The debut record from Salami Rose Joe Louis on Brainfeeder is out August 30th

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Taken from the album ‘Zdenka 2080′, released 30 August 2019 on Brainfeeder

Video by Japhy Riddle

Out Aug 2nd on Brainfeeder

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oldie but goodie – 'toothbrush' out now on @BRAINFEEDER !!! 12" out early august … https://t.co/9fNIkAqQN1 pic.twitter.com/R3vQT9ApoP

— dorian concept (@dorianconcept) July 3, 2019

Dorian Concept performing “Toothbrush” LIVE

His two track 12″ is out Aug 2

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Out Now

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Little Snake continues his mission to inspire change within electronic dance music, returning to Brainfeeder with a fresh collection of DJ tools expressly built to turn dancefloors upside down and inside out. “LOST IN SPIRALS EP” is the literal translation of the feelings that Little Snake (real name Gino Serpentini) attempts to invoke in the execution of these tracks, drawing on math rock, textural noise, acid techno and jungle, and striving to translate the impossible, intangible spiralling feeling deep within himself, but still maintain a drum pattern.

Residing in Calgary, Alberta – Little Snake’s music balances intricacy with explosive bass weight and his tracks have become a staple in Flying Lotus’s DJ sets. FlyLo described his productions as “fkn insane” and promptly signed the 20 year old to Brainfeeder in 2018 to release “ENTER” EP (inspired by the Gaspar Noé film Enter The Void) and also contribute to the label’s tenth anniversary compilation “Brainfeeder X”.

Out Now

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In 2017 Jameszoo opened Amsterdam Dance Event with a very special collaboration with Jules Buckley and the Grammy-Award winning Metropole Orkest at the iconic Melkweg concert hall. The recordings of this momentous collaboration will be released via Brainfeeder on 17 May 2019.

The magic and the chemistry in the room that evening was both exhilarating and heartwarming as Buckley – Chief Conductor of the Metropole Orkest since 2013 – led the 49-piece orchestra, plus Richard Spaven (drums); Niels Broos (organs, synths, Rhodes); Frank Wienk aka Binkbeats (percussion); John Dikeman (saxophone) and Mitchel van Dinther aka Jameszoo (electronics, synths and Wurlitzer) on a truly joyful journey, elevating compositions from van Dinther’s 2016 album “Fool” to transcendental realms.

“This was as wonderful as it was frightening,” says van Dinther. “I was in great hands being guided by Jules and the orchestra. Because of them I could hear my compositions flower.”

Jules Buckley describes the collaboration as “a really open and rewarding process. Mitchel’s mind rolls in a different way and so, tapping the orchestra into those avenues – for me – created some really beautiful and unusual results I’m really proud of.”

Jameszoo released his debut album “Fool” in 2016 via Brainfeeder. A curious, at times downright awkward, but thoroughly enjoyable blend of jazz and off kilter electronics, it was heralded by Pitchfork for its playful hybridity, free spirited character and innovation: “It bursts at the seams with ideas”. The record featured cameos from two outright legends: Brazilian composer Arthur Verocai and pianist Steve Kuhn; bassist Thundercat; keyboardist Niels Broos and drummers Richard Spaven and Julian Sartorius.

“The Seroquel Tapes Vol. I is a collection of handpicked trap/rap tunes slowed down, chopped up, and screwed..”

available now at: http://bit.ly/seroquel1 

PREORDER/STREAM ‘Melkweg’ out May 17th

In 2017 Jameszoo opened Amsterdam Dance Event with a very special collaboration with Jules Buckley and the Grammy-Award winning Metropole Orkest at the iconic Melkweg concert hall. The recordings of this momentous collaboration will be released via Brainfeeder on 17 May 2019.

The magic and the chemistry in the room that evening was both exhilarating and heartwarming as Buckley – Chief Conductor of the Metropole Orkest since 2013 – led the 49-piece orchestra, plus Richard Spaven (drums); Niels Broos (organs, synths, Rhodes); Frank Wienk aka Binkbeats (percussion); John Dikeman (saxophone) and Mitchel van Dinther aka Jameszoo (electronics, synths and Wurlitzer) on a truly joyful journey, elevating compositions from van Dinther’s 2016 album “Fool” to transcendental realms.

“This was as wonderful as it was frightening,” says van Dinther. “I was in great hands being guided by Jules and the orchestra. Because of them I could hear my compositions flower.”

Jules Buckley describes the collaboration as “a really open and rewarding process. Mitchel’s mind rolls in a different way and so, tapping the orchestra into those avenues – for me – created some really beautiful and unusual results I’m really proud of.”

Jameszoo released his debut album “Fool” in 2016 via Brainfeeder. A curious, at times downright awkward, but thoroughly enjoyable blend of jazz and off kilter electronics, it was heralded by Pitchfork for its playful hybridity, free spirited character and innovation: “It bursts at the seams with ideas”. The record featured cameos from two outright legends: Brazilian composer Arthur Verocai and pianist Steve Kuhn; bassist Thundercat; keyboardist Niels Broos and drummers Richard Spaven and Julian Sartorius.

Congrats to Louis Cole for winning the Digital Award at the 2019 JAZZFM Awards!

BUY/STREAM ‘Time’ Out now

The official trailer for ‘Perfect‘ is here.

Directed by Eddie Alcazar, with music from Flying Lotus.

Executive produced by Steven Soderbergh.

Starring Garrett Wareing and Abbie Cornish.

Opening in theaters in NYC on May 17 and in LA on May 24

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Off the forthcoming album ‘Flamagra’ out May 24th on Warp Records

Preorder the new record by Flying Lotus out May 24th

Video directed by Steven Ellison & David Firth

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‘FLAMAGRA’ the new album by Flying Lotus coming out May 24th

A new monthly event is here…

PBDY Presents: ‘Everything + Nothing’

“A Monthly Excursion Of Like Minds Progressing The Future”

Upstairs at Ace Hotel DTLA – 8:30pm-1:30am PST – 21+ – Free – Wed April 17th

Guests: Daedelus & Prince Josh

Georgia Anne Muldrow (@JAHJAHMULDROW)- Tiny Desk Concert is here! (@nprmusic @NPR) https://t.co/dWJpAbLTt5 pic.twitter.com/XhWmirvyXg

— BRAINFEEDER (@BRAINFEEDER) April 8, 2019

Georgia Anne Muldrow is all about showing and spreading love. That fact became clear as we discussed the set list for her Tiny Desk performance. She and the band were floating the possibility of swapping the duet with her partner in music and life, Dudley Perkins with another song. But she decided it was more important to showcase their shared love on the song “Flowers,” originally from Perkins’ 2003 album A Lil’ Light.

The first song I ever heard from Georgia Anne Muldrow, back in the early 2000s, was called “Break You Down.” The opening line spoke directly to my experience as a twentysomething coming into my own:

“Don’t let them make you forget who you are
Don’t let them break you down”

I later found that she wrote, produced and performed that song when she was only 17-years old. She possessed talent and perspective beyond her years and I became a fan.

Some time would pass before she eventually released her debut album, Olesi: Fragments of an Earth, in 2006. Since then, she’s released well over a dozen, mostly self-produced projects. While much of her music’s focus has been on the healing, preservation and education of African American people, the themes are universal: family, struggle and of course, love. The beats are a combination of J Dilla and Battlecat while her voice carries soul that sounds like it was groomed in the backwoods of Jackson, Miss. She’s also made a name for herself as a collaborator with artists that include Madlib, Mos Def and Erykah Badu, with whom she introduced the notion of “staying woke” to the world, years before it was appropriated as a hashtag.

During her set, Muldrow performed, reworked and animated versions of the song “Flowers,” along with two selections from her latest album, Overload, including an extended and jazzy version of “Ciao.”

SET LIST

• “Overload”
• “Flowers”
• “Ciao”

MUSICIANS

Georgia Anne Muldrow: lead vocals, bongo drum; Dudley Perkins: vocals; Bronson Garza: bass; Renaldo Elliott: drums; Mokichi: keys

In the early 2000’s, Los Angeles cultivated an underground hip-hop beat culture, where every budding producer were on the same wavelength, experimenting like mad scientists in laboratories, and producing their next instrumental masterpieces.

A community formed around these artists who crafted a lo-fi, gritty sound that warbled and hissed like worn cassette tapes and vinyl. Glitched effects, samples and loops—driven along by a minimal kick/snare/hat groove—were created and performed on the Roland SP-404 Sampler.

This video shares memories from Dibia$e, Flying Lotus and Ras G but barely scratches the surface of a scene that grew from the roots of Project Blowed, Sketchbook, Boombox and Low End Theory. Now, from dedicated YouTube channels to SP-based Beat Maker showcases to loyal online communities, this underground beat culture from L.A has now found a global home.

‘The Nature of Imitation’ Out Now

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Preorder @IGLOOGHOST’s “Clear Tamei / Steel Mogu” clear vinyl 12” now. It comes with a comic strip documenting an ancient 3000 year old myth from Mamu. Out on 12 April 2019 via Brainfeeder.https://t.co/WSqlcNcsMI pic.twitter.com/Zh8LC5NzY3

— BRAINFEEDER (@BRAINFEEDER) March 25, 2019

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Limited edition clear 12” vinyl pressing of Iglooghost’s “Clear Tamei” and “Steel Mogu” EPs on Brainfeeder. Variously described as “hyperactive, maximalist and alien”, “sharp and craggly”, “effervescent and menacing”, “poppy and industrial”. Includes comic strip documenting an ancient 3000 year old myth from Mamu. Artwork by Iglooghost.

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New EP “Live Sesh and Xtra Songs” comprises six unreleased songs and three live session tracks recorded in a house with a huge big band (heavy on the brass and wind sections) including Nate Wood and Ben Wendel from Kneebody, Jacob Mann, Sam Wilkes and Genevieve Artadi to name but a few.

“The live session was the day after my “Time” album release show in LA, so I just used the same band. I also got five of my friends to wear beekeeper suits to film and record the audio. Beekeeper suits are really cheap by the way. At the end of the day I had three really nice takes of those songs. We accidentally left the air conditioning on, there were cars driving by, aeroplanes, people living in the house, and I think at some point you can hear all of those things in the recordings which is perfect to me. The whole day was slightly blurry because I was frantically trying to lead the whole session and band, while trying to play the songs right (I messed up the ‘F it Up’ solo intro pretty much every time besides that final take), while also trying to problem-solve in the moment (microphones, snacks and shot placement), but the whole day felt like pure magic. So many friends coming together.”

“Live Sesh and Xtra Songs” is Cole’s first new release since his fourth studio album “Time” (2018). That record featured his friend, labelmate and oft writing partner Thundercat, co-founder of Knower Genevieve Artadi, and not one, but two, piano maestros: Brad Mehldau and Dennis Hamm. Pitchfork described the album as “delightfully sly and off-kilter… an unusual mixture of hard funk and soft pop, like Zapp and Burt Bacharach stuck in an elevator together”.

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Salami Rose Joe Louis signs to Brainfeeder and releases new single ‘Nostalgic Montage’.

Salami Rose Joe Louis – the Bay Area based musician, composer, producer and planetary scientist – has signed to Brainfeeder, releasing a new single – ‘Nostalgic Montage’ – that gives fans a snapshot of forthcoming music in 2019. Furthermore, having recently joined Toro Y Moi’s “Outer Peace Tour” in the US, she will support The Cinematic Orchestra on the European leg of their headline tour in March.

“This is truly a dream come true on every level,” says Salami Rose Joe Louis. “Many of the artists on Brainfeeder have been my musical heroes for years and to join a collective comprising of such visionaries is an ultimate fantasy. I greatly admire the fearlessness and creative integrity of the artists on Brainfeeder: they are willing to take risks, ask important questions, and let their freakiness shine through, which to me is paramount and inspires a generation to challenge the script.”

‘Nostalgic Montage’ is a sneak peak into a multidimensional cast of characters she has created for her upcoming album. “I hope it resonates with existential questions about home, identity, future, and self awareness,” she says. Salami’s music may remind listeners of the eccentric spirit of Shuggie Otis, Captain Beefheart and Stereolab at their most whimsical, fused with the hazy Californian sunshine. “I remember the first time listening to George Clinton as a kid,” she recalls. “It was as if a portal to a new dimension of existence opened up. If in my career, I can even come a tiny bit close to opening up dimensions for listeners, I will be a happy human!”

Catch her on tour supporting The Cinematic Orchestra through March.

16 Mar Paradiso, Amsterdam, NL

18 Mar Casino de Paris, Paris, FR

25 Mar Vicar Street, Dublin, IE

26 Mar Royal Concert Hall, Glasgow, UK

27 Mar Sage Gateshead, Newcastle, UK

29 Mar O2 Institute, Birmingham, UK

30 Mar Manchester Academy, Manchester, UK

Leave A Commentposted in Artists by PBDY ]]> http://www.brainfeedersite.com/2019/03/14/welcome-to-the-family-brainfeeder-signs-salami-rose-joe-louis/feed/ 1 http://www.brainfeedersite.com/2019/01/23/brainfeeder-artist-series-shirt-1-ghostshrimp/ http://www.brainfeedersite.com/2019/01/23/brainfeeder-artist-series-shirt-1-ghostshrimp/#comments Thu, 24 Jan 2019 04:51:13 +0000 http://www.brainfeedersite.com/?p=14181

Our first installment of the Brainfeeder Artist series is by Ghostshrimp.

PRE ORDER NOW

Our first merch drop of 2019 is available now for purchase & preorder!

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Available on: 4LP Boxset, 2x CD or Digital Download

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For the last ten years, Brainfeeder has reminded the world that the future is only as far away as it needs to be. It’s less a label than an international conspiracy to conquer clichéd sounds, a glowing neon helix re-organizing the DNA of hip-hop and house, jazz and ambient, techno and soul, funk and footwork and every other strain of beat music that eludes compartmentalization. The Flying Lotus-founded label has become a sanctified refuge for those who believe that nothing is too weird, genre is largely obsolete, and the wildest style will always reign supreme.

It is where Sun Ra would have signed. It’s the rightful inheritor of Alice Coltrane’s most mystic and astral prayers. George Clinton technically released much of his canonical work on the Casablanca imprint, but when he signed to Brainfeeder, he seemed most spiritually at home. If it isn’t considered among the most innovative and impactful independent labels of the last decade, you probably wandered down the wrong rabbit hole on wholly ineffective hallucinogens.

In the pre-gentrified expanses of Hollywood, the Valley, and Lincoln Heights, at Dublab and at Low End Theory, the lawless sonic collusion sparked what became Brainfeeder. You can hear the formative influences of Radiohead and Dilla, Aphex Twin and Shadow, Boards of Canada and Dr. Dre, John and Alice Coltrane and Portishead, but in the Brainfeeder constellation, they assume wholly original forms. These are beats hexed with delirious sun and stronger sativa, adhering to few of the previous nodes of sound. As Lotus once said: “It’s some Braveheart shit”.

The list of co-conspirators doubles as a short list of the millennium’s best. Scan the tracklist for a reminder of these extraterrestrial Afro-Futurist odysseys, distorted and muddied psychedelia, and samba-infused hymns to the Boxer rebellion. High-powered by MPCs, DMT, and the blinding lightning bolts of invention. Brainfeeder had everything you needed this decade from glittering wind-chime glides to golden apocalypse odes to ecstasy and cats.

If the resuscitation of jazz has been one of the predominant narratives of the last several years, it’s unquestionably due to the lasting impact of the Brainfeeder confederation, via their imagination, wry humor, and total fearlessness. These are artists who exist in in-between states, the interstitial vortices between genre, who don’t merely slap together old ideas to create something new, but rise up from underneath, intuitively aware of the historic cross-pollination of ideas without being academic or pretentious. This is fundamentally LA shit, carefully franchised worldwide to spiritually aligned kinsmen.

The list of classics is scarcely contained over these two volumes – one is retrospective, the other comprises an unreleased future canon. Movements rise and fall, but the ideas espoused over the last ten orbits remain indelible. If Brainfeeder hadn’t built the future, no one else could have even dreamed it.

Dorian Concept on tour now into 2019.

TICKETS

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Umbilical World is David Firth’s feature length retrospective assemblage: 13 years worth of animated madness, stitched together to form a single stream of nightmare consciousness. With a wealth of unseen material as well as familiar classics and remastered, rejigged, reanimated nuggets. This really is the ultimate Firth feature from Salad Fingers to Spoilsbury Toast Boy, from Sock to Health Reminder.

Produced, Directed, Written, Animated and Voiced by David Firth, the DVD includes a “Making of” documentary and complete audio commentary.

David Firth is a British animator, musician and writer best known for creating dark, comedic, bizarre shorts. He’s been disturbing the internet since the early 2000s and scored a viral hit with the Salad Fingers series.

Stream @Thundercat (ft. @badbadnotgood & @flyinglotus) – ‘King of the Hill’ – featured on our 10th anniversary compilation “Brainfeeder X”https://t.co/4sBDseLpgT pic.twitter.com/38X6V7lT2f

— BRAINFEEDER (@BRAINFEEDER) October 30, 2018

The final installment of a month long takeover on NTS Radio in LA.

Episode #4 features Miguel Atwood-Ferguson (LIVE), Little Snake, Strangeloop, Timeboy & PBDY.

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OUT NOW

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Georgia Anne Muldrow releases her new album – a modern soul classic in the making – titled “Overload” via Flying Lotus’s Brainfeeder record label.

During her 12 year career she has earned the respect and admiration of listeners and peers alike via her incredible talent not only as a vocalist and songwriter spanning jazz, soul and hip-hop, but her long standing role as a producer and musician.

“You’re my Jay Electronica… you take it there,” declares Ali Shaheed Muhammad of A Tribe Called Quest. He is one of a long list of admirers including Mos Def (“She’s incredible. She’s like [Roberta] Flack, Nina Simone, Ella Fitzgerald, she’s something else.”), Erykah Badu, Dev Hynes aka Blood Orange (“She is one of my favourite musicians in the world”), Bilal and Robert Glasper who invited Georgia to perform on his “Miles Ahead” OST in 2016.

“Music is my discipline. It’s my way of meditating, it’s my way of thanking God, it’s my way of communicating… It’s my way of life,” Georgia explains. Typically working alone, her new album flips that dynamic and takes Georgia out of her comfort zone for the first time since “Seeds” (2003) which was entirely produced by Madlib. “Overload” bears the fruits of numerous collaborations, most notably with duo Mike & Keys (50 Cent, Nipsey Hussle, Snoop Dogg, G-Eazy) who contribute production to four tracks including the sleek, anthemic title track – Pitchfork ‘Best New Track’ on 25 June 2018 – alongside Khalil (Dr Dre).

“Overload [the album] is an experiment in restraint,” she explains. I pack myself into something as clear as possible with the help of gifted artists from all over the world. The live show is an experiment in interpretation. That’s when [my band] The Righteous and I unpack into a joyful noise. Both of these dynamics have been striving to balance themselves within me since birth… since wanting to record anything. And by the grace of Patience, Discipline and Devotion, a sweet spot has started to appear.”

Elsewhere Dutchman Moods and Manila’s Lustbass bring the slo-mo funk heat on ‘Aerosol’ and ‘Vital Transformation’ respectively, and Shana Jenson (Muldrow) and Georgia’s partner Dudley Perkins crop up on ‘You Can Always Count On Me’ (a cover of the Gap Band classic) and ‘These Are The Things I Like About You’. Flying Lotus, Aloe Blacc and Dudley Perkins share Executive Production credits on the album.

Themes of Love, Spirituality, Self-Actualisation are woven into Georgia’s music, but she also does not shy away from politics and has been loudly and vigorously critical of the persistent state of inequality between Black and White in the US. Nowhere more directly than on ‘Blam’ – a song about self-defence. “I believe that it has the bones of spiritual song,” says Georgia. “It’s an updated negro spiritual in aesthetic”.

Georgia was 17 when she began making beats in earnest, but first lit up the scene with her debut album “Olesi: Fragments Of An Earth” in 2006. It was at this time that Georgia met, befriended and collaborated with the likes of Madlib, Oh No, MED (fka Medaphoar), Wildchild, DJ Romes and her future partner Dudley Perkins aka Declaime. She co-founded the SomeOthaShip Connect record label with Dudley in 2008, the platform and springboard for many of her musical travels that have expanded and extended down myriad pathways. Georgia has collected many names over the years: Ms. One, Pattie Blingh & The Akebulan 5, an electro fusion collaboration with DJ Romes called Blackhouse and astral jazz outings as Jyoti – a Hindu name given to Georgia by her Aunt Radha’s friend Alice Coltrane (they attended the same ashram) and serendipitously Great Aunt to one Steven Ellison aka Flying Lotus. “She showed me so much love as a child. She knew I was going to work with synthesisers before I did,” laughs Georgia.

It is fitting that a decade on in 2018, Georgia should sign to Brainfeeder – a record label deeply embedded in LA, with a ton of shared history, shared beliefs and a united vision of the future – to release her stunning new album “Overload”.

Taken from the album compilation ‘Brainfeeder X’, releasig 16 November 2018 on Brainfeeder:

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The third installment of a month long takeover on NTS Radio in LA. Episode #3 features Teebs, Matthewdavid & PBDY.

Every Monday 12-2pm(PST) through the month of October.

LISTEN/STREAM

TICKETS

Brainfeeder 10th Anniversary

BRIXTON ACADEMY – LONDON -15 DECEMBER 2018

Flying Lotus – (New 3D Experience)

Thundercat

Ross From Friends

Lapalux

Dorian Concept

Iglooghost

+ Special Guest: Gilles Peterson

The second installment of a month long takeover on NTS Radio in LA. Episode #2 features Louis Cole, MONO/POLY & PBDY.

Every Monday 12-2pm(PST) through the month of October.

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The first installment of a month long takeover on NTS Radio in LA. Episode #1 features Dorian Concept, Daedelus & PBDY.

Every Monday 12-2pm(PST) through the month of October.

LISTEN/STREAM

‘Time’ by Louis Cole is out now on Brainfeeder

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PREORDER

For the last ten years, Brainfeeder has reminded the world that the future is only as far away as it needs to be. It’s less a label than an international conspiracy to conquer clichéd sounds, a glowing neon helix re-organizing the DNA of hip-hop and house, jazz and ambient, techno and soul, funk and footwork and every other strain of beat music that eludes compartmentalization. The Flying Lotus-founded label has become a sanctified refuge for those who believe that nothing is too weird, genre is largely obsolete, and the wildest style will always reign supreme.

It is where Sun Ra would have signed. It’s the rightful inheritor of Alice Coltrane’s most mystic and astral prayers. George Clinton technically released much of his canonical work on the Casablanca imprint, but when he signed to Brainfeeder, he seemed most spiritually at home. If it isn’t considered among the most innovative and impactful independent labels of the last decade, you probably wandered down the wrong rabbit hole on wholly ineffective hallucinogens.

In the pre-gentrified expanses of Hollywood, the Valley, and Lincoln Heights, at Dublab and at Low End Theory, the lawless sonic collusion sparked what became Brainfeeder. You can hear the formative influences of Radiohead and Dilla, Aphex Twin and Shadow, Boards of Canada and Dr. Dre, John and Alice Coltrane and Portishead, but in the Brainfeeder constellation, they assume wholly original forms. These are beats hexed with delirious sun and stronger sativa, adhering to few of the previous nodes of sound. As Lotus once said: “It’s some Braveheart shit”.

The list of co-conspirators doubles as a short list of the millennium’s best. Scan the tracklist for a reminder of these extraterrestrial Afro-Futurist odysseys, distorted and muddied psychedelia, and samba-infused hymns to the Boxer rebellion. High-powered by MPCs, DMT, and the blinding lightning bolts of invention. Brainfeeder had everything you needed this decade from glittering wind-chime glides to golden apocalypse odes to ecstasy and cats.

If the resuscitation of jazz has been one of the predominant narratives of the last several years, it’s unquestionably due to the lasting impact of the Brainfeeder confederation, via their imagination, wry humor, and total fearlessness. These are artists who exist in in-between states, the interstitial vortices between genre, who don’t merely slap together old ideas to create something new, but rise up from underneath, intuitively aware of the historic cross-pollination of ideas without being academic or pretentious. This is fundamentally LA shit, carefully franchised worldwide to spiritually aligned kinsmen.

The list of classics is scarcely contained over these two volumes – one is retrospective, the other comprises an unreleased future canon. Movements rise and fall, but the ideas espoused over the last ten orbits remain indelible. If Brainfeeder hadn’t built the future, no one else could have even dreamed it.

Leave A Commentposted in Artists by PBDY ]]> http://www.brainfeedersite.com/2018/09/20/announcing-brainfeeder-x/feed/ 0 http://www.brainfeedersite.com/2018/09/14/brandon-coleman-resistance/ http://www.brainfeedersite.com/2018/09/14/brandon-coleman-resistance/#comments Fri, 14 Sep 2018 18:47:56 +0000 http://www.brainfeedersite.com/?p=13348

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Brainfeeder is proud to present “Resistance” – a 2018 Funk odyssey by keyboard maestro, vocalist, composer, producer, arranger and astral traveller Brandon Coleman. A regular fixture in the Kamasi Washington band, wylin’ out on the keys or wielding his keytar, he is introduced onstage at gigs as “Professor Boogie” by his longtime friend and collaborator. “Resistance” represents a new chapter in the Funk dynasty that spans George Clinton / Parliament Funkadelic and Zapp through to Dr. Dre, DJ Quik and Dam Funk as the Los Angeles resident salutes his musical heroes – Herbie Hancock, Peter Frampton, Roger Troutman – and honours their ethos of freedom and experimentation in his search for Funk’s future.

“Resistance” is a powerful statement from an artist who is passionate about hybridity and innovation – stitching together threads from jazz, disco, boogie, R&B, electro, soul and Funk. “I’ve been in the studio a lot in recent years, writing with this or that artist and I always felt constrained… like I had to compromise and submit to a ‘pop’ sensibility,” he explains. “This time I just wanted to create something that was really free… something original… to incorporate all the styles that I represent, because often when I’ve tried to do that in the past it’s been met with resistance.”

The list of artists with whom Coleman has collaborated is simultaneously inspiring and exhausting. From Ciara to Mulatu Astatke and Childish Gambino to Shuggie Otis… but one of his most consistent studio partners during the last decade has been R&B icon Babyface. “I’ve learned a lot from him… working on countless projects… he would just call me at any time and say: ‘Hey man, I’m in the studio with Aretha Franklin at the piano and I want you to come in and help us arrange some songs.’ And I would be like: ‘Erm ok, I’m on my way’,” he shakes his head and laughs. “Those experiences shaped the way I hear and appreciate music”.

Coleman’s epiphany came aged 16 when he’d only really just taken up piano. “My brother gave me a Herbie Hancock record – ‘Sunlight’,” he says. “I put it on and just kept listening to it on repeat ‘cos I couldn’t fathom how he was singing like that… it sounded electric. That was it for me.” Utterly bewitched by the marriage of human touch and robotic texture in those vocals, he moved on to Peter Frampton and Roger Troutman (celebrated for their mastery of the talk box) and decided to create his own signature synth patch for his vocals. “I wanted to take it further… if Siri could sing, this is how Siri would sing,” he laughs.

It is fitting that “Resistance” should arrive on the imprint founded by Flying Lotus – a perpetual free-thinker and champion of genre-exploding. “I can remember the first time I met him,” says Brandon. “It was at a ‘Suite For Ma Dukes’ rehearsal with Miguel Atwood-Ferguson and I walked in and noticed this mad set-up with crazy pedals and stuff and I’m usually the guy who has that. Who the hell does this guy think he is, doing what I do but different gear?… and then I was like ‘Holy shit – this is Flying Lotus!’” The pair have subsequently worked together on music for Bladerunner, FlyLo’s directorial debut Kuso and Brandon plays on “Until The Quiet Comes” and “You’re Dead!” too. It was an easy decision to sign the album to Brainfeeder: “It just feels like family, y’know?”, he explains. “Stephen [Thundercat] is there… plus I’ve toured a lot with Kamasi and the type of shows we were playing – the venues and the crowds – it wasn’t a jazz audience and I dug that. I feel like that was something that Brainfeeder brought to the table”.

From the forthcoming album ‘Resistance’ by Brandon Coleman out September 14th.

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Pop quiz:

Q: What do Quincy Jones, Red Hot Chili Peppers, Flying Lotus and a bunch of movie theatre janitors have in common?

A: They’re all fans of Louis Cole.

Confused? Don’t be. The Los Angeles based singer songwriter, producer and multi instrumentalist co-founded the alt pop/electro funk band Knower in 2009 and the band bagged a spot at a special “Quincy Jones presents” series of gigs for up and coming bands in LA. “I guess he thought our music was cool so he had us come over and we played some arrangements of ‘PYT’ and ‘Bad’ in his living room,” recalls Louis. “I guess it was kinda like an audition. I was there with my midi keyboard and he was eating guacamole and rocking out… there were literally three people in the room, it was totally surreal.”

The Chili Peppers expressed their admiration on their recent world tour where Louis found himself playing support slots in Mexico City and across Europe. “I had no idea why I’d been asked to do a Red Hot Chili Peppers tour and I was backstage in Rome at the gig still none the wiser as to why I was there,” laughs Louis. “And then Anthony Kiedis comes up to me, looks right at me and says ‘Yeh I love that ‘Bank Account’ song. It’s super funky.’”

He is right of course – ’Bank Account’ is super funky and it was a game changer for Louis. He uploaded a split screen video of him performing the song (sporting a customised McDonalds uniform shirt no less) to his YouTube channel in April 2017 and, propelled by the candid and relatable lyrics – “I don’t want to check my bank account. I’m too scared to check my bank account” – it went viral. So far it’s amassed 2 million + views, the vast majority of those by folks equally fearful of viewing their account balance.

“I honestly thought nobody was going to care about that song. I just put it up because I wanted to show people that I had been practicing keyboard,” he laughs. “I came up with that four chord progression and all I wanted to do in that moment was be good at that four chord progression… I didn’t care about anything else. Then I was driving to a gig and I just came up with those lyrics because they were absolutely true at that time.”

The runaway success of ‘Bank Account’ was in part, accidental, but Louis has a history of DIY film-making and uploading humorous performance videos to YouTube – it’s integral to his creative being – so it was really only a matter of time before he hit the jackpot. He says he was inspired by his friend Jack Conte (Pomplamoose) a singer-songwriter and entrepreneur who released the majority of his music as home studio split-screen performance videos (or as Jack refers to them – “Videosongs”) posted to YouTube. “Jack gave me this big pep talk in about 2009, basically saying: ‘You HAVE to pursue your music as a career!’ So I owe him a lot,” smiles Louis.

As for the movie theatre janitors? Well they became fans via Louis’s contribution to the Lego Ninjago Movie (2017) – the third instalment in the Lego Movie franchise. Cole and regular musical sparring partner Genevieve Artadi wrote a perfectly pitched silly song for the soundtrack titled ‘Dance Of Doom’ that plays at the very end of the final credits when the only folks left in the theatre are the janitors. The YouTube comments explain the rest: “I was cleaning the theatre this movie was playing in… I’ve never laughed so hard during my shift in my life”; “I’m working in a small cinema and every time I have to clean up the hall after this movie I can hardly concentrate because the bassline is so awesome ^^”; and “This is the most absurd, screwball song I’ve heard in a long time. And I got to listen to it over a dozen times, while I cleaned the theatre.”

Cole, whose main instrument is the drums (“But having said that my whole purpose is writing music and that is definitely more keyboard based so maybe that’s my primary instrument?”) has a background in jazz although the music he writes bears little resemblance to jazz in any pure or classical sense. His connection to the movement is more abstract: “One thing that I still feel connected to, that I guess is the root of jazz is pure freedom… no limits… just what you’re thinking right at that moment… a pure blast of limitlessness”. Growing up he obsessed over drummers Tony Williams, Jack DeJohnette, Nate Wood and Keith Carlock, but says he also draws inspiration from movies such as 2001 A Space Odyssey and Tron. His studio set-up is modest (computer, mic, midi keyboard) and he writes and records at home – there are drums in the garage and a piano in the living room. “So far I really suck at being in a real studio,” he says. “There are too many possibilities and it freaks me out.”

“Time” is Cole’s third album – a casual but addictive blend of quickfire, hook-laden electrofunk bullets and wistful, soft-focus balladry – and it’s compelling. “A lot of it is little thoughts, that I made into big songs… blasts of inspiration that I was lucky enough to receive,” he explains. “But it all comes back to my mission to create deep feelings through music.”

Proudly DIY to date, Louis has built up an ardent fanbase for his own solo output and that of Knower who zig zag across the globe on tour. However in 2009 he met Dennis Hamm – keys maestro in Thundercat’s live band – who introduced Louis to Thundercat and Flying Lotus. “Dennis bridged the gap… he was the link. In fact, Flying Lotus asked Dennis if I would want to release something on Brainfeeder before he even asked me.”

Louis’s new album features his friend Thundercat (with whom he worked on “Drunk” co-writing ‘Bus In The Streets’ and ‘Jameel’s Space Ride’) who returns the favour, contributing lead vocals on ‘Tunnels In The Air’. Genevieve Artadi and acclaimed jazz pianist and experimental composer Brad Mehldau also pop up on ‘When You’re Ugly’ and ‘Real Life’ respectively. Furthermore, ‘Last Time You Went Away’ features a 23-piece string orchestra – the Rochester Stringz from Eastman School of Music.

From the forthcoming album ‘Time’ by Louis Cole out August 10th.

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OUT NOW!

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Brainfeeder unveils the full-length project titled “The Nature of Imitation” by the label’s newest signing: Dorian Concept.

Following the release of “Joined Ends” in 2014 – a deeply intimate and textured project he describes as his “chamber music” record – Dorian Concept performed everywhere from Glastonbury to Sonar to MoMA PS1’s Warm Up and then deliberately took himself off the radar. The time since has been spent meticulously un-learning his prodigious production process and developing a brand new sound that even the most clued-up won’t be expecting – showcased on ‘Promises’, in the most prominent use of his voice to date. The recording and processing of his vocals represent not only a more human expression of his highly technical sound, but also an inclination toward recursion – the challenge, ephemerality, and demand for attention of “unequal repetition” which shapes the build and deconstruction of energy throughout the record.

Taking inspiration from multi-generational eclecticism (‘60s jazz, ‘70s fusion, ‘80s neo prog-rock, ‘90s electronica), Dorian Concept sought to replicate “modern” music elements with old-fashioned methods, live-playing and hand-recording deceptively digital sounds in service of a tongue-in-cheek “parody of nostalgia”. Having produced the record largely in the years 2016 and 2017 – widely characterized as periods of a cultural reckoning throughout the democratic world – he ambitiously took timely themes of cumulative error, shortening attention spans and subjective experience and transposed them into his making. As is to be expected from him by now, for all the considered, high-concept musing, the result is refreshingly unpretentious: dizzying swells, cacophonous breakdowns and formidable rhythms are both expert and childlike, hyperactive and hyper-focused.

Left to freely associate, Dorian Concept describes the record as follows:

Using a different vocabulary.

“Lively, Chaotic and Loud”

Sloppy Virtuosity.

Deconstructed with Love.

Audible Uncertainty.

Visceral.

Crowded.

Somewhat of a Study.

Fast-paced.

Pointless … Meaning there’s no dot at the end.

Born Oliver Thomas Johnson, the self-taught keyboardist and producer should be no stranger to those in the Brainfeeder orbit. He first caught the attention of the crew in its infancy, when head honcho Flying Lotus discovered Dorian Concept’s MySpace profile and swiftly included a remix in his lauded debut Essential Mix (2008). Dorian Concept went on to tour with FlyLo’s live band, appeared at some of Brainfeeder’s earliest international label nights in 2009 (Off-Sonar in Barcelona and the infamous Hearn Street Car Park session in London), and released a string of celebrated EPs and albums for Kindred Spirits imprint Nod Navigators, Affine and Ninja Tune – as well as remixing Taylor McFerrin, contributing production to Thundercat’s “The Golden Age of Apocalypse” and playing keys on Flying Lotus’ seminal “Cosmogramma”.

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OUT NOW

Having recently made his inaugural outing on Brainfeeder with “Aphelion EP”, British producer Ross From Friends aka Felix Clary Weatherall returns with his debut album on Flying Lotus’ label. “Family Portrait” is characterised by a perpetual desire to experiment and Felix’s obsessive attention to detail, somehow marrying an intricately layered production style with warm, heavily saturated sonics that elevate, rather than stifle, his melodious funk. With a handful of revered 12”s under his belt via Breaker Breaker, Lobster Theremin, Distant Hawaii, Magicwire and a 10” on Molten Jets. “Family Portrait” showcases his ability to shift and evolve, moving from the world of lo-fi to the world of FlyLo, he demonstrates a versatility exemplified by the ease in which he can switch between playing shows with Little Dragon, holding down a peak-time slot in Berghain’s Panorama Bar and performing live at Maida Vale for BBC Radio 1.

The culmination of almost two years of intense studio time, working 20 hour days, and often spending months perfecting just one aspect of a track. “I tried to be careful with every single sound” he explains, “Trying new things, making a bit more of an explosive sound”. The album also finds Felix recording his own voice for the first time, with the resulting tracks acting as snapshots of his personal life while recording. “Every time I went to make music the things which would really grab me are the emotional things, and while I’m in that place I felt I could really focus on the track. That was a massive part of this album, tapping into my emotions… into my emotional instability”.

The album title – “Family Portrait” – also nods to a very specific personal aspect of the record: the influence of his parents. Dance music has always been a feature in Felix’s life, with early memories of his dad producing music on his analogue set-up, or pumping out hi-NRG tracks on the turntable, he grew up discussing, sharing and learning about music from his dad. “My dad has been hugely influential to the whole thing,” he explains. However it was with the emergence of some old family VHS tapes, and the story of how Felix’s parents came to meet, that the true significance became clear.

Having built up a sound system in the 1980’s while playing at various squat parties around London (including the then derelict Roundhouse) Felix’s dad decided he wanted to get out of the capital and see some of Europe. He got his hands on a bus and started putting word out through a network of like-minded friends and acquaintances. At the time just a friend of a friend, the trip caught the attention of Felix’s mum-to-be, who offered to document the whole thing in return for a seat, and in 1990 they loaded up the sound system and hit the road. Travelling through France, Belgium, West and East Germany (though returning through a unified one) and beyond, setting up in towns to share their passion for the sounds of hi-NRG dance, Italo disco and proto-Techno through spontaneous parties in whatever venue they could find.

Leave A Commentposted in Artists by PBDY ]]> http://www.brainfeedersite.com/2018/07/30/ross-from-friends-family-portrait/feed/ 0 http://www.brainfeedersite.com/2018/07/26/video-louis-cole-things/ http://www.brainfeedersite.com/2018/07/26/video-louis-cole-things/#comments Fri, 27 Jul 2018 01:21:10 +0000 http://www.brainfeedersite.com/?p=13074

From the forthcoming album ‘Time’ by Louis Cole out August 10th.

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From the Forthcoming Album ‘The Nature of Imitation’ by Dorian Concept out August 3rd.

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From the Forthcoming Album ‘Resistance’ by Brandon Coleman out September 14th.

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From the Forthcoming Album ‘Family Portrait’ by Ross From Friends out July 27th.

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“In 1990, when Felix (aka Ross From Friends) was just a twinkle in his father’s eye, his dad – having built up a sound-system in the 1980s while playing at various squat parties around London (including the then derelict Roundhouse) – decided that he wanted to get out of the capital and see some of Europe.”

He got hold of a bus and started on a trip that would change the course of his life. Not only would he build up a group of likeminded friends and associates, but he caught the attention of Felix’s (future) mum. She joined him on his European quest, documenting the journey as they went.

“They travelled through France, Belgium, West and East Germany (though returning through a unified one) and beyond, ” the story goes. “Setting up in towns to share their passion for the sounds of hi-NRG dance, Italo disco and proto-Techno through spontaneous parties in whatever venue they could find.”

A love story, a journey through rave, a voyage through dancefloors. Also a touching tribute to the figures who imbued Ross with his infatuation for the floor.

From the Forthcoming Album “Time” by Louis Cole

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An excited Flying Lotus shared news of Georgia Anne Muldrow’s signing to Brainfeeder earlier this year, prompting knowing smiles and ripples of anticipation amongst fans and commentators who recognised the perfect symbiosis of their musical pathways, heritage and spirituality.

Now, following her triumphant live set at the Hollywood Bowl in LA on Sunday (in support of FlyLo) Brainfeeder is proud to present a brand new track from Georgia titled ‘Overload’ – available to stream/download now. Produced by Mike & Keys (The Futuristiks), ‘Overload’ addresses “the process of building loving relationships in spite of the malfunctions of Western society” according to Georgia.

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(Out August 3rd)

TICKETS

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(Out July 27th)

BRAINFEEDER NIGHT IN SONICMANIA (Japan)
featuring…

FLYING LOTUS
THUNDERCAT
GEORGE CLINTON
DORIAN CONCEPT
ROSS FROM FRIENDS
JAMESZOO

SONICMANIA 2018
2018.8.17 
www.sonicmania.jp

PRESALES – TICKETS

Brainfeeder 10th Anniversary

BRIXTON ACADEMY – LONDON -15 DECEMBER 2018

Flying Lotus – All New 3D Experience

Thundercat

More Special Guests TBA

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‘Final Fight’ is Thundercat’s first original new track since last year’s full-length “Drunk” on Brainfeeder, which saw him collaborate with everyone from Kendrick Lamar and Wiz Khalifa to Michael McDonald and Kenny Loggins and which earned glowing reviews across the board – including a “Best New Music” piece from Pitchfork. The album was also recently subject to a chopped-not-slopped treatment from OG Ron C and DJ Candlestick of legendary Houston screw outfit The Chopstars. Since its release, Thundercat has toured the world over including prime slots at Coachella and Glastonbury and performed on major late night TV programs The Tonight Show with Jimmy Fallon and The Late Show with Stephen Colbert.

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British producer Ross From Friends aka Felix Clary Weatherall is the newest signing to Flying Lotus’s Brainfeeder family. The 24 year old has a fistful of releases under his belt, the distillation of myriad influences from hip-hop cut ’n’ paste culture, 80s Eurobeat, Hi-NRG and Italo into lithe, irresistible, raw dancefloor trax. He made his debut on Breaker Breaker in 2015, followed by outings on Lobster Theremin and sister imprint Distant Hawaii, Lone’s Magicwire and recently: Molten Jets.

“It’s honestly an absolute rush to sign to Brainfeeder,” he explains. “It has always been pushing such a forward thinking sound, one that constantly grabs my attention with every release. I put these 4 tracks together with Brainfeeder in mind; I wanted to explore the music that I’ve been developing over the past 7 years as Ross From Friends whilst trying to explore the explosive sound that the label is best known for.”

Up first, ‘John Cage’ encapsulates both his desire to experiment but also maintain a sense of fun. “It originally began life as a tune for this goofy hip-hop project that me and my pal Guy from back home always do when he’s in London,” explains Felix. “I’d be making the beat and he raps. It’s always a refreshing approach making tracks in that atmosphere because we’re both always on such a spontaneous tip. When I’m making music alone, I’m obsessive and everything takes hours, whereas with Guy, we’d try and get as many tracks finished as possible in like a few hours. That’s him freestyling a relaxation tape in the intro.”