerial’. This song is all about the summery guitars, light synths and fluffy drums. After a warming ambient intro, the drums and synths really get going to bring a driving rhythm that isn’t present elsewhere. The psyche synths that bend, twist and warble lean into Ezra’s psychedelic musical roots too. A near-seamless transition into the relaxing sway of ‘There Was Somebody There’ calms us further. The song evokes a sailing rhythm with its rubbery synth gracefully ebbing and flowing under breezy guitars. Mary Lattimore joins with her harp for the closing track ‘Get Some Rest’ and again, the softest plucks are in order. At times it doesn’t even sound like a harp because it’s dualling with Ezra’s guitar. Richly restorative, it is a lovely way to close the album.

‘Soft Power’ is an album that treads carefully and deftly to be unassuming yet comforting. Ezra Feinberg breathes colour and warmth into tranquillity. The rich acoustic production makes this a perfect album for summer days and gaining quiet confidence in yourself. A grower, not a shower – this is a musical pillow.

Recommended track: Pose Beams

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