“There’s a lot music that celebrates making money, and splurging if you have it. I’m inspired by those messages but at the same time don’t feel empowered. Money has set values, but to me there is no limit on human value. I’m rich without being rich. Even as we struggle, we grow. You are money. Invest…”
So waxes Jeremiah Jae on the subject of “Money”, the first single from his epic Brainfeeder full-length Raw Money Raps. Over a soft focus guitar loop and spaced out snaps, Jae flips from sun-bleached croon to a rapid beat-riding flow and then a chopped & screwed slur that practically oozes codeine.
These three vocal personae represent the songs three perspectives, says Jae, “1) The rich man expressing his disconnection with material life, 2) The poor man’s emotional struggle attaining and losing money, and 3) the dreamer who’s objective over everything is making money by any means necessary.”
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A (very) short film about alien archaeologists.
music by Monopoly
produced by Brainfeeder in association with
It wasn’t that long ago that Lapalux (a.k.a. Stuart Howard) was just another young UK producer perking up people’s ears with a hard-to-define mix of low-end-heavy, but undeniably experimental, sounds. Even when we tabbed him as a Bubblin’ Up artist last summer, largely on the strength on his then-fresh Many Faces Out of Focus EP, the full extent of his potential was only beginning to reveal itself. Then came this year’s When You’re Gone EP, released on Flying Lotus’ Brainfeeder imprint, which displayed a whole new level of sophistication and a real penchant for sonic whimsy. With this kind of skill at his disposal, we were curious to see exactly what Lapalux could do if tasked with putting together an exclusive mix for the XLR8R podcast series. Although he doesn’t actually DJ that often—he prefers to perform live—Lapalux quickly proves that’s he’s more than capable of assembling a compelling mix. His selections come from both sides of the Atlantic and could individually be tagged with an assortment of inadequate genre names—bass music, beat music, witch house, screw, experimental—but ultimately, it’s clear that they all bear some relationship to hip-hop while only rarely sounding anything like traditional rap music. He’s clearly taking notes from a rich palette of influences, and though this podcast still doesn’t allow us to put Lapalux in a neat little box, it does provide an interesting window into the sounds that make him tick.
01 Cepia “L2″ (Ghostly International)