Music outlets worldwide have been abuzz with any and every new piece of music that his name has graced since details of another Flying Lotus “space opera,” Cosmogramma, have trickled out. There’s the new track “Quakes” from the recent Warp Records compilation 2010. You’ve got new “non-album” tracks that Warp have graciously set free. Or the super wonky (but so awesome) Lil’ Wayne remixes that FlyLo decided to drop at his site. If that’s not exciting enough for you, none other than Thom Yorke will be making an appearance on the upcoming album.
OK, enough with the hype, on to the goods. We’re now getting the first batch of promo tracks from the new album, and it appears as though the man has upped the ante from 2008’s most excellent Los Angeles. In particular, I’m really digging the falling guitar lines and bounce-clap of “Dance Of The Pseudo Nymph.” Gilles Peterson broadcasted the world premier on his radio show only last week. And we got your back now with the full version.
Cosmogramma is due out on May 4th in the U.S. — gregb
Daedelus endeavors to compose a requiem for the end — of beliefs, of lives, and of an era. This elegy for a bygone battle sheds light on our own contemporary conundrum: will our faith in modernity be our downfall? Are we blinded by this age of wonders, doomed to be destroyed by our ingenious inventions?
… so says the press release for Daedelus’ upcoming album Righteous Fists of Harmony. Heavy. He’s the type of artist who can play with such grand themes, doing so electronically and organically so as to exemplify and to challenge those very same ideas.
Take “Fin De Siècle.” Gorgeous strings, compressed at different, wavy levels and expressed as sound bouncing off the walls of a bare room with a hardwood floor.
On the strength of Freeway’s two tracks on Jake Uno’s most excellent White Van Music and Free’s series of bombs on bloggers in 2009 comes the official dough infusion hip-hop seemingly always needs, The Stimulus Package.
I happened across Pitchfork this week and saw that they gave this album 6.5, which means two things, really:
1) They still don’t get hip-hop.
2) Correctly adjusted, this is album actually gets at least an 8.5.
This isn’t about P4k though. This is about a great emcee and a great producer hooking up for the real deal. Freeway’s always engaging flow does wonders on top of Jake One’s soul-crushing grooves. And it shines in part because of that “group”-style consistency that’s so often missing from modern day hip-hop albums.