UK producer joins the squad ! get familiar!

www.soundcloud.com/lapalux

Matthewdavid – International (feat. Dogbite) from BRAINFEEDER on Vimeo.

Directed by Miko Revereza. Audio featured from Matthewdavid – International EP (OUT NOW DIGITALLY) & Matthewdavid – Outmind LP (OUT APRIL 18th) BRAINFEEDER 2011.

artwork by Theo Jemison and Strangeloop

Strangeloop’s Are We Lost Mammals of an Approaching Transcendental Epoch [MOV. 2] // Breaking Open the Head // ”third industrial revolutions / dreams of a psychonautical society / the future inside / los angeles underwater / nth-d mermaids”

After the Brainfeeder 4/20 Radio session, I was so inspired that I went home, stayed up till 7am and made this whole EP thing. To me, it sounds in ways like another episode of Are We Lost Mammals … my first Brainfeeder EP. I almost didn’t know what to do with myself after the radio session, so many different musical influences all colliding … but was able to channel some of that inspiration here. So, enjoy!

CLICK TO LISTEN

Click Image To Use Trigger

Via: Los Angeles Times | Pop & Hiss |

The birdman of Brainfeeder: Teebs premieres first single off ‘Ardour’

Flying Lotus has described Teebs’ music as sounding “the way ‘Avatar’ looks.” And those familiar with the 23-year-old visual artist and musician’s canvasses would be prone to concur.
Like the Teebs-painted album cover at right, his music is a yarn ball of intense colors and peculiar crevices. His last EP was titled “Tropics,” and it boasted the spectral beauty of his artwork, with beats that bloomed with pastel color. His sound is a Gordian knot, impossible to unravel but bright as agate.

It’s a balance of the baroque with the abstract, a collision between tangled futuristic projections and everyday objects. One of his best mixes was called “2 a.m. Wine,” and it captured Teebs’ ability to project an Ambien-addled aesthetic — a gauzy, gorgeous haze ideal for the witching hours.

His first single for his Brainfeeder debut LP, “Ardour,” expands on these ideas, and illustrates why it’s one of the most anticipated records within the Los Angeles beat community. Since moving from New York several years ago, the producer-artist born Mtendere Mandowa has been one of the city’s brightest prospects, a member of the My Hollow Drum collective, a frequent Dublab guest and a Low End Theory staple. Additionally, BBC Radio 1 DJ Mary Anne Hobbs included one of his tracks on her “Wild Angels” compilation.

“Ardour” is slated to be released Oct. 19th. It figures to be worth marking your calendar in advance.

– Jeff Weiss

DOWNLOAD: MP3 Teebs – “Arthur’s Birds”

VIA: WARP RECORDS

Flying Lotus – Pattern+Grid World
WAP308 – 20/21 September 2010
CD / Digital / Vinyl (including free poster by Theo Ellsworth)

Tracklist
1. Clay
2. Kill Your Co-Workers
3. PieFace
4. Time Vampires
5. Jurassic Notion/M Theory
6. Camera Day
7. Physics For Everyone!

As postmodernist space odysseys go, Flying Lotus’ Cosmogramma has confidently weaved itself into the lineage of Sun Ra and his Astro Infinity Arkestra’s Strange Strings, Nicolas Roeg’s The Man Who Fell To Earth and Afrika Bambaata’s Planet Rock…

While Cosmogramma is a monolithic convergence of 20th and 21st century musical forms, high in concept and wide in musical collaboration, Pattern+Grid World pulls the focus back to Steven Ellison and his machines. These machines are speaking (and possibly looking as well, judging by the EP’s cover) from the go, as “Clay” introduces itself in a fog of synth and vocoder and gives way to one of the many surprises here, the schizophrenic ping-ponging electro of “Kill Your Co-Workers”. Drenched in alternating melodies, it’s a synthetic counterpart to the grand string and harp arrangements of Cosmogramma, making acclaimed illustrator Theo Ellsworth’s subtly psychedelic cover image of vision-through-noise all the more intimate.

When Flying Lotus records hit their stride, all buttons labeled “pause” and “stop” disappear, and this one is no different. “Pie Face” is led by icy keys that could almost be mistaken for classic grime, before the stoned plastic marching band steps in. “Time Vampires” amazingly lands somewhere between vintage DJ Premier and Lee Hazelwood, while the stripped back bass and drum explorations of “Jurassic Notion/M Theory” are as shamanic and ceremonial as anything you’re likely to hear come out of California. If “Camera Day” brings to mind a certain crew of dungeon-dwelling ATLiens, it won’t come as much of a surprise that Killer Mike found its syrupy bounce recently inspiring.

Much of the messages surrounding Cosmogramma’s release as well as reportage on the world’s ever-emerging beat scenes has painted a picture of Flying Lotus as a patriarchal figure blazing the trail for scores of young artists with new conceptual notions of what can be done with a drum machine and a dream. While this notion is certainly not inaccurate, it sometimes overshadows the fact that FlyLo is also an incredibly singular entity. However, as “Physics For Everyone!” stutters to a close, if you listen closely you might just make out the sound of another kid in his room somewhere in the world, anxiously tapping out his first beat.

Mary Anne Hobbs is hands down one of the most important and beloved people we have been blessed to know in this musical adventure we are on. She has been the champion of Flying Lotus, and Brainfeeder et al, via her radio show on BBC Radio 1, since the very beginning. We consider Mary Anne our greatest ally, as she has almost single-handedly revealed this thriving musical scene occurring in Los Angeles to the rest of the world. Though her decision to leave the BBC did come as a surprise to us, we are confident and supportive in her movement forward in this world of fresh possibilities.

Here is her statement on the departure from BBC:

LEAVING THE BBC…

“Yesterday i resigned from BBC Radio1, after an amazing multi-dimensional 14 year career.

My last show on BBC Radio1 will be broadcast:
September 8th>>9th … Wednesday night >> Thursday morning… 2-4am
www.bbc.co.uk/radio1/maryannehobbs

MARY ANNE HOBBS will be hosting two upcoming radio shows for BBC Radio 1 in Los Angeles.
Brainfeeder and extended family will be her guests for these special episodes.
Do not miss this!

Show 1:
VOLCANO REFUGEE PARTY

20 minute back-2-back live sets recorded at the Pure Filth Studio in LA.. from:
Flying Lotus, Daedelus, Tokimonsta, TAKE, Ras G and Teebs..
Wednesday night >> Thursday morning 28th/29th April 2-4am GMT (Wednesday night April 28th 6-8pm PCT)

bbc.co.uk/radio1/maryannehobbs

Show 2:
CITY OF ANGELS SPECIAL

Matthew David’s ‘Future Sound Of LA’ mix..
The Gaslamp Killer, Samiyam & Daddy Kev in conversation about the city’s vital world leading electronic scene & playing some of their favourite music..
Nosaj Thing performing an exclusive live set

Wednesday night >> Thursday morning May 5th/6th 2-4am GMT (Wednesday night May 5th 6-8pm PCT)

bbc.co.uk/radio1/maryannehobbs

TOKiMONSTA herself sits down for an in-depth discussion on rabbit-monsters, her LA (and Korean) roots, and her must-hear engaging style of music that merges the conventional with the experimental, while still defying labels. She is a participant in this year’s Red Bull London Music Academy, and part of our series of reports from inside the program.

Via: Los Angeles Times – Pop & Hiss Music Blog

Considering how many of the contributors to Pop and Hiss are ardent admirers of the mutant bass music booming out of Hyperdub’s offices, we’d be remiss not to mention Sunday’s installment of the Brainfeeder Sessions featuring the London label’s boss, Kode 9. Redefining the “intelligent” in intelligent dance music, the PhD in philosophy from the University of Warwick will be doing an audio and visual presentation of his new book, “Sonic Warfare: Sound, Affect, and The Ecology of Fear, recently released by MIT Press. Additionally, there will be a screening of the 1995 Afro-Futurism documentary “The Last Angel of History.”

Starting at 9 p.m. at the Downtown Independent, Brainfeeder artist Dr. Strangeloop will be there to add visuals and to premiere his live sci-fi feature, “2010 (or) How I Learned to Stop Worrying and Love the Technological Singularity.” Expect something well beyond Power Point and stereotypical stoner screensaver graphics. The evening will also feature special guests, plus sets from KNXWLEDGE and the Los Angeles debut of the newest Brainfeeder signing Jeremiah Jae. This promises to be the only music show this side of an Aesop Rock/Mountain Goats double billing where bringing a dictionary is recommended.

Sunday, Brainfeeder Sessions at the Downtown Independent, 251 S. Main St. 9 p.m. $12

Teebs – Vive Solo
Solo Gallery Show:
March 1 – April 1 2010
Reception: March 5th 7PM – 9PM

Advanced Tickets available from Ticketweb HERE

Daedelus “Righteous Fists of Harmony” from DestroyRockMusic Inc. on Vimeo.

ALBUM RELEASE DATE: MARCH 23 2010

Music : Daedelus ( myspace.com/daedelusdarling )
Song : “Fin de Siècle”
Album : Righteous Fists of Harmony
Label : Brainfeeder ( brainfeedersite.com )
Director: Clay Lipsky ( goclaygo.com / destroyrockmusic.com )
DP/Editing/Animation : Clay Lipsky
Starring : Laura Darlington (The Long Lost)
—————————————————————————————

In this release for Flying Lotus’ up-and-coming label Brainfeeder,
Daedelus presents a soundtrack-of-sorts to the Boxer Rebellion. What,
you ask, could make such ancient history an inspiration for modern
electronics? Well, Daedelus has found a strange relevance to our
modern malady in these epic events of long ago…

After seventy years of China’s opium-related subjugation by Queen
Victoria and her allies, a force of resistance fighters — termed
“Boxers” by the British — rose to the challenge in 1898. Calling
themselves “The Righteous Fists of Harmony,” this secret society of
martial artists felt they held magical powers: they believed
themselves bulletproof, able to fly, and capable of raising the dead
(who would then fight alongside them). And so began the brief Boxer
Rebellion; three years later 100,000 Boxers had fallen, their magic
helpless against the cutting-edge machinery of war. The British
prevailed only to face ultimate defeat, as their empire rapidly
declined.

Daedelus endeavors to compose a requiem for the end — of beliefs, of
lives, and of an era. This elegy for a bygone battle sheds light on
our own contemporary conundrum: will our faith in modernity be our
downfall? Are we blinded by this age of wonders, doomed to be
destroyed by our ingenious inventions? Although Daedelus’ music has
always juxtaposed organic and electronic elements, they war as never
before on “Righteous Fists of Harmony,” a portrait of a tumultuous era
that came crashing to a close.

DAEDELUS – “Righteous Fists of Harmony” Tracklist:
BF006
23 MARCH 2010
Heavy Weight Vinyl / Digital

1. An Armada Approaches
2. Tidal Waves Uprising
3. The Open Hand Avows
4. Order Of The Golden Dawn (featuring Laura Darling)
5. The Finishing of a Thing
6. Succumbing To (featuring Kid A)
7. Stampede Me (with Amir Yaghmai)
8. Fin De Siècle

DAEDELUS (soon to release “Righteous Fists of Harmony” on Brainfeeder) along with NOSAJ THING and JOGGER, embark on the “Magical Properties Tour” across North America:

Feb 4th – Space 120 – Palm Springs, California
Feb 5 – Echoplex – Los Angeles, California
Feb 6 – Mighty – San Francisco, California
Feb 7 – Jambalaya – Arcata, California
Feb 8 – Rotture – Portland, Oregon
Feb 9 – Fortune Sound Club – Vancouver, British Columbia
Feb 10 – Neumos – Seattle, Washington
Feb 12 – Hodi’s Half Note – Fort Collins, Colorado
Feb 13 – Gothic Theater – Englewood, Colorado
Feb 14 – Mad Planet – Milwaukee, Wisconsin
Feb 15 – Majestic Theater – Madison, Wisconsin
Feb 16 – Lincoln Hall – Chicago, Illinois
Feb 17 – Grog Shop – Cleveland, Ohio
Feb 18 – Wrong Bar – Toronto, Ontario
Feb 19 – Le Belmont – Montreal, Quebec
Feb 20 – Le Poisson Rouge – New York, New York
Feb 22 – Kung Fu Necktie – Philadelphia, Pennsylvania
Feb 23 – Bourbon Street – Baltimore, Maryland
Feb 24 – Xscape Lounge – Richmond, Virginia
Feb 25 – 90 Proof- knoxville, TN
Feb 26 – Club 828 – Asheville, North Carolina
Feb 27 – New Earth Music Hall – Athens, GA

Via: www.thestranger.com

THE MOTHERFUCKER OF INVENTION

The Gaslamp Killer’s Hectic, Eclectic Decksterity

by DAVE SEGAL

A sunny September Sunday in Volunteer Park: Parents and their offspring commingle with the hardcore electronic-music heads at Decibel Festival’s climactic day in 2009. Onstage, a skinny, bespectacled, bushy-Jewfro’d DJ is getting hectic on the decks. Sporadically he bellows into the mic, mid-mix, big-upping and identifying the music he’s spinning, peppering his informative asides with liberal usages of “motherfucker” and other terms of endearment for the throngs of revelers who are scarfing up this maniac’s selections and exhortations. Delicate, youthful ears are being violated with vicious profanities and sounds that are both sacred and filthy, old and new, obscure and familiar, eclectic and psychedelic. After his set, which was the best of the fest for sheer showmanship and content, the crowd mobs him for GLK mix CDs and stickers—and to finish his whiskey and maybe to give him drugs. He leaves the stage CD-less and sticker-less. (Possession of illicit substances could not be confirmed.) A mother fucking phenomenon is launched.

The Gaslamp Killer (aka 27-year-old L.A.-based William Bensussen; henceforth GLK) used to include the intensifier “Motherfucking” in his stage name; now he mostly relegates it to conversation, stage banter, and Twitter posts, for which he exclusively uses CAPS LOCK. Even if he’s not billed as such anymore, the attitude behind the handle remains in full force.

GLK began DJing in San Diego’s Gaslamp district at age 17, playing to military personnel, surfer dudes, assorted meatheads, and the ladies who love ‘em—none of whom could fathom the value of what he was laying on their thick domes. In this hostile environment, GLK developed a combative spirit, if you’ll allow an understatement. For some reason, the area’s promoters kept booking GLK, even as he proudly, defiantly cleared dance floors with his “instrumental psych dirty beats.”

A self-proclaimed “neurotic Scorpio Jew” of Turkish, Lebanese, and Mexican descent, GLK initially wanted to participate in San Diego’s punk-rock scene, but he couldn’t find anyone on his wavelength and his bass-playing stank.

“Then I started listening to rap shit, and then I went to a rave and saw one DJ controlling the whole crowd like a one-man band,” GLK writes via e-mail while stuck in “worstfuxkintrafficjamever” on his way to a gig in Boston; such is his business now that he had to madly peck out his responses to The Stranger in these cramped, pressurized circumstances. “That’s when I knew what I wanted to do. So I started buyin’ records and practicing on my homie’s turntables until I saved up enough to buy my own and practiced every fucking day. The rest is history.”

A significant part of that history happens at L.A.’s Low End Theory, a weekly confab of audio research and development held at the Airliner, where GLK is an integral figure. There he swaps knowledge and inspiration before large crowds with DJ Nobody, Daddy Kev, D-Styles, Flying Lotus, Ras G, Daedelus, and other future-freaking beat scientists who have made SoCal one of the world’s most fertile post-hiphop/post-dubstep hotbeds. For the last three years, GLK has been able to focus on his DJing and production skills, and the woodshedding and frequent gigging have paid huge dividends, to the point where he’s now poised to upstage Prefuse 73 on their upcoming tour.

GLK’s DJ sets stand out from others’ due to their strange juxtapositions and rapid collision of styles and the wide range of genres he covers, which are bolstered by turntablist tricks and off-the-cuff commentary. Rampant diversity and seemingly illogical transitions reign, but rather than sounding clunky and dilettantish, GLK’s shows dazzle through his incredible reflexes and knack for making ostensibly absurd segues coalesce into the most galvanizing music-history lessons—and up-to-the-minute new-schooling—imaginable. After you peep a GLK performance, witnessing a jock perfectly beat-match in one mode all night, no matter how great the track selection, will lose some of its luster. His antics and witty, vulgar pronouncements fuel audiences to outrageous levels of excitement—and it all comes off neither as pandering nor cheesy, even as he serves as his own hype man. “I always try to connect with my crowd,” GLK humbly notes.

Shockingly, he can’t really pinpoint the source of his greatness. “My evolution is what it is and it continues to evolve… I don’t know where it comes from or where it will go next.”

What can be ascertained after a few minutes of any GLK gig, though, is a superhuman energy level that’s matched by extensive knowledge of (deep breath) old and new hiphop, psych rock from many nations, funk, soul, jazz, IDM, jungle, dubstep, and whatever hot-shit underground-club mutations are springing up tomorrow. The man is omni voracious in his consumption and absorption of music, which explains why preeminent UK crate-digger Andy Votel booked GLK at his B-Music club night and enlisted him to mix All Killer, a CD compendium blending tracks from his Finders Keepers label’s first 20 releases.

“It has been a blessing to run with Andy Votel and the B-music/Finders Keepers/Twisted Nerve crew,” GLK says. “The music they are rereleasing and playing on a regular basis blows my mind and many minds, [and will continue to do so] for many years to come. Big up to my man Cherrystones for putting me on to so much dope music, as well. Doing [All Killer] was a blast, and I hope they ask me to mix the next 20 releases in the near future.”

In interviews and onstage, GLK comes off as something of a crusader and educator for great, esoteric music, but he also attends to the more practical function of “rocking a party,” with bonus articulate body language. He describes his style as “educational with a touch of rock ‘n’ roll energy and eclectic exorcisms. My rules, no industry standards apply.”

No empty boast, that. But lest you think GLK’s simply a cocky, egocentric mofo (which he is, to an extent, but justifiably so), he bestows credit to the aforementioned Low End Theory night as a turbo booster to his aesthetics and artistic growth.

“The Low End Theory is a movement,” he states. “It’s a place where artists can truly express their full artistic selves on and off stage. Low End Theory has more support than almost any other musical/artistic movement of its kind and of its time. It has changed me and my friends’ styles a number of times over and influenced the world. I would not be the artist or the man I am without the Low End Theory.”

What you will experience at a Gaslamp Killer show is a disc jockey who works strictly in CAPS LOCK mode, his expletives flying over the dopest tracks in multiple genres, slammed together with savage grace, as the most luxuriant white-boy ‘fro since the MC5′s Rob Tyner furiously bobs. In ways that you’ve never heard before, this motherfucker will kick out the jams.

This story has been updated since its original publication.

Photo: THEO JEMISON

I kept hearing about this young jazz prodigy. My homie Thundercat, told me about his young kid who could play like piano like Chick Corea. Turns out that Dr. Strangeloop and him are good friends. I had to investigate and see what was up. All the things I heard are pretty much true.

We’ll be releasing Austin Peralta’s ‘Endless Planets’ sometime early next year.
Until then, Here’s a preview.

Austin Peralta – Cecilia (Strangeloop underwater mix) from Dr. StrangeLoop on Vimeo.

The results are in, and another member of the Brainfeeder family, TOKiMONSTA, has been chosen as a participant for the upcoming Red Bull Music Academy in London 2010. She will now be included as another member of Brainfeeder RBMA alumni along with Flying Lotus, Samiyam, and Teebs.

Toki is so psyched about her RBMA acceptance that she wanted to give away a track for download to all of our listeners, her remix of Tweet’s “Call Me”

TOKiMONSTA_tweet_callme_remix

Big thanks to the good cats at Flaunt Magazine for this dope piece on the crew.

http://flaunt.com/

performing an audio-visual set, original tunes with vids sampled from the anime masterpiece MindGame.

sooo much fun, can’t wait for the next one!

 

 

 

 

 

 

 

dr. strangeloop : are we lost mammals of an approaching transcendental epoch?

arriving june 30th

Are We Lost Mammals of an Approaching Transcendental Epoch? from Dr. StrangeLoop on Vimeo.

Well….

Lorn’s album is in the mail
Dr. Strangeloop’s EP has been delivered
the FLYamSAM EP is about to be mastered
and SAMIYAM is finally bringing us his soon-to-be-classic LP

Oh ya, and we got some of these!