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‘Quality Over Opinion’ is out Oct 14th on Brainfeeder

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‘Quality Over Opinion’ is out Oct. 14th on Brainfeeder

Louis Cole is a singer-songwriter and sickeningly talented multi-instrumentalist with a strong DIY aesthetic from Los Angeles, California. He is on a mission to create deep feelings through music and is the figurehead of an LA jazz-adjacent scene that includes Genevieve Artadi (with whom Cole co-founded the alt pop / electrofunk band KNOWER in 2009), Sam Gendel, Sam Wilkes, Jacob Mann, Dennis Hamm, Pedro Martins and more. He will release his new album “Quality Over Opinion” on 14th October 2022 on Brainfeeder Records.

20 tracks deep, it was written, performed and produced on his own in his modest home studio, but Louis did invite a handful of close friends to contribute, namely Genevieve Artadi (“my no.1 music collaborator”); saxophonist Sam Gendel – Cole’s friend for 17 years; pianist Chris Fishman; Nate Wood from the band Kneebody; Marlon Mackey (“a pillar of the Bakersfield music scene”); and guitarist Kurt Rosenwinkel. “This album is a representation of me trying to make the best, most powerful and listenable music I can. For myself and also others,” he says.

Louis’s main instrument is the drums and he 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 conceptual: “The root of jazz is pure freedom… no limits… just what you’re thinking right at that moment… a pure blast of limitlessness”. Accordingly Cole’s touchstones for “Quality Over Opinion” include boundary-pushing composers such as Gustav Mahler and György Ligeti alongside jazz icons like Miles Davis, the Swedish extreme metal band Meshuggah, Morten Lauridsen (distinguished professor of music and American Choral Master) and Super Mario Kart. “There is no continuous thread of a story on this album, each song expresses its own moment in my life and time,” explains Louis. “I was inspired by joy, pain and the constant mission to pull something out of life around me”.

New single ‘I’m Tight’ arrives hot on the heels of ‘Let it Happen’ – “a timeless modern power ballad classic” released earlier this month. In contrast, ‘I’m Tight’ is a sleek, laser-focused Funk rocket, based on an utterly irresistible bassline. “It comes from me recording about 100 different cells of funk, choosing my favorite ones and quilting them together into a song,” says Louis. “I had to practice the bass part a lot for this one,” he adds, smiling.

Cole’s insane musicianship is no secret – he’s been sharing performance videos on YouTube for a decade – growing a dedicated fanbase who appreciate both his craft and off-the-wall style. Drums, bass, keys… he has a monk-like attitude to practice and perfecting his art. Thundercat describes him as “one of Los Angeles’s greatest musicians” and earlier this year invited him to play drums on his recent tour of Japan. The pair have frequently written together including on the aptly titled ‘I Love Louis Cole’ from Thundercat’s Grammy-winning album “It Is What It Is”,  ‘Bus in the Streets’ and ‘Jameel’s Space Ride’ (from Thundercat’s 2017 opus “Drunk”) and ‘Tunnels in the Air’ for Louis’ 2018 album “Time”. Flying Lotus has also expressed admiration for Louis, calling him “super inspirational” during the writing of his 2019 album “Flamagra”.

Touring incessantly, Louis sold out two shows at EartH Hackney (1k cap)  in London during his last UK tour. He has also appeared at North Sea Jazz Festival, Montreal Jazz Festival, Newport Jazz Festival, Rock En Seine, Jazz a Vienne, Jazz à la Villette, Wonderfruit, Vancouver Jazz Festival, Maiden Voyage and more. Last year Louis embarked on his biggest collaboration to date with the Grammy-winning Metropole Orkest conducted by Jules Buckley, for a string of unique shows in the Netherlands, with more to come in 2023. This October he will tour the US with his big band.

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Terence Etc.’s debut album ‘V O R T E X’ is out now on Brainfeeder

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‘V O R T E X’ – The debut album from Terence Etc. is out tomorrow on Brainfeeder

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Louis Cole is BACK!

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The new album ‘Infinite Window’ is out now on Brainfeeder

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Taken from the album ‘V O R T E X’ out August 19th on Brainfeeder.

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Taken from the album ‘Infinite Window’ Out July 29th on Brainfeeder

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The first single “In Contemplation of Clair’s Scent” is out now on Brainfeeder.

First introduced into the public eye as a filmmaker with his 2012 Sundance Film Festival debut “An Oversimplification of Her Beauty”, Terence Nance (also known as Terence Etc. in more musically aligned spheres) exists on the threshold of artistic form. Terence has built a reputation over the last decade as one of America’s most adventurous filmmakers and is perhaps best known for his Peabody Award-winning HBO series “Random Acts of Flyness”, a television program that he created, directed, starred in, edited, and scored in 2018. He is truly multidisciplinary. He draws. He writes. He sings. He plays the guitar. He builds things. He harbors in himself a great many possibilities, a great many realities that whirl about seeking expression and balance.

It is this desire for balance—balance of life, balance of emotions, balance of energies within— that brought forth “V O R T E X”, his debut album.

“V O R T E X is a sonic tool that I made so that I can play it for myself and balance my energy between masculine and feminine; destructive and creative; domination and submission; right and left; sun and moon; day and night: opposing energies generally,” explains Terence. “The album intends to use sound, melody, song, incantation, etc. to rebalance a bodyspirit through out the constant circular movement of life.”

The album was written and produced by Terence, along with long time friends and collaborators: Solomon Dorsey, Nick Hakim and his brother Nelson Bandela. Most of the songs on the 11 track album are arranged as diptychs that swell and fold in on themselves in a dizzying oscillation. Terence is flirtatious in his lamenting, with a style that swells from suggestively oracular, to vaudeville, to your local battle of the bands.

“I recorded demos for each song, just guitar and voice on a voicenote – then I started doing shows and Solomon and Nick encouraged me to get into the more rigorous process of producing the songs which took planning and revisions, revisions, revisions, until it was done. I credit them with making sure it all happened” says Terence.

Visuals by Rikkí Wright, Alima Lee, Kirby Griffin, and Maya Iman will accompany the album.

Terence highlights Stevie Wonder as a major source of inspiration: “I think my favorite song ever… is probably ‘Visions’. It’s – for me – the most viscerally emotional experience of melody, instrumentation and lyrics coming together. It’s telling a story, you know?”

The record certainly defies easy categorisation but is forged with the same spirit of experimentation and adventure synonymous with Terence’s heroes and contemporaries, artists like Andre 3K, Solange, Serpentwithfeet, Nelson Bandela, Standing on the Corner, Earl Sweatshirt, Nick Hakim, and Moses Sumney and indeed, Brainfeeder’s illustrious founder Flying Lotus. V O R T E X also draws on the literature of Louise Erdrich and Toni Morrison, as well as the drawings of Ruby Amanze whose voice is featured on the album.

“V O R T E X” envelops its audience in a clairvoyant’s plea to their lover, a psychic invitation to some preordained union of souls as expressed through a dreamstate or vision. Rhythmically, there is the sensation of being led, of descending into the deep caverns of a psyche in the troughs of harmonic convergence, a jovial if not foreboding impression. There is regret here too, as there always is in musings of relation: regrets of timing, regrets of intentions, regrets of capacity to accept and nurture love.

In the momentous ‘In Contemplation of Clair’s Scent’, Terence is candid and intimate. The song grows, emotions swell and morph. Clarity and confidence become a meditation on the desire for today and its fleshy possibilities as tomorrow becomes the desire for an ancient and spiritual affinity.

Much of V O R T E X’s climate circulates these themes. The weather of the feeling is a coy calamity, a playful unraveling of romantic expectation transposed against a taut everyday reality of projected masculinity. This need for an esoteric familiar shifts the albums perspective. Who is Terence singing to? If it is a woman is it a woman of external reality or a more abstracted feminine quality within Terence himself?

Harmony and balance, though slow, moves steady and arrives here in the V O R T E X for us to share.

Next for Terence, September will bring the premiere of a ritual, Fourth Dimension Trigger, Fifth Dimension Trauma at the 2022 Whitney Biennial at the Whitney Museum of American Art, NYC. Then on an unspecified date in the near future, the premiere of season II of Random Acts of Flyness.

“V O R T E X”  comes out on the 19th of August 2022 via Brainfeeder. It’s available digitally and on limited edition deluxe 2LP vinyl with gold foil detail featuring photography by Kirby Griffin and artwork by ELLA.

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Taken from the album ‘Infinite Window’ Out July 29th on Brainfeeder

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Kuedo is set to release his new album ‘Infinite Window’ on 29th July 2022 on the award-winning Brainfeeder record label.

Blending synth-driven avant garde compositions and thunderous drum programming, the album sonics owe as much to modern R&B icons like Frank Ocean and The Weeknd as they do to legendary composers such as David Axelrod, Tangerine Dream and the sadly recently-departed Vangelis or contemporary breakbeat aficionados such as Sully and Jlin.

“I’m split between thinking about what makes spacey synth driven music production work, what makes rap and UK jungle work, and what makes pop and R&B work,” explains Kuedo. “I found myself turning more to what I just enjoy listening to, or to what’s really endured through history, even if it’s new to me. I realised that old music can speak to the current moment as well or better than new music. Particularly in terms of ecological, planetary anxieties, and hopes too”.

Notions of ‘time’ — of looking both forward and backward — run deep throughout the album and its recording process. The genesis for ‘Infinite Window’ began in early 2021 when Kuedo sat down to begin composing a full length album for Brainfeeder, but the finished record is a meticulously assembled collage of new composition and various demos and sound recordings, some of which stretch back almost 10 years.

“Almost a third of the album comes from rough sketches I had written for a previous Kuedo album that never was.” he explains. ”Turning these into finished tracks and assembling them into a unified album, into something that moved as one body… that was a complex experience. It felt like negotiating with previous versions of myself, down corridors of time. It was a little odd hearing a much younger me trying to get better at playing keys, and then having the me now playing alongside that. It felt like time-travelling. In that process, I probably made some peace with that earlier version of myself too, for not having the confidence to finish it at the time”

“I didn’t have a conceptual conceit when I made the tracks or sequenced the album,” he continues. “But whenever I needed an image to anchor or aim toward, the images that came were something about the world after all this, if we almost lost everything. Hot, dry landscapes, remnants of this time, the wonder of this current green world, our relation to future generations, the waves of time. When I was mixing it, I  imagined it feeling weathered by time, or out of place in time, like something crash landed, or excavated, half buried in the sand.”

The limited edition yellow vinyl LP features artwork by fast rising visual artists Monja & Vincent and sleeve design by Raf Rennie (Acronym, Prada, Nike).

“Monja & Vincent and I met when they asked if I could contribute any music to their graduate animation short,” says Kuedo. They said their art style had been somewhat influenced by my music, which was incredible to me. I found the art they showed me so inspiring for my own music, it helped me write my own stuff. So I asked them if they would be interested in making an image for the album.”

“I’ve been a fan of Raf Rennie since the mid 2010s, I’m really buzzed to work with him,” he continues. “We have a good shared language & understanding of each other. Some similar inspirations too, like the original Alien film. He developed the Kuedo logo into his own full typeface, “Geiger”. To me his work has a minimalist, composed, slightly detached vibe, in a Kubrick-like way. I really like how it works around a more relaxed and expressive illustration, like Monja & Vincent’s.”

‘Infinite Window’ is out on 29th July on Brainfeeder.

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Brainfeeder welcomes Kuedo to the family with his first album in 6 years titled ‘Infinite Window’.

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The new album ‘Interstellar Black Space’ by Brandon Coleman is out now on Brainfeeder

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Taken from the album ‘Interstellar Black Space’ Out now on Brainfeeder

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Taken from the album ‘Interstellar Black Space’ Out now on Brainfeeder

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Brandon Coleman announces new album “Interstellar Black Space” out on 20th May via Brainfeeder and shares new single ‘Blast Off’.

An LA-based keyboard maestro, vocalist, composer, producer, arranger and astral traveller, Brandon Coleman is certified Brainfeeder family, collaborating with label founder Flying Lotus and Thundercat, he is a regular fixture in Kamasi Washington’s incredible band. Fingers dancing across the keys or wielding his keytar, Kamasi has been known to introduce him onstage at gigs as “Professor Boogie”.

“Interstellar Black Space” represents a new chapter in the Funk dynasty that spans George Clinton / Parliament Funkadelic, Herbie Hancock, Chick Corea and Weather Report and honours their collective ethos of freedom and experimentation. Brandon describes the record as “a celestial encounter for your eardrum”, and describes a long held desire to create music for astronauts to enjoy on their missions. Inspired by Bowie’s “Space Oddity” and George Duke’s rich musical catalogue: “This record is a reflection of how I felt about time, space, and celestial energy,” he explains. “I love space movies like Interstellar and The Martian – and I thought to myself, if I was traveling through space what would I want to hear?” As it transpires, the answer is ‘Blast Off’ – the lead single that distills the essence of Funk into a scorching 01 min 48 secs – thrusting the record into the upper atmosphere with a joyful, intoxicating fusion that recalls “Street Songs”-era Rick James, Cameo and Dazz Band at their finest. “I wanted to write something that I would want to hear whilst traveling from planet to planet searching for a rare precious metal that we need to bring back to Earth,” he laughs.

Steadfastly future-facing, but with a deep respect and passion for his lineage and the origins of Black music in the US (“I’ve always been a conduit of spiritual music”) Brandon references passages from James Brown’s autobiography that describe the role of music on the plantations. “He wrote about how enslaved people were banned from playing instruments. I think plantation owners knew it was a means of communication, so they were given only one day of rest from working tirelessly all year – and on their one day off they were allowed to play music and do whatever they wanted. They would start to build drums in the morning and literally play drum music all day from sunup to sundown, well into the night. The story is that across all these different plantations from miles and miles away all you’d hear was the drums – and all of them, across plantations, were connected by “the one”. So much of modern music is based on “the one”. It’s a Negro thing that’s the basis of funk: James Brown, Larry Graham, Sly Stone, Bootsy Collins.  So ‘On the One’ is my homage to the lineage. I wanted something uplifting.”

Closing the album is ‘Mutha Afrika’ which goes back even further: “Africa is the mother of rhythm, and the moment I hear this song I think of jubilation. I think of dancing. I think of ancestors. I think of lineage. I think of auto-didacticism,” says Brandon. “No one taught us how to play these drums, no one taught us how to play this music. We just did it. It’s part of who we are.”

Coleman shows off remarkable versatility on “Interstellar Black Space”, demonstrating that he is a master balladeer as well as a conductor of the high octane Funk energy that propels this album. Referring to second single ‘Be With Me’, Brandon once again refers to his study of Black music: “There’s a culture of music that I grew up with that I’ve always loved and it’s always spiritually spoken to my soul: the lyrics of The Delfonics, Four Tops, Manhattans… groups like that motivated me to want to write a truly inspired song. I wrote this in 30 minutes. We recorded it in one take. It’s soul music through the mind of synthesizers!”

Following on from “Resistance” (2018), Brandon wanted to attain more of a live sound and to rely less on production on “Interstellar Black Space”. A big part of that was bringing in respected friends such as Kamasi Washington, Patrice Quinn, Ryan Porter, Samir Elmehdaoui, Stanley Rudolph, Sean Sonderegger and Yvette Holzworth, in addition to Grammy-winner Keyon Harrold (trumpet), Ben Williams (bass) and drummer Marcus Gilmore (Taylor McFerrin / Chick Corea) with whom Brandon collaborated on ‘We Change (Part II)’ and ‘Astral Walk’ – two compositions that represent the jazzed-out angles of the album. “These are all artists that I’ve just always admired,” explains Brandon. “They also represent a sound and culture that I wanted to be a part of this project.”

Brandon grew up in South Central LA with an older brother who switched him on to Miles Davis at an early age. “There would be a lot of times kids at school would be singing a popular song and I wouldn’t know it. Instead, I was blasting Kenny Kirkland and Chick Corea and they’d all think I was speaking another language”. Brandon began teaching himself piano at age 16. By age 17, he landed his first touring gig with Brian McKnight and he has since lent his talents to some of the world’s top artists from Babyface, Roy Hargrove and Stanley Clarke to Alicia Keys and Childish Gambino. Coleman has been a prominent contributor to albums by Kamasi Washington, Thundercat and Flying Lotus, among others. He also opened for Flying Lotus on his “Flamagra” North American tour in 2019.

“Interstellar Black Space” out on 20th May via Brainfeeder. Brandon plays album launch shows at Lodge Room in LA on 15th May presented by Artdontsleep/Jazz is Dead followed by three nights at Black Cat in San Francisco.

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Little Snake shares new Ivy Lab remix of ‘TO FIND LOVE IS TO SEEK THE END (feat. Flying Lotus)’ out now on Brainfeeder.

“Little Snake was like –  ‘Wanna do a remix? I don’t have any stems you’ll have to sample from the released version’ – which TBH was refreshingly restrictive. Loved combing through the LP looking for an irresistible hook to sample, you’re not normally allowed to do that to music from your contemporaries really.” Ivy Lab

Exploring the territory where leftfield bass and so-called “halftime” meet hip-hop – sometimes referred to as “future beats” – Ivy Lab occupy a space characterized by the coalescences of both Los Angeles and London. Currently enjoying a rich vein of form with their own production output as well as that of their 20/20 LDN imprint and events, the pair – J Fogel (Stray) and Gove Kidao (Sabre) – have tamed Little Snake and Flylo’s wild, freeform original to present a tight, focused and finely-tuned club workout.

“Ivy Lab has remained one of the most sacred acts within electronic music for me for several years,” says Little Snake. “Everything they do is carried out with such meticulous attention and style. When I asked them to remix something from my album with no stems, files, or really anything to offer I wasn’t expecting them to bite. But I’m beyond flattered they took it and did what they do best.”

The original version of ‘TO FIND LOVE IS TO SEEK THE END (feat. Flying Lotus)’ can be found on Little Snake’s debut album “A Fragmented Love Story, Written By The Infinite Helix Architect” – a sprawling masterpiece juxtaposing rhythm, tempo, melody and form that was released in May 2021. The Canadian producer, real name Gino Serpentini, has been deconstructing dancefloor norms, subverting traditional structures and refining his utterly inimitable sonic signature since 2017, spearheading a new wave of experimental producers hell bent on breaking new ground. Highly respected both by his peers and elders alike, it’s no coincidence that two titans of the avant garde: Amon Tobin and Flying Lotus, appeared on the record alongside fellow upstarts Sabroi, Tutara Peak and Shrimpnose.

Little Snake signed to Brainfeeder in 2018 after his tracks became a staple in Flying Lotus’s DJ sets, with the Brainfeeder label head describing his productions as “fkn insane”. He has released 3 EPs on the label, balancing intricacy with explosive bass weight: “YATDC” (2020), “LOST IN SPIRALS” (2019) that was informed by math rock, textural noise, acid techno and jungle; and “ENTER” (2018) which was inspired by the Gaspar Noé film Enter The Void.

His general disdain for electronic music norms and traditions has earned Serpentini praise from Billboard, Magnetic Mag, Brooklyn Vegan, XLR8R, This Song is Sick, Exclaim, Mary Anne Hobbs (BBC Radio 6 Music) and Amon Tobin who declared: “Little Snake approaches music with a reckless abandon that gives me hope for a new generation of producers.”

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3x GRAMMY nominated Hiatus Kaiyote announce remix album “Mood Variant”–out 3rd April on Brainfeeder–and share a double single release of ‘Red Room (Nick Hakim Remix)’ and ‘Get Sun (Georgia Anne Muldrow Remix)’, which is out today. “Mood Variant” follows the overwhelming success of critically acclaimed album “Mood Valiant”, which is currently nominated for Best Progressive R&B Album at the 2022 GRAMMYS in April.

Nick Hakim’s signature approach at oblique indie soul reimagines the sanctuary of ‘Red Room’ with an air of mystery while the boundless muses of Georgia Anne Muldrow’s acclaimed album, “VWETO III”, spill over in a squelchy funk rework of lead single ‘Get Sun’. “Mood Variant” also enlists the talents of esteemed producers, featuring remixes from Mndsgn, Stro Elliot, DJ Khalil, Brainfeeder label mates Teebs, Salami Rose Joe Louis and more.

“Mood Valiant” came together over the course of six years during which the band spent time touring, writing and recording, culminating in a 2019 trip to Rio de Janeiro that led them to work with legendary Brazilian arranger Arthur Verocai. The album has seen praises from the likes of The Observer, Mojo, CLASH, The New Statesman, and End of the Year Placements on NPR, Bandcamp Daily, Bleep, Vinyl Me Please, Record Store, Rough Trade, and more. Hiatus Kaiyote were also featured in an in-depth interview with The New York Times plus more additional features in NPR, Rough Trade Podcast, The List, The Ringer,  Amoeba’s “What’s In My Bag” video series, and Composer. The band also recently performed a NPR Tiny Desk Home Concert to rapturous acclaim.

Hiatus Kaiyote is Naomi “Nai Palm” Saalfield (guitar, vocals), Paul Bender (bass), Simon Mavin (keys), and Perrin Moss (drums). The group have been sampled on songs by The Carters (Beyonce & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper, and Drake—with whom Nai Palm also collaborated with on his “Scorpion” album. They’ve been praised by legends from Erykah Badu to Questlove to Prince, and other more recent supporters include SZA, Little Simz, Virgil Abloh, Doja Cat, Willow Smith, Nubya Garcia, Loyle Carner, Kehlani, Tom Misch, Lianne La Havas and Bradley Zero. Hiatus Kaiyote have seen placements on 10 different Billboard charts including Billboard Top 200 –  #103, Billboard Emerging Artists – #1, and Billboard Heatseekers – #1. Additional US Radio support comes from stations like KEXP, KCRW, SiriusXMU, and SiriusXM Diplo’s Revolution. The album also debuted at #4 on the ARIA Album Chart (AU) for the group’s first ever top ten entry. UK support includes Annie Mac, Clara Amfo, Gilles Peterson and Benji B on BBC Radio 1 and BBC 6 music, where Iggy Pop has also supported, Jamz Supernova on 1Xtra, making the A list on BBC 6 Music, and being featured in and on the cover of the Guardian Guide. In Europe, they have previously sold out Somerset House, Kentish Town Forum and the Shepherds Bush Empire in London, the Paradiso in Amsterdam, Sala Apolo in Barcelona, and played numerous festivals including Glastonbury, Dour and Dimensions.

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The new album ‘Blind’ by Jameszoo is out now on Brainfeeder:

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Taken from the album ‘Blind’ Out now on Brainfeeder:

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Jameszoo (Mitchel van Dinther) returns to Brainfeeder with a new album – “Blind” – embarking on further adventures on the fringes of jazz and electronica. Imbued with the same spirit of adventure and experimental outlook as his previous work on the label, the recordings were shaped by van Dinther’s studio sessions at Willem Twee Studios – the specialist analogue studio in Den Bosch (Netherlands) with an unrivalled collection of vintage synthesizers – amongst other locations.

“In music and other arts there is a heavy emphasis on the artist,” says Mitchel. “Which composer, which soloist, which performer and the shifting emphasis between them all colours what we hear. Is it possible to create something that bypasses this? A project that forces active objective listening?”

These were the questions that Mitchel was pondering as he embarked on making “Blind”. Was he successful in his endeavour? “I didn’t even come close to be completely honest,” he laughs. “But all these (sometimes silly) attempts became the backbone for this new album.”

Mitchel started by trying to bypass himself as the protagonist, beginning by remotely recording musicians and collaborators reshaping his initial ideas and concepts, step by step morphing the music as if repainting a portrait again and again. “I tried to stop force-feeding my own preconceived notions of what music should sound like. Instead I would politely impose new ideas to the compositions, crossing fingers it wouldn’t reject these ideas like a failed organ transplant. Then something special started to happen, where the music seemed to grow almost self aware. I really enjoyed this process of letting loose and actively listening!”

Fascinated by the idea of a non-existent soloist, Mitchel recorded all sorts of motorised instruments to attempt to embody this idea. For example, the Disklavier (motorised piano) which allowed for precision and the execution of passages unplayable by the human hand. “It really helped me aesthetically detach from the human aspect,” he says. “The Disklavier started to embody the music’s characteristics.”

“Blind” exists as an album and a short film directed by Sven Bresser and Mitchel van Dinther himself. The film stemmed from conversations that Mitchel had with the fantastic performer Saïd Gharbi who is blind and who was kind enough to share his experiences on translating his senses to something he can only partly experience himself. “We talked about his process of exploring and engaging with his other senses after losing his sight,” explains Mitchel. “Through these conversations we decided on making a short movie together to accompany the album, portraying Saïd’s and my own experience of this music and our senses.”

Finally, in an ultimate attempt to transform into music itself Mitchel asked the cult Chilean-French filmmaker and artist Alejandro Jodorowsky the question: ‘how do I shape-shift?’, with Alejandro answering the question via a recorded tarot reading. “He had no more than a few minor details about me and was guided by his cards to formulate his response, which was a dazzling 14 minute long answer where I felt like he could see me and my world without me physically being anywhere near him,” says Mitchel smiling.

Supported by a cast of exceptionally talented friends on “Blind” who share van Dinther’s passion for improvisation and invention, Mitchel once agains links with his long term writing partner and keyboard whizz Niels Broos, Swedish bassist Petter Eldh and drummers Richard Spaven and Julian Sartorius, all of whom contributed to van Dinther’s debut album “Fool” (2016). Violinist Diamanda La Berge Dramm, pianist/organist Kit Downes (ECM), visionary trumpeter Peter Evans, trailblazing British saxophonist Evan Parker (a pivotal figure in the European free jazz movement), drummer Christian Lillinger, Brainfeeder label mate Oliver Johnson (Dorian Concept), saxophonist John Dikeman and the acclaimed sound explorer Matthew Bourne also contribute.

Jameszoo released his debut album “Fool” in 2016. A curious, at times downright awkward, but thoroughly enjoyable blend of jazz and off kilter electronics, the record featured cameos from two outright legends: Brazilian composer Arthur Verocai and pianist Steve Kuhn; in addition to virtuoso bassist Thundercat. van Dinther was rewarded for his bold, adventurous attitude in the studio by Gilles Peterson who bestowed upon him the “John Peel Play More Jazz” Award at the Worldwide Awards 2017.

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 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 and the Jameszoo Quintet on a truly joyful journey, elevating compositions from van Dinther’s 2016 album “Fool” to transcendental realms. The recordings of this momentous collaboration were released via Brainfeeder on 17 May 2019.

“Blind” will be released on 11th March 2022 on black vinyl LP with braille emboss detail on the sleeve. A strictly limited edition tarot deck (with album download) is also exclusively available via Bandcamp/Brainfeeder. The artwork for the project is by the celebrated Dutch artist Philip Akkerman, a dear friend of van Dinther.

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Wajatta is the musical duo of comedian/musician Reggie Watts and electronic music artist/DJ/producer John Tejada. Pronounced wa-HA-ta — it’s a mash-up of the artists’ last names. Flying Lotus’s Brainfeeder record label released their second album “Don’t Let Get You Down” in 2020.

The duo describe Wajatta’s music very broadly as “electronic dance music with its roots in Detroit techno, Chicago house, ‘70s funk and New York hip hop” but new EP “Do You Even Care Anymore?” released on 3rd December 2021 encompasses the next evolution of their sound. “It has developed into something a bit deeper,” says John. “While our process and Reggie’s vocal improvisation work is still the same when we record, there’s just something new that we settled into this time. The music and the lyrics got a bit deeper.”

Title track ‘Do You Even Care Anymore?’ exemplifies their evolution perfectly. The modulation in the melodies and the way Reggie fits in that pocket is beauty right on the verge of dissonance. The brilliant animator/director Mike Manor comes through with a brilliantly conceived and executed video. Highly respected for his viral shorts and humorous 2D/3D pixel art style. Mike is heavily influenced by rap, comedy and animé and has worked with Zack Fox & Jak Knight, Denzel Curry & Kennybeats, Flying Lotus, Pi’erre Bourne, 24kGoldn, 88Rising and more.

Elsewhere on the EP, ‘Somethin’ More Than This’ and ‘So You Know’ playfully channel vintage 12 bit sampler grooves and ‘Stone Hearted’ is deep, dubby and meditative. Throwing in a wonderful curveball to close out proceedings, John and Reggie serve up a cover version of Adamski’s stone cold classic ‘Killer’. “Most people in the US know the version which ended up on Seal’s debut album, but the original was a fierce instrumental Adamski would perform live during the peak of the Acid House explosion in the UK,” explains John. “It wasn’t for a while that he added vocals sung by his friend Seal. Adamski’s original version is a UK classic and it still holds up to this day. We began playing a version of this at some of our shows a couple of years back and we suddenly realized it should be released. A cover is something I don’t think either of us have ever done or thought of doing, but we wanted to remind everyone about the original version of this classic in hopes they would go and discover it for themselves (and hopefully have a little dance to our version in the process).”

Reggie Watts can currently be seen nightly on US TV as the bandleader for CBS’s The Late Late Show With James Corden. He first burst into American audience’s lives as the co-host of IFC’s groundbreaking variety series Comedy Bang! Bang! As a solo performer, he’s honed a unique style that blurs the lines between music and comedy, as is evident in his 9-minute TED Talk in 2012, as well as multiple comedy specials for both Comedy Central and Netflix, and at the invitation of Jack White, the record “Reggie Watts Live at Third Man Records”. Reggie relies heavily on improvisation — most notably, the multi-layered music tracks he builds on the fly, looping his beat-boxed rhythms and soulful vocals into spontaneous musical inventions that are funky, hypnotic and often hilarious.

John Tejada has been at the vanguard of West Coast techno since 1994, releasing a succession of acclaimed albums, singles and EPs for such prestigious labels as Kompakt, Poker Flat, Cocoon, Plug Research and his own long-running imprint, Palette Recordings (est. 1996).

“Do You Even Care Anymore?” EP is out now on Brainfeeder Records.

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Taken from the album ‘Tread’ Out now on Brainfeeder:

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CONGRATS TO HIATUS KAIYOTE ON BEING NOMINATED FOR ‘BEST PROGRESSIVE R&B ALBUM’ FOR THE 2022 GRAMMYS !

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ROSS FROM FRIENDS LAUNCHES NEW FREE PLUGIN AND 50GB OF SAMPLES

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Taken from the EP ‘Do You Even Care Anymore?’ Out now on Brainfeeder:

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Video by Mike Manor

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Taken from the album ‘Mood Valiant’, Out now on Brainfeeder:

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‘Pyramid Remix’ is out now on Brainfeeder

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Thundercat LIVE on The Late Show with Stephen Colbert

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Out now on Brainfeeder:

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‘Tread’ is out now on Brainfeeder

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The twice Grammy-nominated band share a new single “Canopic Jar” including a hypnotizing 32 second introduction titled “Journey To The Crystal Tomb”. “Canopic Jar” is a haunting, cyclical track exploring the descent into the darker corners of the mind. A 12″ vinyl release of the single package will be available on October 29th here. ‘Canopic Jar’ is their first new music since the acclaimed release of the album “Mood Valiant” in June.

Singer Nai Palm is a long-time lover of Halloween inspired music, as she explains in the song’s meaning…

“A canopic jar is an ancient artifact from Egypt. When they preserved the body through mummification for the afterlife, the organs were contained in a canopic jar.  I used this image of preserving something in this lifetime to be accessed in another as a metaphor for an unobtainable relationship, to re-appear throughout the ages because circumstances won’t allow it this time around.

I am obsessed with Halloween playlists, and keeping in the vein of Michael Jackson’s “Thriller”, Screamin’ Jay Hawkins’s “Feast of the Mau Mau“, and our own “Swamp Thing”, we wanted to explore the spooky thematics in how we produced the song. There are real wolves that I recorded after visiting a wolf sanctuary in Upstate New York. Bender added harrowing cello recorded in an empty water tank, Simon went full Phantom of the Opera organ-style, and Perrin’s drum tones sound like a werewolf-gorilla hybrid smashing through a cityscape.  We basically like to create tiny sonic movies with each song we make.

Ironically, the person the song was written about is now my partner, and he added the Vincent Price villain laugh at the end of the song under the pseudonym Eddy Knife Hands, which kinda wraps the witchy sonic spell up nicely, haha.”

Hiatus Kaiyote is Naomi “Nai Palm” Saalfield (guitar, vocals), Paul Bender (bass), Simon Mavin (keys), and Perrin Moss (drums).  Today’s announcement follows the band’s recently released album, “Mood Valiant” which received praise from Pitchfork, Dazed, Guardian, Rolling Stone, The New York Times, and NPR, and placements in Albums Of The Year so far lists at Rough Trade and Mixmag. “Mood Valiant” came together over the course of six years during which the band spent time touring, writing and recording, culminating in a 2019 trip to Rio de Janeiro that led them to work with legendary Brazilian arranger Arthur Verocai. The band recently performed a NPR Tiny Desk Home Concert to rapturous acclaim, seeing it receive nearly 500k views in less than two months. Hiatus Kaiyote have been sampled on songs by The Carters (Beyonce & Jay-Z), Kendrick Lamar, Anderson .Paak, Chance The Rapper, and Drake—with whom Nai Palm also collaborated with on his Scorpion album. They’ve been praised by legends from Erykah Badu to Questlove to Prince, and other more recent supporters include Little Simz, Virgil Abloh, Doja Cat, Willow Smith, Nubya Garcia, Loyle Carner, Kehlani, Tom Misch, Lianne La Havas and Bradley Zero. UK support includes Annie Mac, Clara Amfo, Gilles Peterson and Benji B on BBC Radio 1 and BBC 6 music, where Iggy Pop has also supported, Jamz Supernova on 1Xtra, making the A list on BBC 6 Music, and being featured in and on the cover of the Guardian Guide. In Europe, they have previously sold out Somerset House, Kentish Town Forum and the Shepherds Bush Empire in London, the Paradiso in Amsterdam, Sala Apolo in Barcelona, and played numerous festivals including Glastonbury, Dour and Dimensions.

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Taken from the album ‘Mood Valiant’, Out now on Brainfeeder:

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Taken from the album ‘Tread’, Out 22 October on Brainfeeder:

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‘Tread’ is out 22nd October via Brainfeeder.

Ross From Friends—AKA British producer Felix Clary Weatherall—returns with ‘Tread’, his keenly anticipated new album, due for release on 22nd October via Flying Lotus’ Brainfeeder imprint.

On ‘Tread’ Ross From Friends dials up the intricate and emotive qualities of his production style that have previously led Mixmag to praise his “idiosyncratic dexterity that not only makes your heart ache, but dance right out of your chest”. An artist who demonstrates an ever-increasing mastery of his craft, ‘Tread’ is a record that is at once sleek and melodic but also eminently danceable, nostalgic but brilliantly modern, with nods to sounds and styles that are not so much reflected but refracted and recontextualised through Clary Weatherall’s lens.

Lead single “The Daisy” exemplifies the spirit of the album. A bewitching club track that skips out of the speakers, the peppy 2-step drums cosying up to swollen pads that tug on your heart strings. Drawing its name from one of the opening steps in solving the classic Rubik’s Cube puzzle, the single also comes alongside a video which peers into the world of competitive speed-cubing. Directed by Rudá Santos and commissioned as part of Crack Magazine’s ‘Three Minutes’ program, the video also features a cameo from Felix as a speed-cubing competition judge.

It follows his highly acclaimed 2018 debut album ‘Family Portrait’—named one of the best of the year by Crack Magazine, Mixmag, NME and AV Club with further support from the likes of Rolling Stone, The Observer, The Wire, Resident Advisor and many more—and subsequent ‘Epiphany’ single on Brainfeeder, both of which were dedicated to and inspired in part by his parents and sister respectively.

Just as unique as the music on ‘Tread’ is the manner in which it came about. Frustrated by the friction to the creative process that arises when recording hardware and instruments through a computer—the constant need to start and stop recording, saving and cataloguing everything as you go—Felix decided to write and build his own piece of software. The resulting plugin—named “Thresho” and available via Ableton’s Max For Live platform—starts recording once the audio hits a user-defined threshold, then stops once it goes below that threshold, automatically saving and indexing the resulting clips alongside timestamps.

Leaving “Thresho” running in the background, Felix now found himself able to stay fully in the moment while jamming with his instruments, free to go with ideas as they happened, safe in the knowledge that nothing would be lost, or need replaying or recapturing. This revelation in how he approached the production and writing on ‘Tread’ meant he spent the first six months just experimenting with his hardware, not actually committing to any music, but with “Thresho” quietly recording everything he was doing, each session leaving its mark on an ever expanding library of his own samples. When he later came to composing the album, he was then able to draw on specific moments, either recalling the exact date or time he had made a recording, or simply browsing the now vast audio library of his own making. “Sometimes a whole tune could come from an idea within a recording or sometimes I’d just dump a random recording into an existing project and see what happens,” he explains.

At the same time as writing ‘Tread’ there were also huge shifts taking place in the world outside of music. Finding himself confined over lockdown to a small stretch of the Old Kent Road in London—an area between his studio and his house that he would traverse each day—Felix discovered this was the same neighbourhood in which his Nan had worked in a sweet shop many years before, and where his Dad had attended various parties and squats in his heyday. As he wrote the record, he spent a lot of time reflecting on his own life around this area: the parties he’d go to, different friends, relationships, houses he’s lived in and made tunes in. “In my mind it chronologically tied itself to the tunes I was listening to across that period too,” he explains. “How things have changed over the past 10 years in South London can be mapped with the type of music I was listening to throughout various stages of living here. I’ve basically honoured all of these musical touchstones across the album, thinking about how those memories and the tunes attached have been etched into a permanent chronology that’s completely personal to me.”

This new way of working alongside Felix’s inner reflections are inextricably intertwined. “I’ve amassed all of these memories from a time spent just messing around in South London, as with ‘Thresho’, I’ve amassed all of these recordings from sitting around and experimenting musically,” he says. “’Tread’ refers to the marks that I’ve been permanently leaving, both in my memories and throughout the process using ‘Thresho’”.

With ‘Thresho’ being so integral to the album Felix has also made the decision to share this vast bank of recordings that were the foundations of ‘Tread’ and in doing so, offer up a peek behind the scenes at the creative process of one electronic music’s most individual and compelling voices. To be released soon, fans will be invited to explore this resource and share their interpretations, versions, iterations and interactions.

A cornerstone of Ross From Friends music has always been the blistering Ross From Friends 3-man live show—comprising Felix, Jed Hampson & John Dunk—that delivers a killer blend of live musicianship (guitar, keys and sax) and electronics and has graced stages at the likes of Coachella, Glastonbury, Primavera, and Sonar to name a few. With multiple sold-out dates across previous tours throughout the UK, EU, Australia and North America, the trio are returning this summer  to  perform at Green Man, Lost Village and Field Day prior to headline tour in the UK & Europe in 2022.

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Hiatus Kaiyote: Tiny Desk (Home) Concert

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The long awaited return of Hiatus Kaiyote is here.

The new album ‘Mood Valiant’ is out now on Brainfeeder.

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Taken from the album ‘Mood Valiant’, released 25 June on Brainfeeder:

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Jaga Jazzist release new film and live album “The Tower” on Brainfeeder, recorded at the top of Økern Kulturtårn in Oslo.

“The Tower” is a new film and live album by the Norwegian eight-piece band Jaga Jazzist. Comprising of live recordings of the four compositions that make up their ninth studio album “Pyramid”, the band linked with director Sigurd Ytre-Arne to film an incredible live set at the top of Økern Kulturtårn in Oslo, capturing the transition from day to night as the sun set over Norway’s capital city.

“This was a beautiful night in August 2020 after five months in lockdown. It was the first day we met up and played the album together since recording it a year earlier,” explains Lars Horntveth. “The idea was to capture the sunset over our beautiful city while playing the new album from start to finish. Filmed, edited and directed by the supertalented Sigurd Ytre-Arne. We´re stoked that we captured this on film and looking forward to finally show it to everybody. Enjoy!”

Released last year on Flying Lotus’ Brainfeeder Records, “Pyramid” saw Jaga Jazzist taking a deep dive into post-rock, jazz and psychedelia influences. The album title refers to the building blocks which make up a pyramid, and how each of the four tracks – and their constituent parts – fit together. ‘Tomita’ is a nod to Japanese composer and synth player Isao Tomita, and ‘The Shrine’ alludes to Fela Kuti’s legendary Lagos venue. Lars says: “I felt that this album is a small symphony, each part containing its own rooms to explore.

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Tickets on sale NOW

Artwork by Mckay Felt

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The newest single “Chivalry Is Not Dead” off the album ‘Mood Valiant’

out now on Brainfeeder

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Tickets on sale NOW

Artwork by Mckay Felt

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The debut album

‘A FRAGMENTED LOVE STORY, WRITTEN BY THE INFINITE HELIX ARCHITECT’ by Little snake is out now on Brainfeeder

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Hiatus Kaiyote – “Red Room” off the album ‘Mood Valiant’ out June 25th

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Little Snake & Tutara Peak – “Raining Teeth” off the album ‘A Fragmented Love Story, Written By The Infinite Helix Architect’ out May 7th.

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PREORDER NOW

Strictly limited edition pill USB in a holographic ziplock envelope housed in a rainbow holographic prescription box. The box also contains an artworked package insert (250mm x 150mm) and a 75mm circular sticker. Artwork by Little Snake.

Included on the USB:
– “A Fragmented Love Story, Written By The Infinite Helix Architect” 24bit WAVs
– Exclusive VIP rework of ‘Loophole’ by Little Snake
– 3 additional exclusive bonus tracks
– Exclusive “Director’s Cut” of ‘Fallen Angels (feat. Flying Lotus)’ music video
– 4 Little Snake sample packs
– ‘Loophole’ lost artwork by Datura Hex

Includes digital pre-order of A Fragmented Love Story, Written By The Infinite Helix Architect. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.

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Little Snake – “Fallen Angels (feat. Flying Lotus)” off the upcoming album ‘A Fragmented Love Story, Written By The Infinite Helix Architect’ by Little Snake out May 7th

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Little Snake continues his quest to “find the fourth wall and break it” as Brainfeeder prepare to release his debut album “A Fragmented Love Story, Written By The Infinite Helix Architect”. The album will be released digitally and on a strictly limited edition pill-shaped USB stick in holographic packaging with a raft of exclusive bonus music and art. The USB format will be exclusively available to preorder from Little Snake’s Bandcamp store on Friday 2nd April.

“A Fragmented Love Story, Written By The Infinite Helix Architect” is a sprawling masterpiece juxtaposing rhythm, tempo, melody and form. The Canadian producer – real name Gino Serpentini – has been deconstructing dancefloor norms, subverting traditional structures and refining his utterly inimitable sonic signature since 2017, spearheading a new wave of experimental producers hell bent on breaking new ground. Highly respected both by his peers and elders alike, it’s no coincidence that two titans of the avant garde: Amon Tobin and Flying Lotus, appear on the record alongside fellow upstarts SABROI, Tutara Peak and Shrimpnose.

Announcement single ‘Fallen Angels’ is a perfect ambassador for the record. A collaboration with his mentor Flying Lotus, it sounds like a gang of unruly Decepticons gatecrashing choir practice at St Paul’s Cathedral. Ethereal beauty clashing with mangled sound design. It’s accompanied by visuals created by Serpentini under the tutelage of David Wexler aka Strangeloop.

According to Little Snake: “‘A Fragmented Love Story, Written By The Infinite Helix Architect’ is intended to be a signal to those who have experienced the consciousness of a dualistic pattern they may find themselves in. It is intended to be the most generalized amalgamation of the furthest corners of all tangible emotional complexes and perceivable spectrums known to humankind and beyond. It is a take on the consciousness of the severe echo chamber of inexplicable trauma and fulfillment around it throughout my own personal experience while trying to fully step outside of my perception of reality and notice the patterns we all face.

To those of you who resonate with this, this is about safely finding a way out for those who are finally ready to step outside the dualistic frequency of love and fear. This is about creating conversation for those who suffer trauma beyond comprehension and cannot talk about it, and connecting on a level where we can bring the next conscious step in the evolution of humankind. It is about working together as humans and together as galactic beings. If you are reading this you are not alone. We are not alone. We may move forward now to the new reality if you are ready.”

Little Snake signed to Brainfeeder in 2018 after his tracks became a staple in Flying Lotus’s DJ sets, with the Brainfeeder label head describing his productions as “fkn insane”. He has released 3 EPs on the label, balancing intricacy with explosive bass weight: “YATDC” (2020), “LOST IN SPIRALS” (2019) that was informed by math rock, textural noise, acid techno and jungle; and “ENTER” (2018) which was inspired by the Gaspar Noé film Enter The Void.

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The first single off the forthcoming album ‘Mood Valiant’ from Hiatus Kaiyote

“Get Sun (feat. Arthur Verocai)”

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Brainfeeder is pleased to announce the signing of Hiatus Kaiyote

Their album ‘Mood Valiant’ is out June 25th

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HUGE CONGRATS TO THUNDERCAT & FLYING LOTUS ON WINNING A GRAMMY FOR BEST PROGRESSIVE R&B ALBUM!!!!

WE LOVE YOU GUYS!

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Salami Rose Joe Louis – “Kinda Cold (Dakim Remix)” (Official Video)

‘Chapters of Zdenka’ OUT NOW!

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Salami Rose Joe Louis – “We’re Dumb” (Official Visualizer by Strangeloop)

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“Chapters of Zdenka” is released digitally and as a limited edition cassette on 11th December 2020. It’s a highly personal, intimate suite of tracks recorded by the Bay Area based vocalist, songwriter and producer (real name Lindsay Olsen) during the sessions for her 2019 album “Zdenka 2080”. Remixes by the Grammy-nominated Georgia Anne Muldrow and Dakim (Leaving Records) complete the package.

“Zdenka 2080” – a complex and highly conceptual record touching on soft focus dream pop and cosmic jazz – described a future dystopian Earth in the year 2080 that has been mis-managed by unethical governments and corporations. For this, Olsen drew inspiration from a series of apocalyptic sci-fi novels by Octavia Butler and Gene Wolf in addition to movies such as Tekkonkinkreet and Embrace of the Serpent. Musically her influences ranged from musical giants Shuggie Otis and Herbie Hancock, composer, bandleader and all-round visionary Raymond Scott, plus the likes of Stereolab and Flying Lotus. The Line of Best Fit proclaimed it “disorientating and fascinating” whilst Bandcamp described “a sweet journey into a world of pure imagination” and charted it in their Best Albums of 2019.

Statement from Salami Rose Joe Louis:

“Chapters of Zdenka” is a collection of songs that I wrote around the same time I was working on my most recent album “Zdenka 2080”. The first half of the record contains songs that I wrote as a form of therapy, so many of them are like diary entries. They talk about the fear of losing one’s mind and the confusion of having an overactive imagination. Also the sadness surrounding the conditioning that many females experience and the desire to unlearn this conditioning.

One of the main points of “Zdenka 2080”, was to express that an artist has a responsibility to create positive imagery to influence the world in a positive way. Zdenka, the artist figure, was very trapped in her own head and thoughts and thus, couldn’t step outside of herself to see how her actions and art negatively affected her surroundings and the earthlings around her. I guess in a sense you could say this album is the egocentric, depressed, self sabotaging side of an artist… trapped in their negative thoughts, self pity, fantasies and loneliness.

So you may ask, why release such a thing into the world?… Well, I guess there are a couple reasons. Firstly, I think everyone has multiple sides and in this perfection oriented society (perfect image, perfect social presence) I realized it is important to be truthful with the vulnerability that comes with trying to figure yourself out. This is a heavy world we live in and if this album’s expression of vulnerability can provide even just one person a little bit of comfort, I will be happy to have put it out. Secondly, I love listening to sad music, so hopefully some people will enjoy these melancholy tracks.

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Tix on sale now

Flying Lotus & Brainfeeder presents a global live stream extravaganza, featuring Flying Lotus, Brandon Coleman, Teebs and Salami Rose Joe Louis.

For one night only Steve Ellison, the man behind the mask of Flying Lotus, will orchestrate a virtual audio-visual showcase. A livestream performance opens a world of possibilities for the chameleonic artist who always finds surprising, psychedelic methods of pulling viewers, both live and digitally, under his spell. His work traverses the cosmos all the way to the astral plane, touching upon places out of reach to the modern, humble human.

—

This show will be broadcast live 3 times on Saturday 28th November.

Ticket holders can watch any broadcast from any location. Please find your local time from the schedule below.

—

Broadcast #1 (Tokyo)
9pm JST / Noon GMT / 7am ET / 4am PT

Broadcast #2 (London)
9pm GMT / 4pm ET / 1pm PT / 6am JST*

Broadcast #3 (L.A.)
8pm PT / 11pm ET / 4am GMT* / 1pm JST*

*next day, 29th Nov

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Floating Points remixes ‘Fair Chance (feat. Ty Dolla $ign & Lil B) from Thundercat’s incredible album “It Is What It Is” out now on Brainfeeder Records

Back in April, as the world was spiralling into COVID-19 lockdown, Thundercat released his aptly titled album “It Is What It Is” featuring musical contributions from Flying Lotus, Childish Gambino, Kamasi Washington, Steve Lacy, Steve Arrington, BADBADNOTGOOD, Louis Cole, Zack Fox, Ty Dolla $ign and Lil B. The latter pair graced the single ‘Fair Chance’, a song that reflected a more sombre side to the album and was explicitly dedicated to the memory of Mac Miller who tragically passed away in 2018.

Earlier this summer, rappers Smino and Guapdad 4000 brought their own inimitable flavour to the anthemic ‘Dragonball Durag’ and now it’s the turn of much loved British producer Floating Points to share his take on ‘Fair Chance’, nudging the ballad onto the dancefloor with a fabulous rework that nods to vintage 4×4 UKG. The digital is out now and a 12” is available to preorder with a street date of 18 December 2020.

The remix comes during a monumental year for Thundercat. “It Is What It Is” already landed on numerous “Albums of the Year So Far” lists including Billboard, Rolling Stone, Complex, Bandcamp Daily, NPR, Paste (#15) and Stereogum (#15), Mojo and Uncut. Furthermore he has graced the covers of The Wire, Brick and London In Stereo.

‘Fair Chance (feat. Ty Dolla $ign & Lil B) [Floating Points Remix]’ is out now as a digital single. A maxi 12” single backed with ‘Fair Chance (feat. Ty Dolla $ign & Lil B)’ original, instrumental and acapella is available to preorder now and will be released on 18 December 2020.

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Little Snake & Amon Tobin – ‘Loophole’ (Official Visualizer by Strangeloop)

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In what Little Snake describes as “truly a full circle moment”, Brainfeeder releases his collaboration with the visionary Brazilian electronic composer Amon Tobin: ‘Loophole’.

Little Snake:

“‘Loophole’ – to me – is the embodiment of a portal in which transfiguration occurs. A transfiguration in which we return to a heartspace beyond all delusions within this 3D hologram and return to a state of peace in which we truly know. We know and embody truth beyond our physical minds comprehension and temporary emotions. It takes us to a place where fear and love no longer hold any power and control over us, and instead brings us to a place of complete freedom to truly exist. I would like to extend a huge thanks to one of my all time greatest inspirations – Amon Tobin – for writing this alongside me. It is truly a full circle moment for me.”

Amon Tobin:

“Little Snake approaches music with a reckless abandon that gives me hope for a new generation of producers.”

Little Snake (real name Gino Serpentini) resides in Calgary, Alberta. His music deconstructs dancefloor norms and subverts traditional structures, balancing intricacy with explosive bass weight. His tracks have become a staple in Flying Lotus’s DJ sets who signed him to his label Brainfeeder in 2018, describing his productions as “fkn insane”. He has released 3 EPs on the label: “YATDC” (2020), “LOST IN SPIRALS” (2019) that was informed by math rock, textural noise, acid techno and jungle; and “ENTER” (2018) which was inspired by the Gaspar Noé film Enter The Void.

Amon Tobin’s life and work in electronic music has produced some of the most important, era-defining records of his time and has helped to shape much of what has come since. Amon spent eight years developing a series of works under different aliases, alongside the material under his own name. These are now gradually being unveiled on the Nomark label.

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