Shabazz Palaces – Live on KEXP

I must begin with a heartfelt thank-you to Kevin for sharing this with me.  Thanks, Kevin!

Shabazz Palaces crafted possibly the best hiphop album of the new millennium with Black Up, something I’ve documented here and here.  Aside its status as a masterpiece of songwriting and innovative production, engaging places of the heart and mind which hiphop rarely acknowledges, the album serves as the blueprint for increasingly thoughtful and fun live appearances.  This particular video is the most professional and high fidelity recording I’ve seen, so despite its brevity there’s no better place to start expanding your view of the group.  Familiarity with the songs is not required for enjoyment – they’re evocative, head-nodding creations in any format  – yet the pleasures multiply when contrasting the live interpretations of such meticulously sculpted album cuts.  The hiphop I’ve seen in person tends toward one end or another: preformed backing tracks to emulate the recorded experience, or stripped down live-band approaches.  The latter are often more fun yet distance the performers from what we hear at home.  Shabazz Palaces seem to cut not a middle ground, but a third path to live nirvana, mixing the laptop histrionics and physical instrumentation with an experimental eye toward carving the feeling into something as disorienting and psychedelic as the album itself.

If you haven’t heard the album you owe it to yourself to check out my writeup and listen to the full stream here.

Gang Gang Dance – 4ad Session

This video is old and I haven’t written a post about Gang Gang Dance in a while, but neither fact matters.  This is a freewheeling ode to getting high on your music.

I really can’t say more.  Watch the video.

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Cleanse Your Brain

Miles Davis wants to rinse your skull out.

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Miguel Atwood-Ferguson Ensemble – Drips/Take Notice

I had nearly forgotten:  this is one of my favorite things ever.

Or at least the past year.

In late 2010 this clip from a July 23 concert in Los Angeles was posted and I realized how much of an incredible force of nature Miguel Atwood-Ferguson is.  Flying Lotus fans know him as the guy providing the string arrangements in the legendary album Cosmogramma, while those more familiar with J Dilla probably smile at the thought of his work as headliner of the Timeless: Suite For Ma Dukes album, a sweeping orchestral take on the late James Yancey’s productions.  This 13 minute alchemic beast weaves a stargazing intro from the former into one of the sparkling highlights of the latter’s final statement, the Ruff Draft EP, into an uplifting, hard charging masterpiece.

Truly an all star production, this band includes none other than Flying Lotus himself, Thundercat (best known for 2011’s Golden Age of the Apocalypse and making Cosmogramma jump like frogs in a dynamite pond), Rebekah Raff (another Flylo alum, she of the Alice Coltrane-worthy harp ethereality) and a full set of accomplished musicians I’ll list below.

Flying Lotus (laptop)
Miguel Atwood-Ferguson (violin)
Evan Francis (flute)
Dontae Winslow (trumpet)
Joey Dosik (alto sax)
Kamasi Washington (tenor sax)
Garrett Smith (trombone)
Rebekah Raff (harp)
Marcel Camargo (guitar)
Brandon Coleman (keys)
Stephen ‘Thundercat’ Bruner (bass)
Chris ‘Daddy’ Dave (drums)
Nikki Campbell (percussion)

I’m just hoping this hints, if not at Flying Lotus‘ next album (which will be announced at Coachella) perhaps a collaborative effort or even a full length release from this Ensemble itself.

I Was There!

Last weekend I had the pleasure to see Mr. Steven Ellison, aka Flying Lotus, perform twice in the same day.  The first event was a live collaboration with Dr. Strangeloop for the Ann Arbor Film Festival, scoring the 1962 avant garde animated film Heaven and Earth Magic as it played in the Michigan Theater.  Truly one of the strangest media experiences of my life, the film itself is an utter mind fuck – stark black and white 19th century cutout images swirling, grinding, and making Dali proud – while the accompanying score blew the doors off my perception of what Flying Lotus is capable of.  This material was a straight up experimental drone symphony and shared few commonalities with the ostensibly beat-centric music the man is known for.  Of course, I gave myself to it wholeheartedly and was spit out the other end with wild eyes and an expanded level of respect and admiration.  And some dizziness.

A still from Heaven and Earth Magic.

Then, we hit the Blind Pig and became truly and completely blown away.  We were the faithful masses and he was our prophet.  Everyone around me surrendered to the tunes; even the most reserved students were compelled to move at least a bit.  The live set eclipsed anything I came prepared for, and set the bar for live electronic acts at least a few notches higher than I’d perceived possible.  Here’s a glimpse of him weaving Idioteque, one of Radiohead‘s towering productions, into the maelstrom:

[enjoy, and remember that Cosmogramma is coming May 3 in UK and 4 in US! Preorder now!]