Monday, October 29, 2012

Album Review | Lindstrøm | Smalhans


Lindstrøm 
SMALHANS 
Smalltown Supersound | Feedelity Records 

house \haus \ n + cos•mic \ käz-mik \ adj + psych \ sîk \ vb 

Whereas many artists stick to a one-album-every-couple-years formula, prolific Norwegian cosmic-house producer Lindstrøm has flipped that script in 2012, quickly following up March’s more adventurous Six Cups of Rebel with Smalhans, a steadfast appeal to the dance floor. Reviewing Six Cups, I wrote that it “left me longing for the space-age house of Lindstrøm on releases past.” It would seem that he too recognized this gap and has filled it here. 

“Fāār-i-kāāl” is a picture-perfect return to form. A journey of analog arpeggiated synth lines, bass pops and crisp snare hits, it has a back to the future quality to it; not only in that it is an updated take on the Lindstrøm sound from the “I Feel Space” days, but also because it embodies that retro-future vibe of the ‘80s. The entire record feels this way really. Recorded in a short one month period with fellow Scandinavian disco talent Todd Terje behind the mixing board, Smalhans is more a series of dance-floor-igniting executions than it is the type of epic conceptual feat we saw on an album like 2008’s Where You Go I Go Too

Kicking off with an oversize bass line and a driving beat, “Rà-àkō-st” offsets its intensity with the type of spacious melody Lindstrøm does so well. “Ęg-gęd-ōsis” prefers to freak the Daft Punk formula with an adopted electro funk bounce. Named after traditional Norwegian dishes, each song is like a recipe fine-tuned for a Lindstrøm lover’s palette. It would have been nice to see the throbbing dance floor pulse so prominent here married with the experimental side of Six Cups of Rebel, but Smalhans more than gives us what we were missing from the musical cosmonaut.

— Joshua P. Ferguson

Tuesday, October 23, 2012

Interview | Flying Lotus


Astral Playin'

In a pre-show face-to-face, L.A. beatmaker Flying Lotus talks about his new live show, misconceptions about drugs and playing well with others.

by Joshua P. Ferguson

Originally published for Time Out Chicago | 10.18.12


Bouncing down the stairs from Metro’s main stage, Steve Ellison is just the sort of laidback personality you’d expect from a left-field Cali beatmaker. Recording as Flying Lotus, Ellison is the psychedelics-loving producer at the center of an international music scene that traces its roots back to revered hip-hop studio whiz J Dilla and combines elements of bass, boom-bap, jazz, downtempo and glitch. Though many have tried to label the music of this underground movement, the closest descriptor remains "beats," and that’s exactly what FlyLo specializes in. After the sound check for his recent performance here in Chicago, Ellison, 29, and I took a walk through Wrigleyville in search of falafel and to talk about his art, his new live show and his youthful spirit. 

I hear you have a new live show for your Until the Quiet Comes album tour. It feels cool to come with a purpose, to come with something different. 

Did you feel like you had to step up your stage show in the face of the EDM madness that took over the States this summer? Honestly it has nothing to do with anybody else’s show. It really, ultimately, is something that I’ve always seen in my music. I’ve always seen this bigger show that never happened. The show, I had a concept for the show two years ago. Two years ago, and we didn’t have no money! 

Do you work with someone who does visuals for you? Two of my buddies, Strange Loop and Time Warp—two guys who are my homies. It’s not like I had to hire people out. It was really cool to do it all in-house. All these people know my shit and my sensibilities, my aesthetics. 

Until the Quiet Comes is finally out. Are you the type who gets tense about how an album will be received, or are you like, ah, it’s out? You don’t really know until it’s out how people are going to feel about it. And I think they like it. I feel like I did what I set out to do, to try and make something honest and reflective of where I’ve been. You can’t take that from me, you know? 

Do you concern yourself with reviews or do you try to block all that out? I think I’m in the middle of it. I don’t want to be the kind of artist who’s, like, completely up my own ass. If someone can call me on some shit, then I’ll be like, “You know what, that’s fucking right.” If I’m fucking up and someone calls me on that I want to feel it, just because I care. I feel like I put so much time into it.


I thought this latest LP showed more of a jazz sensibility, but I saw in an interview that you felt that way about your last record, Cosmogramma. Truth be told, I think jazz is a mind-set. It’s not necessarily, like, this guy picked up a horn and did this or whatever. It’s like, we recorded this shit in one room, with one microphone, and we just used whatever we had. 

I feel like each component had more room to shine; maybe that’s where I’m getting that from. [On Cosmogramma], I was trying to fit everything in. I always told people it’s supposed to sound like you got shot out of a cannon, and it takes you 30 minutes to hit the ground. 

Until the Quiet Comes strips that back. Consciously, too. I think part of that maximalist mentality, it was, I'm not saying it was a bad thing but that was not the way forward a second time. I would be shooting myself in the foot. 

Does that correlate to the title? I wanted to set people up to this idea, before they even heard it, that the quiet was a key word in the whole thing. I hate to say it, but a part of pulling it back is some kind of growing up. I’ve learned how to build my dynamics better by not putting everything on the table at once, slowly starting to reveal elements. You get where you want to, and give a little and give a little. I think that’s fun to play with and it keeps people engaged. 

Everybody likes to reference your relatives, the Coltranes. How keenly do you feel that as an influence on your art? It was always there, but I feel like I’m still understanding that stuff. You don’t ever really get it unless you live it like that, unless you play like they did in that time. I feel like I’m still getting it every single year, every time I come back into it. I go through phases where I’m not into jazz as much and then I’ll get heavy, heavy, heavy into it. I feel like I’m understanding more and more what it takes to get there. 

Do you think of your music as jazz? It’s more so the mind-set. It’s not what I do with the sound, but I feel that I keep the spirit alive. Pretty much everything but doing heroin, I feel like I’m doing everything but that. But that was a big part of it, so maybe I’m not doing shit. 

You do dabble in psychedelics, so you are open to that kind of mental exploration. I really only do it once or twice, three times at most, a year. I’m the type of person, I don’t have to do it a lot. Being from California, I think it’s something that Californians embrace a lot more, like, "trip out, man." Whatever it is, acid, mushrooms, DMT, one psychedelic experience a year. 

Some of that inward-journey stuff pops up on the new record. More than anything with the record, dreams being a big part of it, I wanted it to feel like a child’s perspective, like you’re a kid again hearing things for the first time. I wanted to play on things that had innocence in them melodically. For me, being 10 years old and seeing Jurassic Park for the first time blew my mind. I want music to feel like that. People don’t feel that much anymore these days, whatever that is. 

YouTube and whatnot changes the discovery process. Sure, people don’t appreciate it in the same respect, but on the flip end of that, they’re exposed to a lot more music at a younger age, which will shape a person and their youth very quickly. I met a kid the other day at the Apple Store. He’s 13 and makes dope beats and plays guitar. I was like, dude, show me some shit. 

Is that childlike quality something you’re always trying to maintain? When I make music from that place, it makes me the happiest as a person. When I can make music and don’t have to think about anyone else’s ideas or voice—when I’m making something that only I can make, it feels good. It’s nice when you can find a sound that only you can make. No one else can make Cosmogramma, no one else can make Until the Quiet Comes. It’s so fun because you’re creating a whole world that only you can. 

Maintaining that spirit keeps you from becoming that stodgy old man, too. I run into that thinking all the time. You just have to know when those voices are bullshit. That’s something that I learned from artists like Thom Yorke. Guys who’ve been in the game for so long, I love asking them how they keep their head okay after being in the game for 20 years. How do you do it, still being excited about music? I genuinely feel as long as I’m being creative, doing my thing, and challenging myself, those weird hater voices don’t come out. 

In this instrumental hip-hop world, there’s also the collaboration component. Do you ever want to go that route, say Erykah Badu produced by Flying Lotus? For some reason there’s this thing where people are like, he don’t like collaborating with people, like I don’t play well with others. I’d love to produce an Erykah record, I’d love to. I’m up for it if it makes sense. Sometimes things sound better on a blog post than they really are. 

You mean, like, it looks better on paper? I did a collaboration with Childish Gambino and Ab-Soul. If it came out, I imagine people would be like, "aw, shit!" But truth be told, it was just everybody hanging out at my house with mics on. Muthafuckas just got high, were watching cartoons and were like, let’s record some shit. 

Given your hip-hop background, what do you think of the divide between the Top 40 stuff and the underground scene you’re a part of? Ultimately, I’m just glad to be here. I try not to think about that stuff. I feel like I can do anything I want. Whatever I’ve done, I’ve earned my place to do whatever I want. There ain’t no rules.


Thursday, October 18, 2012

Chicago | Refract at Primary Nightclub


Refract @ Primary Nightclub
+
Dialogue Inc's own Mister Joshua
____________

Friday 19, 10pm. 

As a person who's livelihood is basically navigating Chicago's nightlife landscape, it's always exciting when a new venue pops up in town. Primary, a boutique DJ hang which opened this summer is especially exciting. Combining a state-of-the-art VOID sound system with an intimate space, the club and its principles are taking great care to maintain its underground appeal in the midst of the massive EDM movement that's seizing Chicago. Read more about the club and it's owners  in Time Out's interview with Primary's Derek Salter. Preferring to focus on quality house, techno and even the odd rare soul night, the space has quickly made itself a staple venue for many a scenester.

This includes DJs and promoters Duke Shin and Merrick Brown who moved their Refract party there shortly after opening. Showcasing Chicago talents from across the dance-music spectrum, this month's Refract features sets from long-time Chicago presence Gianna Hardt, D.C. transplant Joel Chandler and Dialogue Incorporated's own resident selector Mister Joshua.

Quality house beats abound, so come out and dance with us if you live in the Windy City.

Mister Joshua joins Gianna Hardt, Joel Chandler and the Refract residents at Primary Nightclub on Friday, October 19, 2012. More info: Resident Advisor

Tuesday, October 2, 2012

Shuffle | 27!K7


Shuffle | 27!K7

by Joshua P. Ferguson

When I think back on the first few times I laid eyes on that iconic exclamation point, K and 7, it was while in college. I was discovering there was a new world of music that appealed to my jazz, lounge and reggae sensibilities and that artists like Kruder & Dorfmeister and Thievery Corporation were championing these sounds on the now-legendary mix series known as DJ-KiCKS. No, this was not 27 years ago. Although, the distinctively independent label is turning that old this year.

In all that time, it's never faltered from its mission to carrying electronic sounds forward, whether they be jazzy, dubby, techy or trembling from too much bass. To show us all just how far and wide the !K7 tastes go, the label is releasing four weeks of double a-side digital freebies to fans, new and old alike. Last week saw great workouts from When the Saints Go Machine and Motor City Drum Ensemble, while this week boasts house maestros Wolf + Lamb vs. Soul Clap and techno-jazz outfit Brandt Brauer Frick. You can also look forward to upcoming tracks from Hercules and Love Affair and Apparat. Grab the first two releases below and head to k7-27.com in the weeks come for more.

DOWNLOAD: When the Saints Go Machine + Motor City Drum Ensemble


DOWNLOAD: Wolf + Lamb vs Soul Clap + Brandt Brauer Frick