A few weeks ago at an Anthology Recordings party at Palihouse in West Hollywood, we were doing the requisite mingle wandering, when we ran into Mark “Frosty” McNeil of Dublab. He was standing with a demure woman, and matter-of-factly introduced her to me. “This is Linda Perhacs,” he said, and I nearly jumped out of my skin. Linda Perhacs' 1970 Topanga folk masterpiece, Parallelograms, has been an obsession of mine for the past six months, ever since colleague Andy Beta tossed me an email wanting to travel from New York to Topanga to interview her for a story.
When I got the pitch, I read it over, then politely declined; it was an unfamiliar name, and the Parallelograms reissue had been out for a few months already. A few days later, however, I stumbled across the disc in one of the many piles of CDs in my office, and popped it into my car stereo on the drive home. What followed was one of those glorious moments that every music fan pines for: the music hit like a diamond bullet to the heart, and within 45 minutes Parallelograms was my new favorite record.
I shot Beta an email back the next day correcting my obvious mistake, and green-lighting his feature idea; he responded that my initial decline was a head-scratcher to him. “Obviously, he hasn't heard the record,” he correctly surmised.
Anyway, so it was a surreal moment, knowing that this person on the other side of Parallelograms was a living, breathing person who you could, out-of-the-blue, run into at Palihouse. We talked for about a half hour, and I left the conversation even more beguiled by that mystical music and the person who made it.
“We need to be as delicate as something Japanese,” Perhacs recalls telling the musicians on Parallelograms as they were recording, one of many totally fascinating tidbits of information and insight that Perhacs reveals during Dublab's recent interview with Perhacs. Conducted by producer DJ Nobody, the revealing 45 minute discussion about the record and the artist provides a ton of new insight into Perhacs' creation. “I have a musical gift,” she says during the interview, “and I have since I was a child. But it almost exploded in me the moment I touched a guitar.”