Brainfeeder will release the debut album, Fool, from Dutchman Jameszoo. Described by the producer as "naive computer jazz", despite features from two bona fide legends - namely legendary jazz pianist and bandleader Steve Kuhn and Brazilian composer and arranger Arthur Verocai - it's a record that fits perfectly into the label's expanding take on the modern evolution of jazz music, following outings by Kneebody & Daedelus, Thundercat and Kamasi Washington. Across its 11 tracks, Fool plays out Van Dinther's journey to find a musical voice he can be proud of and which can also inspire others. Alongside Verocai, Dafé, and Kuhn, the album features a stellar cast of classical and jazz musicians including pianist Niels Broos, drummers Julian Sartorius and Richard Spaven, bass guitarists Raphael Vanoli and Stephen Bruner (aka Thundercat), and saxophonist John Dikeman. All of these different contributions and approaches are weaved together into a whole by Van Dinther, armed with electronics and naivety. At times coherent, at times seemingly haphazard, the album is always joyful. "I tried to create something that is both tradition and me fooling around," he explains. "There is something to be said for both sides of the spectrum. If we always remain in tradition there will be no evolution."
3 x black 180g 12"s in artworked 3mm spined sleeves all housed in a rigid board outer slipcase. Half speed cut by Matt Colton at Alchemy Mastering. Includes 2 x 12" poster inserts featuring exclusive artwork by KC Woolf Haxton and story adaptation and calligraphy by Kenturah Davis. MP3 download code also enclosed. The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life. Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved. But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared. This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus. The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble. The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands. "Nothing compares to these guys," says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it... Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.” And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as The Epic’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning. “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It's hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don't want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”
The theory of technological singularity – the notion that humans and computer technology will increasingly blend together - has been explored in many forms of popular culture since it’s conception. Over the past two decades, there has been a larger movement to integrate electronic artists and jazz musicians, often leaving the former as more of a sonic addendum (floating over the music) rather than an integrated part of the ensemble. Tasked with exploring a deeper synthesis of electronic and acoustic players, instrumental quintet Kneebody’s collaboration with electronic musician Daedelus in turn creates a true union of these disparate approaches to music and genre as a whole. The collaboration between Kneebody – keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood - and Daedelus had its initial roots planted as far back as high school for old friends Wendel and Alfred Darlington (aka Daedelus). “Often when I lived in LA, I would go to practice saxophone at Alfred’s house in the bathroom next to his studio. He would knock on the bathroom door and say ‘Would you mind playing something on this track?’,” recalls Wendel. “So I ended up being on at least five or six of Alfred’s albums because I happened to be there practicing.“The pair’s early musical kinship in southern California seeded a connection that grew through numerous collaborations, recordings and live performances over the years, coming to fruition in an improvised performance in 2009 at “Jazz A Vienne” between their two primary music vehicles. When Wendel was awarded a composition grant through Chamber Music America based on the theory of technological singularity, it became a catalyst to write a series of pieces that would bridge the gap between the oft-indescribable world of Kneebody and the unique aesthetic of Daedelus.When the quintet entered the studio with Darlington, the other members brought more compositions to the fore. “Ben approached me about trying to realize some of this music that was maybe different from the Kneebody spectacular – where they are always so through composed – and do something that was more intimate,” reflects Darlington. The result is a nine-song set of original music that sits inside the rich pantheon of instrumental music, but with a modern sheen that takes the shape of a multi-headed beast straddling rock, jazz, and electronic music.
Brainfeeder’s de facto New Age guru and all-around production wizard, Matthewdavid, returns with a sophomore full-length for the label, an all-inclusive Mindflight entitled ‘In My World’. Unlike prior LP Outmind, which was a largely ambient and inward journey, In My World expands exponentially to a multitude of lavish sound worlds ranging from the lush, vaporous pop dub of the title track, ethereal love jams like “Cosmic Caller” and “Next to You Always”, uncharacteristic IDM breakbeats on “West Coast Jungle Juke”, and a languorously crystallized cover “Perpetual Moon Moods”. Every densely atmo spheric track is liberally punctuated with Low End Theory-approved doses of speaker-rattling sub-bass. The album, for all of its masterful production techniques and intriguing lyrical twists, is held together by a unifying theme of love — the most powerful force in the universe.
Peel back a layer of smog from the LA sky and fold yourself into the blanket of haze. The golden half-light catches glimmers that pass by most eyes. Up here, there are treasures for those who tune in. Matthewdavid operates In this magnetic cocoon, unspooling magic radiance. His music reflects beautiful, fleeting moments and magnifies them. Matthewdavid's compositions float like crackling clouds, antenna amplifying the dreams of the city below. Matthewdavid is a man who builds with warm tones. He travels new paths gathering sounds to enhance the intricate dimensions of his creations. It was this hunt for inspired trails and blazing progress that pulled him to California. Matthewdavid made the move from southern states and was immediately embraced by the Los Angeles community. A willowy figure with wide smiles, his gentle presence and generous talents made him a welcome addition to internationally applauded LA creative circles: dublab, Poo-Bah, Low End Theory and Brainfeeder. Constant collaboration with these collectives helped inspire Matthewdavid to a build a platform of his own. His Leaving Records label has an ear to the next and an eye on the original. Through all these outlets Matthewdavid is dedicated to sharing elevated sounds and visions. The songs unveiled on Outmind are destined for infinite replay. Light, gauzy moments blend with those densely layered. The biggest swing gives way to the slowest sway. These are classic jams obscured in fuzz and fog. Nostalgic jeeps bump invisibly to thumping bass. Outmind was lovingly crafted and resonates with Matthewdavid's heartfelt glow. His music's mysterious simplicity sparks senses. These songs come from far out to resonate within. Rotate your dial to a space between frequencies. Catch these ghost channels of golden pop. Outmind blends familiar rhythms with those lost long ago and others yet to come. Matthewdavid's live performances are akin to watching a sorcerer conjure spirits from the deep. He pulls tones like artifacts from an astral trail that ebbs and flows with fresh discoveries. Along the way Matthewdavid collects exotic sound figures: spiraling amethyst cones and wild flowering buds. He treats each found sound like a bright fiber to be weaved into new waveforms. Outmind pulsates with this sense of constant discovery. It is a mosaic sparkling with mystic, radiant matter. As you listen to Outmind set your ears to slow dissolve. Let yourself be wrapped in warmth and levitate skyward to an elegant high. This is the place Matthewdavid resides and if you want to get into the mindset you must get far far out out.
Thundercat returns with his first solo material in two years with the mini-album “The Beyond / Where the Giants Roam”. Fans won’t have to wait long for Stephen Bruner—the virtuosic bassist and singer-songwriter behind the Thundercat handle—to unleash the 6-track set. The album sees him returning to the Brainfeeder fold after having already made outstanding contributions to two of the best reviewed albums of 2015 to-date: Kendrick Lamar’s To Pimp a Butterfly and Kamasi Washington’s The Epic. Where the Giants Roam takes listeners on six spiraling excursions to the outer limits of jazz-funk. The follow-up to his sonically adventurous and widely praised second album Apocalypse sees Thundercat team back up with longtime sparring partner Flying Lotus, who co-produced three of the albums tracks. The legendary Herbie Hancock also pops up on keyboards on “Lone Wolf & Cub,” and there are contributions from fellow Brainfeeder family members Kamasi Washington, Miguel Atwood-Ferguson and Mono/Poly on sax, strings and production respectively.
If indeed "you blows who you is," as Louis Armstrong once famously said, then Stephen Bruner's bass is a mainline to the soul of a man whose DNA was transcribed from the stars onto staff paper. His Flying Lotus-produced debut, The Golden Age of Apocalypse, offers both stone-cold skill and uncanny astrality, picking up where the pair left off on 2010's Cosmogramma and further distilling the jazz current running through that landmark Lotus release. A longtime contributor to others' albums, Bruner, aka Thundercat, is accompanied by an impressive cast ranging from Erykah Badu to members of Sa-Ra and J*DaVeY, to pianist Austin Peralta and his own Grammy-winning brother, drummer Ronald Bruner, Jr. Still, the end result is unmistakably a Thundercat record -- a lush and magical document combining classic jazz fusion, futurist electronic strains and timeless musical seeking. A native of South Los Angeles, Bruner found his instrument at the age of 4. That made him a late-bloomer in the house of Ronald, Sr., who drummed with the Temptations among others. His first bass was a black Harmony, and he practiced to the Ninja Turtles soundtrack until pops played him Jaco Pastorius. School was a blur of lessons, sessions and waking up for zero periods. At 15, he scored a hit in Germany as part of the short-lived boy band No Curfew. At 16, he toured Japan with soul man Leon Ware and joined thrash legends Suicidal Tendencies (he's still their bassist). More road and studio time followed, with everyone from Stanley Clarke to Snoop Dogg to Eric Benét. Eventually the name Thundercat stuck, a reference to the cartoon he's loved since childhood and an extension of Bruner's wide-eyed, vibrant, often superhuman approach to his craft. As one writer put it, he's "a mutant jazz cat," nuff said. Spanning a cosmic stew of players, locations and times, The Golden Age of Apocalypse was years in the making even though Bruner had never planned on releasing his own music. But Lotus spurred him on, and each song became a journey. There's the ebullient "Daylight," a soft whirl of bluesy piano, New Age synth, snapping beats and warm bass. There's "Walkin'," an upbeat soul strutter powered by Bruner's digitally distorted plucks. There are raw, improvised numbers like "Jamboree" and virtuosic bass pileups like "Fleer Ultra." One of the album's most stunning moments arrives with a spacious cover of George Duke's "For Love I Come," a taut beauty spangled with crystalline harp and keys. Bringing this string of divinely unexpected moments to a moody and cinematic close is "Return to the Journey." There, Bruner sings, "Time will pass us by," but listeners needn't worry. Inside of this space, time really isn't a thing.
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