M Ross Perkins // The Eisenberg Review Interview
Photo by Whitney Pelfrey
Across his first two records, M Ross Perkins crafted a vividly warped brand of psychedelic pop — replete with jangling textures, sideways turns, and earworm melodies. But on his third full-length, What’s the Matter, M Ross?, the Dayton, Ohio multi-instrumentalist turns the lens inward. Self-recorded from top to bottom, it’s his most lyrically personal work to date, tracing a spiritual and creative recalibration that’s equal parts cosmic and confessional. The flourishes of Nilsson and Richman remain, but the songs here feel more grounded, tethered to the quiet act of showing up — for yourself, for others, for the song.
When we spoke, Perkins was in a reflective place. We talked about the discipline and spiritual resonance behind making What’s the Matter, M Ross?, why Rick Rubin gets it wrong about audience coming last, and how the city of Dayton has impacted his sound. He also made the case for Cleveland’s Bill Fox as the greatest living songwriter — and, yes, shared his lifetime tally of Galley Boys from Swenson’s.