One of the early tracks “leaked” from the latest Flying Lotus album You’re Dead, “Coronus, The Terminator” is the second to receive a video. Still one of my absolute favourites on the record, I love it for pretty much the same reason I loved “Getting There” on the previous album. Directed by Alex Takacs aka Young Replicant.
As the year comes to an end, there are plenty of albums worth considering the best of the year. Here’s one that snuck onto my list in the (almost) last minute. I first came across Hashman Deejay‘s music through one of the best Hessle Audio shows of the year: the Pender Street Steppers special aired last summer. That’s really when I first got aware of Vancouver’s Mood Hut label and its associates, one of them being Hashman. Among the tracks played on the show that stuck with me in particular was “184”, and as life sometimes goes, I only re-discovered it by pure chance when going through this week’s Bleep newsletter. And this is where I came full circle, as the track is taken from Hashman Deejay’s new album “Sandopolis”, which is out now on Max D’s Future Times label.
Not as obvious as some of the bigger titles this year, but I’m sure I’m not the only one who anticipated the release Lord RAJA‘s debut album on Ghostly International. Following his seminal releases on the Astro Nautico, it was only a question of time when some bigger label would sign the 22 year old producer from New York. With label mates such as Dabrye, Com Truise or Shigeto, the Ann Arbor-based label looks like the right choice. So, finally, the wait is over: “A Constant Moth” is available as of today! If you haven’t had the chance to listen to any of the upfront leaks, like the tune featuring Jeremiah Jae, you can stream the album in full in the SoundCloud widget above.
I have said it before and I will say it again: I do understand all the criticism about Spotify, Rdio and other streaming services, the payments models are far from ideal. Always having been the person to actually buy records, to me streaming services are a great way to try-before-buy. The new album released under Dave Huisman’s 2562 alias was released about a month ago and —like his other records— has not been available on Spotify ever since. I’m glad he decided to share the stream on his SoundCloud page, otherwise it might have slipped off my radar altogether.
“The New Today” is available limited edition LP from all good record stores, including Clone, Rush Hour and Boomkat. For digital options, you can also buy the record from Bleep or iTunes.
Luke Vibert gives the drummer some on his remix for FaltyDL, the original take from latest album In The Wild. Since the track is not part of the obscurely named ///I\II\\\\ EP, I’m going to assume there is more new music to come from Drew Lustman in the near future. Will keep you updated once more details have been revealed!
However, Luke Vibert has revived his Amen Andrews alias to release a new EP on FaltyDL’s Blueberry label. You can grab your copy here!
Los Angeles’ Ross Harris is a frequent collaborator with Stones Throw, having directed videos for Aloe Blacc or Mayer Hawthorne. His latest video is for Mndsgn’s “Camelblues”, a track taken from his Yawn Zen album released only a couple of weeks ago.
Lone’s Airglow Fires is a hard one to beat when it comes to choosing favourites from his last album Reality Testing (though I don’t really associate the track with the album, since it was first released a year earlier already!). However, “Restless City” is another favourite and it just received a video from the ever amazing Ruffmercy, the Bristol-based video artist (or artists?) responsible for manygreatvideos.
“Reality Testing” came out in June this year on R&S Records.
MATOM is the joint effort by Cagedbaby and Radio Slave‘s Matt Edwards. I discovered their album earlier this week and thought what bad luck it is have your record out the same week as You’re Dead, but in fact “Love Mistakes” was released in September already. There’s a lot to like about the record, most importantly it put me in the state of mind of the firsttwo Carl Craig albums or my all-time favourite compilation Soul in Motion, machine-made music with a soul. For me tracks like “Experiment One Variation Three”, “Hansa”, “Piano Two Variation Four” and the title track were enough to consider a purchase. My favourite record to come out on Planet E in a very long time!
You can buy your copy of “Love Mistakes” on BleepiTunes and all good record stores.
Flying Lotus told the story behind each track on his new album You’re Dead! on his Twitter feed:
“Theme” was really what led to following through w the concept (1). Originally called “Jodorowsky” (2). Kamasi and me really built this one (3).
“Tesla”. Was so much fun cuz it was when Herbie [Hancock] and me and Thunder started things up (4). This moment spawned the rest of it (5). This song was the spark of the album. Which is why I wanted it close to the front. Most of this album feels like it’s chronological (6). For the most part everything was recorded separately n my home. I’d work w musicians like samples (7).
“Cold Dead” started from a iPhone voice memo. I sang the ideas and Thunder helped me bring it to life (8). All those operatic voices n this are me singing thru some toys (9).
“Fkn Dead” was the hardest to make. Trying to find the balance of live drums and sampled drums (10). Me singing textures again on this. Brandon Coleman killed it (11). None of this album would be possible without Thundercat (12). He and I came up w the concept (13).
“Never Catch Me“. Kendrick came thru and recorded to this song at the crib. Came alone. With a hoodie over his head. Ready to work (14). He wrote it on the spot and laid it down (15). I sang this part to him and he recorded it. He killed it (16). The second half of this song was called “Ramen Wars” (17). One of the most fun days ever (18). All these layer vocal ideas at the middle and end were inspired by Queen (19).
“Dead Man’s Tetris”. This might be the oldest beat on the album (20). Hard for me to write to my own beats. This was the hardest (21). That’s Earl Sweatshirt saying shit n the background sometimes (22). Snoop’s part almost didn’t work so I had to rework the beat at his moment (23). He was really into the concept. He was like. “U know I made a song like this called murder was the case” ummm. Yea I heard of it (24). Joker cameo (25).
“Turkey Dog Coma” is the most complex arrangement I’ve ever made (26). Another one made with me and Thunder. I sat next to him and we sang all these moments part for part (27). Miguel wrote some strings. Brendan Small does this Brian May like riff around this part (28). There’s so many recordings in this song (29). There was a point where this was the last song on the album (30).
“Stirring” I made with a friend named Jeff Lynne he and I went to high school together and we reconnected and did this song (31). A friend of ours had passed away recently and it made me want to do something dedicated to him. Rip Nick Terry (32).
“Coronus, The Terminator” is special to me for so many reasons. First song I made in my new home. First song I really went for the singing (33). Niki Randa always makes me sound good tho (34). Mac Miller came thru when we were workin on this beat. He wanted it for himself. Almost considered that (35). I literally wrote this song off top. About the Terminator (36). It’s playfully serious (37). The ending part is so coo (38).
“Siren” song was originally intended for Pharrell. I imagine the pocket still (39). I love the way it worked out tho. Angel Arlene and Niki worked this one out really fast. I wrote the draft and it just blossomed (40). I have trouble opening up this session now. It’s corrupted. So. This is it (41). This part is Thunder’s fav part of the album (42).
“Turtles” was the one that almost didn’t make it on the album (43). Such a big Morricone. Sample. I thought it would be more trouble to keep it than it was worth. I’m glad I did because I really do like it (44). People keep telling me they love turtles makes me die laughing. (45). I almost had Laura Darlington sing on this but I think there’s charm in the simplicity of it (46).
“Ready Err Not” is my mischief song (47). There will be a video for it from one of my favorite animators of all time (48). There’s a version of this song with Chance the Rapper freestyling on it it was real dope too. I sometimes play it in my live show (49).
“Eyes Above” was made in a funny situation (50). I made this beat with FKA Twigs and Niki Randa in studio (51). Kendrick has a verse on this song that can’t come out I guess (52). “Eyes Above” without Kendrick still breaks my heart (53).
“Moment of Hesitation” was started with me and Kamasi. He’s a horn player but had him on the keys with Herbie too (54). Herbie just came thru and killed it (55). It was dope to introduce him to Dilla’s music/sample flips (56).
“Descent Into Madness” was Thundercat’s song I hijacked (57). He started it and I begged him to let me finish this song. I had visions instantly (58).
“The Boys Who Died in Their Sleep” Was gonna be on the Cap album (59). I tried to my best Dr Rockso impression (60). I never had a drug overdose by the way. Re: That Fader story (61). Vicodin is the new heroin (62). Austin. . . (63)
There’s a version of “Obligatory Cadence” with me singing about a dream I had once about a deity who took me into the clouds and showed me.. (64) a world without darkness (65). All my fam and friends were there. Watching me being taken into the sky. The deity shed it’s light on the earth. The light was almost silver (66). She told me that I’d never ever die (67).
“The Beyond” is dedicated to an unborn child (68). A light (69). Fantastic Planet [La planète sauvage] inspired this song. Musically (70).
“The Protest”. Is the most important statement of the record. It’s the spirits gathered. Remembering we never die (71) Our influence lives on forever. Our love lives on forever (72).
I knew that when I set out to make this record I’d lose some people with the concept but I didn’t do this shit to be crowd pleasing (73). What ever happens, I know I did what I set out to do (74). With minor heartbreaks (75). Truth be told going the ‘easy way’ is tempting sometimes but I was like fuck it I’m gonna make something only I can put together (76). A lil self indulgent? absolutely. Thats kinda the point. If you ask me. I had to tell my story! (77)
So it’s here, as everybody on the planet already knows the new Flying Lotus album You’re Dead! is out now on Warp Records. In the last couple of weeks, I was overcome by the same awkward feeling that returns whenever there’s news about an album by Los Angeles native producer Steve Ellison. It’s an unsettling mix of fear, doubt and skepticism. What if he might has lost it, sold out. The big marketing machinerey surrounding such an event certainly plays its little part in this, for I don’t really care about those leaked tracks. Especially when I know a Flying Lotus track is best enjoyed in the context of the full album it’s released on — which at this point is still weeks away.
Anyway, I’m glad to say that there’s nothing to fear or doubt, Mr. Ellison outpaced everything you had in your books, doing it in such ease. So this is his jazz record? It’s what a jam session with Thundercat, Herbie Hancock, and rappers Kendrick Lamar, Snoop Dogg and alter ego Captain Murphy sounds like? The Kendrick Lamar collaboration is a good example for those feelings I described in my intro, for I have to say I wasn’t exactly blown away when I heard it for the first time. But now it works so much better hearing it in the context of the full record. There are a lot favourites to choose from, yet interestingly for me it’s those little interludes with just him and Thundercat noodling on the bass, that I love the most. Well, „Coronus, The Terminator” has been a charmer before (by the why, who is singing on there?) and “The Protest” is an equal masterpiece.
You can buy your copy of „You’re Dead!” just about everywhere (Boomkat, iTunes, I said everywhere!) or stream it on Spotify. There’s an limited box set including the instrumental LP and I think you can only buy it on the Warp-associated Bleep store.
Auckland’s hip-hop collective @Peace and the Plutonian Noise Symphony released their brilliantly odd/oddly brilliant debut album back in March this year. Good things come to those that wait and six months from the digital album, the group releases its self-titled record on vinyl. I’m not sure whether to trust that “sold out” badge on their Bandcamp page, you sometimes get to see that with items that aren’t yet available. But then again, you lot surprise me all the time with your disinterest in vinyl, so maybe you just want to listen to the stream or buy the digital album. In any case you should download this free track you can hear above!
Oh, and should you be in New Zealand in October, why not check one of their live gigs while there?
As mentioned before, Los Angeles’ beatsmith Mndsgn released his debut on Stones Throw following a series of beat tapes. I’m still undecided whether I’m going to grab myself a copy on vinyl or if the Spotify stream does it for me, but it’s certainly a record that deserves a couple of listens. If you haven’t had a chance to listen to Yawn Zen, this new video by PBDY might be a good starting point.
I guess I have been out of the habit to buy CDs for many years by now, but I remember the inexplicable practice to put extra tracks on the Japanese version of almost every album. And how many I bought just to get them. These it’s a bit easier to catch a glimpse of this continuing practice. FaltyDL for instance shared the bonus track of his excellent new album In The Wild on his SoundCloud profile. Judge for yourself whether it’s a worthy addition or just a random extra to please the industry.
Oh, and since we’re at it, don’t miss the FaltyDL guestmix on the latest Beats In Space radio-show (or listen back to his previous one!)
If you count in the video for the Paul White-produced ODB, then this isn’t the first encounter between the London beatmaker and video artist Ruffmercy. But this is just me obsessing about the footnotes, maybe. What’s more important, we got another new song from the forthcoming R&S debut by Paul White. And I have to say now I’m more curious than ever to hear what he has come up with, it’s very different for sure.
Titled “Shaker Notes”, the album will be available on September 29, 2014. Pre-orders available directly from the label.