Review: Hiatus Kaiyote is a four piece group out of Melbourne that have slowly but surely seen their music picked up by the likes of BBE and now Brainfeeder. Combining a bunch of soul notes and cool jazz with electro-acoustic beats, R&B vocals and other virtuosic instrumentation, the twice grammy nominated band deliver their most acclaimed release yet. Described by Rolling Stone as 'a stunning step', a true LA Beat scene sound can be heard clear as day in the summery synth waves and keys of "Chivalry Is Not Dead". With downtempo beats and complex arrangements colliding with found sound and ambient melodies in other numbers like "Blood & Marrow" and "Sparkle Tape Break Up", there's extra piano sessions in "Red Room" alongside the twinkling keys of "Sip Into Something Soft". A fully fledged album of deep influences channeling a new age in blues, it's safe to say after six years: Hiatus Kaiyote have arrived.
Review: Familiar to labels like Smalltown Supersound and Ninja Tune, legendary Norwegian eight-piece Jaga Jazzist arrive on Brainfeeder with a deep dive into post-rock, jazz and psychedelic themes and synth wave influences. Presenting their first studio album since 2015's Starfire, Pyramid is the result of a reclusive two week recording session deep in the Swedish woodlands, resulting in the group's first ever self-produced record. With the 14-minute-long and classically jazz "Tomita" the crowning track on Pyramid, find some pumping night drives in "Apex" to the retro-active yet futuristic jazz-electro-funk of "The Shrine" or the spacey, new age synth and cosmic jazz in "Spiral Era".
Review: All time Brainfeeder great and LA beat scene legend Thundercat surfaces once again in dramatic fashion for Flying Lotus' flag bearing US imprint. It's stoic title, It Is What It Is, hints at how many of us might be feeling right now - isolated but managing - with Thundercat's album said to be something of a sombre record that treads a darker path, as described in a New York Times interview. Presenting his fifth studio album and first since 2017's Drunk, Thundercat delivers 15 tracks (and skits) all clocking in at around three minutes with a huge cast of feature collaborators including Ty Dolla Sign, Lil B and Childish Gambino to Kamasi Washington and comedian Zack Frost with the sensual "Overseas". Our highlights include the royal grooves and slap bass of "Black Qualls", the floating rhode solos in "King Of The Hill" and frenetic funk of "How Sway".
Review: Two years on from the release of their fine - if slightly overlooked - debut album on Comedy Dynamics, Reggie Watts and John Tejada once again join forces as Wajatta, this time on Fly-Lo's Brainfeeder imprint. Predictably they've once again hit the spot, confidently combining deep house musicality, the far-sighted synthesizer motifs of sci-fi techno, African style percussion, dewy-eyed and often soulful vocals, and occasional forays into drowsy downtempo beats and fizzing electro rhythms. The results are naturally impressive, offering an imaginative and colourful sound palette befitting of both men's talents. Highlights include the sparse electronic soul of "Depth Has a Focus", the body-popping beats and low-end weight of "Little Man" and the futuristic soulful house brilliance of "Tonight".
Review: 1990s sitcom loving beat maker Felix Weatherall returns to Brainfeeder for the first time since the release of his widely acclaimed debut album as Ross From Friends, 2018's "Family Portrait". Predictably he's in fine form from the off, with title track "Epiphany" offering a wonderfully intoxicated, off-kilter blend of bustling drum machine breakbeats, hallucinatory electronics, Middle Eastern style instrumentation and razor-sharp bass. He continues on an inventive fusion tip of "Revolution", where cut-up vocal samples and bluesy guitar lines rise and fall above a densely percussive deep house groove. Also impressive is "Phantom Ratio", a slightly more driving dancefloor cut rich in skittish drums and undulating electronic melodies.
Review: Brainfeeder as a project have been known to bring together the weird and wonderful, more often than not supplying the world with stunning original music. This latest compilation from them celebrates 10 years of the label, putting Flying Lotus's visions into reality. We explore previously undiscovered realms of futuristic hip hop production, with immediate stand outs being the the unpredictable neurotic drum crunches of 'Delusions' from Little Snake, along with the pulsating drum work and 4x4 flavours of 'Squaz' courtesy of Ross From Friends. Another shout out has to go to FlyLo himself as he teams up with Busdriver for a super skat heavy run out on 'Ain't No Coming Back'. This one is a fantastic listen from start to finish.
Review: Some three months on from the release of his acclaimed - and highly personal - debut album "Family Portrait", Felix Weatherall AKA Ross From Friends serves up his first new material since. "Squaz" is fairly typical of Weatherall's output - think dreamy chords, rubbery, all-action machine drums, squally and squealing vocal samples and faintly foreboding riffs - but that's no bad thing. Much of the track's power derives from the sitcom-loving producer's ability to subtly ratchet up the percussive tension throughout, with an extended, ear-pleasing breakdown half way through only serving to enhance these feelings of restraint followed by joyous, life-affirming release.
Review: Lo-fi house hero Ross From Friends presents his debut album for Flying Lotus' Brainfeeder imprint - this follows up the terrific Aphelion EP he presented on the label earlier this year. Like the title suggests, Family Portrait refers to a very specific personal aspect of Felix Weatherall's life: the influence of his parents. Dance music was always around during his childhood, where he grew up learning about music from his dad - who apparently had a penchant for banging out hi-NRG tracks on the decks. It's a riveting listen from start to finish: from the the intensely vivid groove of "Pale Blue Dot" to the moody "Project Cybersyn" with its tunnelling aesthetic - perfectly geared for those heads-down moments later in the night.
Review: Is it justified to say that pretty much every release on Flying Lotus' Brainfeeder is a total winner? We like to think so. Lapalux aka Stuart Howard returns to the mighty imprint with this new extended EP, a five-track voyage into the unknown, aptly names The End Of Industry. Where does it go from here? Are we destined to be slaves of AI into the distant future? These are the sorts of questions and visions that emanate from this striking piece of work. Vast landscapes of electronics paint a desolate yet rich picture of the future, and we're wondering why Lapalux wasn't called up to orchestrate some of the soundtrack from the Blade Runner 2049. Highly recommended.
Review: Is it justified to say that pretty much every release on Flying Lotus' Brainfeeder is a total winner? We like to think so. Lapalux aka Stuart Howard returns to the mighty imprint with this new extended EP, a five-track voyage into the unknown, aptly names The End Of Industry. Where does it go from here? Are we destined to be slaves of AI into the distant future? These are the sorts of questions and visions that emanate from this striking piece of work. Vast landscapes of electronics paint a desolate yet rich picture of the future, and we're wondering why Lapalux wasn't called up to orchestrate some of the soundtrack from the Blade Runner 2049. Highly recommended.
Review: Lapalux is Stuart Howard. Throughout his new LP, the British producer takes his sound exploration further. It's a journey into an ominous space between life and death. In this 'liminal space where the finite and infinite intermingle', Howard has really found his comfort zone, sound wise. Much of its inspiration was born out of a theatrical score he wrote for a performance art piece that was performed in an East London cemetery: a project 'wrought with doom and melancholia.' The album is said to have been created using only hardware and real instruments. There's the deep and ethereal future beat of "4EVA" featuring Talvi's angelic vocals and even a bit of lush deep house in the form of "Flickering" featuring another gorgeous vocal performance; this time courtesy of one JFDR. "Rotted Arp" sounds exactly like its namesake on this wonky ambient excursion, featuring a contemplative spoken word performance by the Bromance affiliated songstress from Los Angeles: Louisahhh!
Review: Mitchel Van Dither has been synonymous with the Kindred Spirits label up until now, an imprint that we have just so much time and respect for. He has, however, been branching out as of late, and his adventures have landed him a spot on Flying Lotus' mighty Brainfeeder. Two EP's containing tunes from Fool have already been released on the label, but the album format expresses their depth much more clearly, and with more freedom. Objectively, Fool is Brainfeeder through and through, a little work of art to fit in perfectly with the rest of this ever-surprising and always on-point catalogue. Recommended.
Review: Ninja Tune are chuffed to bits, having secured a kind of talent jackpot for this, their latest release. Daedelus is a celebrated Californian electronic muso Alfred Darlington who here teams up with jazzy heroes Kneebody (featuring his old high-school pal and saxophone virtuoso Ben Wendell). The resulting long player, Kneedelus, is remarkable fusion of their two worlds: the authentic and the artificial, in other words a 'multi-headed beast straddling rock, jazz, and electronic music'.
Review: Brainfeed, the LA label run by Flying Lotus, does what it wants and right now and it wants to put out a mammoth 17-track, three-volume album of jazz music yet to be heard on earth. Featuring a 32-piece orchestra, a 20-person choir and ten other instrumentalists from South Central called The Next Step, The Epic by Kamasi Washington is a remarkable journey of the outer reaches of the jazz galaxy. A future classic has landed.
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