With Yeah, mostly, released January 9, 2026 via Fat Possum Records, Will Epstein delivers an intimate 11-track meditation on routine, time, and the quiet weight of everyday life. Recorded at home on an eight-track tape machine, the album leans into unedited vocals and small imperfections, turning domestic spaces into sites of reflection. We spoke with Epstein about embracing tape hiss, writing about dishwashers, and finding meaning in the ordinary.
Q: This album feels incredibly intimate. What headspace were you in while making it?
Will Epstein: I was thinking a lot about how most of life isn’t dramatic — it’s just small repetitions. Standing at your desk, loading the dishwasher, looking out the window. I wanted to honor that space instead of reaching for something bigger. The songs came from noticing those moments and letting them be enough.
Q: You recorded on an eight-track tape machine and kept the vocals unedited. Why commit to that approach?
Epstein: I didn’t want to sand off the edges. If my voice wavers or cracks, that’s part of the emotion. Recording to tape forces you to live with decisions. It keeps things human. I like when you can hear the room and feel that it happened in real time.
Q: You’ve mentioned being influenced by Lou Reed’s The Blue Mask. What resonated with you about that record?
Epstein: It’s the honesty. Reed wasn’t hiding behind metaphor — he was direct, sometimes uncomfortably so. I wasn’t trying to copy his sound, but I was inspired by that willingness to examine ordinary moments and let them carry emotional weight.
Q: Songs like “Standing at My Standing Desk” and “Dishwasher” take everyday tasks and turn them into reflections on time and agency. Did those themes come naturally?
Epstein: They did. I think routine can either feel suffocating or grounding. I was exploring that tension. There’s something existential about repetition — it makes you question where you’re headed, but it can also be comforting. I like that duality.
Q: The arrangements are subtle but textured, especially with contributions from Austin Vaughn and Zosha Warpeha. How did collaboration fit into such a personal project?
Epstein: I wanted the core to feel homemade, but I also love what other musicians bring. Austin added this understated rhythmic pulse that never overpowers the songs. Zosha’s hardanger d’amore created these beautiful overtones that felt almost cinematic without being flashy. It’s still intimate, just with more color.
Q: The album is just over 30 minutes long. Was that intentional?
Epstein: Yeah. I didn’t want to overstay. The songs say what they need to say and then step aside. There’s something powerful about leaving a little space at the end.
Q: What do you hope listeners take away from Yeah, mostly?
Epstein: I hope it gives them permission to value their own small moments. Not everything has to be monumental. Sometimes life is just “yeah, mostly” — and that’s okay.
