Born of LA but rapidly expanding their reach outwards, the Futures Collective come exactly as advertised. Armed with a heightened sense of emotional awareness, their production software of choice, a healthy dose of talent and, of course, a strong wi-fi signal, the youthful roster of Futures artists is growing, both in numbers and exposure. The crew was originally formed by Eaves, Zack Sekoff and, one half of duo Party Time, Rick Farin with the purpose of throwing parties (as is often the case in these situations), but the next logical step was to start putting out records under the Collectives name. Since the first showcase tape dropped we’ve been treated to increasingly accomplished EP’s from Eaves, Female and Beshken. The newest release, Futures Vol. 2, is made up of 11 tracks worth of emotionally saturated, electronic genre-spanning fare featuring a few previous Truants favourites and a few sure-fire future ones too.
The task of setting the tone is given to Eaves and before you even press play, the signals are there. A heavy hissing is draped over the entirety of “Lonely” while the contemplative melodies pulse in and out , reminiscent of a lo-fi “Colour and Movement” by Ryan Hemsworth. Not too long ago we recommended Karman‘s Forever EP to you and pronounced “Karman is sadboys-does-dance”. That most certainly holds up here. “Engraved” is an assault on the senses, panning percussion left to right at breakneck speeds. It’s not all rough and tumble though, and there are some much-needed moments of contemplation where the drums rescind and an ever chopped and changed vocal is allowed to shine through.
Also previously featured here at Truants is Munno (whose excellent Truancy Volume you should check out here). “Thanks” is a continuation of his prior work in the sincere and heartfelt, embodying the thoughtful use and manipulation of samples that comes across throughout the compilation. Next up is Zack Sekoff, who already has a few impressive credits to his name, including providing the foundations for Thundercat’s “Lotus and the Jondy“. Built upon a strictly synthetic, borderline techno drum machine loop, “Electric Nights” is perfect cruising music. A big S/O should also go to Zack for his use of the “kick out the jams” sample from MC5’s track of the same name, which is certainly one of the highlights of the tape.
Stream: Zack Sekoff – Electric Nights (Futures Collective)
It’s fair to say that ASL Singles Club share a similar aesthetic with that of the Futures Collective and so it would make sense that a little bit of artist borrowing should take place here. 8prn (working in cohorts with Heartbeat(s)) was responsible for the debut release on that label and here presents “69 Guns”, a paranoiac, bass heavy, sci-fi leaning jam. Rook Milo‘s offering is almost certainly the jewel in the crown of this compilation. While the majority of tracks here present their emotional value through an unfocused, fuzzy lens (please note: not a bad thing), “Cobalt Polo” is crystal clear and glistening in it’s outpouring. The yearning is heartbreakingly palpable. If you can find it within yourself to listen to one more track featuring that sample from “The Boy Is Mine”, we’d urge you to make it this one. It’ll be worth it. We promise.
Stream: Rook Milo – Cobalt Polo (Futures Collective)
The second half of this tape is equally as impressive as the first. Beshken’s “Sutro’s Tower” is an ode to the beat scene that LA is stereotypically known for. It riffs on an exotic thumb piano and invites you to ascend the eponymous San Fran landmark and gaze out across the landscape. Falls‘ remix of “Read U” by Patchley, originally released as part of Purr Tapes’ summer 2013 compilation, leaves the vocal relatively untouched, transforming the rigid euphoria of the original into a much more melancholic, shuffling housey number. “Fountain”, Pharaoh‘s offering to the tape, is somewhat jarring to begin with, laying down a broken beat while pulsing synths prepare you for the scattering footwork drop to come. However, once you pick up the trace of the piano and the exquisite chord progression on show, the fit becomes clear. Svengali, also responsible for the compilation artwork, proves himself to be talented on both fronts, using pitched-down vocals to create the atmosphere in his slow jam, “Icgyl”. Last but not least, “Windows” by Kurt makes no apologies for displaying its video game influences for all to see, using a bassline straight from your favourite 8-bit platformer. It’s a stunning end to the compilation and one that brings us back full circle to a satisfying end.
Stream: Pharaoh – Fountain (Futures Collective)
While each young producer showcases a high level of talent on their own track, this is a classic case of the whole being greater than the sum of its parts. It’s notably impressive how each track can tug on the heart strings in a different way, despite traversing numerous, vastly different genres. The emotional synergy carries through from beginning to end and makes this a particularly affecting 40 minutes of music. Comparisons with another LA-based collective, We Did It, aren’t particularly appropriate to make sonically, but there’s nothing to suggest that we couldn’t see similar levels of success for the members of the Futures Collective.
Futures Vol. 2 is available now, both digitally and (somewhat ironically) on cassette. Cop here.
Words by Matt Coombs, 27 February 2014. Leave a comment
The label at hand, ASL Singles Club, seemed to be onto something from the start with its first single in the final quarter of last year, and has since justified any sense of nascency we’ve felt the label displayed from it. Trailing well-documented singles from Nick Wisdom, Autem, Rook Milo and Heartbeat(s) and 8prn—the latter couple who helm the Vancouver label alongside Devin Cheffers— it’s Brooklyn producer/dj and Broke City resident Sleepyhead who most recently signed his ‘Untitled’ EP to ASL, getting the 2014 ball rolling for both himself and the host party. Billed by ASL as “quintessential house tunes,” ‘Untitled’ is just that: a collection of frill- less, straight-ahead grooves. The EP as a whole typifies an ethos (that sometimes extends to even clothing) the label has amassed, and also that of New York’s underground circuit—it being generally frill-less but at the same time managing to conjure good musical conviction and dexterity with stuff that’s always worked.
Sleepyhead starts ‘Untitled’ with the most UK-informed number on the project with “SayU <3 Me”, which, if it’s any reason for it, features production aid from CZ. The soulfulR&B chops and playful lead line foretell of a catchy, mobilizing release, which the EPdefinitely is. But the producer’s formula changes for other tracks, if only marginally, toconvey different emotions that call for different circumstances. The foremost examplewould probably be “What’s Inside”, in which Sleepyhead sounds less distanced fromhis days on Embassy or Symbols, beckoning the late night or early morning with anaffirming diva refrain, gravitating pads and low-slung bass. Combinations like these areobviously nothing we haven’t heard before, but they form Sleepyhead’s calling card andit’s awesome when he comes through.
Stream: Sleepyhead – Untitiled (ASL Singles Club)
Words by Michael Scala
Cop ‘Untitled’ for $4.99 on Bandcamp.
Words by Truants, 26 February 2014. Leave a comment
One of the best things to come out of Miami since DJ Khaled is rising rapper Nell. Atlanta is awash with young rappers jostling for our attention, but just a stone’s throw away, somewhere low-key in Florida (Zone 4 Carol City to be exact), you can find him steadily building a name for himself. Metro Zu and the Raider Klan (along with all affiliates and past members) are two young crews that have been putting their state on the map, so if you think that Pitbull and Flo-Rida are its only exports, think again. Granted – it is the home of heavyweights Ricky Rozay & (lightweight) Gunplay, but the Maybach Music Group has long since flown the nest. Automatic associations of Vice City will invoke images of white suits, pastel shirts & calfskin loafers but fear not, Nell has not traded in the lo fi, monochromatic aesthetic that we have become accustomed to for palm trees and a Ferrari Daytona just yet. That might be real life for the likes of William Leonard Roberts II & co but Purrp and his cabal – who have firmly established themselves as keepers of the Memphis and Houston sound – are yet to cash in unlike their $ worn enemies in NYC.
Stream: Nell – 94′ documentary PT.1
Releasing the impressive The Revolution ‘94 mixtape in August of last year, his latest offering, Vice City, serves as a testament of his work rate, consistency and hunger as a young MC. The combination of a distinctive flow and an ear for quality new age Phonk productions has set him out as one of the most promising members of the Klan. He has proved many times that he is just as capable of producing stoner anthems like the newly visualised “R.I.P Pimp C Freestyle” or “Hvzy Tripz” from his #305-Grind as he is murky, thugged out junts that could both soundtrack and incite any number of illicit night-time activities – the menacing “Who Want It” instantly comes to mind.
Stream: Nell – Who Want It
This tape, however, opens with the contemplative and melancholic “Everlasting Thought” where he questions the ills of modern day life, stating : ‘Pharaoh economy / what about the minority? / common denominator the dominant target / why must we suffer ‘cus some of my people starvin?’ The track poignantly ends with his echoed voice repeating ‘It’s a youth world order, Black Power… the new world’s in the making.’ A clear reiteration of views expressed on tracks like “Ridaz” for those who may doubted his commitment to the ‘cause’. “The Block” and “Craps (Interlude)” pair him with eerie minimalist productions that sound like they were recorded directly from a secret chamber in the Vatican. He makes it clear that the Florida that he inhabits and the one that Mickey and Friends call home are worlds apart. At times you could be forgiven for thinking that the sun even shone there. On the patriotic “From The South” he raps, “dungeons raised us” alluding to both the influence of ATL’s Dungeon Family and the Klan’s aptly named Blackland; and if you didn’t get the picture the ominous strikes of thunder and strung out bassline line should make it clear.
The darkness that overshadowed the first few tracks is dispelled by uplifting productions courtesy of Showoffbeats on both “Mackin and Hangin” featuring Spaceghostpurrp and the self explanatory “OG Ganja Smoke”. Showoff has previously produced for Curren$y, who Nell cites as a “modern influence” and well, we all know how much Spitta loves weed, so it’s no surprise how well the pair of songs play out. A verse from him wouldn’t have hurt either.
Guest verses are kept strictly between Klan members (where was Simmie?) and family with the likes of SGP, Amber London, Rell Hoe, Carol City Marc, Cash Money signee T.Rone, ex Klan member Denzel Curry and a few other internet shy contributors. The production credits are shared Between Purrp, El Camino Black, Showoffbeats, the supposedly retired DJ Smokey and a few unknowns. Vrsy Jnes’ ‘Stick Em Up’ gets pick of the bunch just for sampling Sade’s “Kiss of Life”.
It’s not quite up to par with The Revolution ‘94 so he must be saving the best for his debut album The Declaration of Independence. That said, it is another solid tape under his belt. Well-balanced between light and dark, pensive and aggressive, retro and current . Hopefully we’ll get some visuals to keep the anticipation high.
Vice City was released 14th January 2014. Stream/Download via Livemixtapes.
If you ever find yourself cruising through LA’s Chinatown with an itchy hand on the radio dial you may just land on pirate station KCHUNG. Like all broadcasters that skirt the guidelines, they operate from an undisclosed studio somewhere in the neighborhood. Thankfully if you’re not within their transmitter radius you can tune in online at anytime from anywhere. While you’re locked in there’s a solid chance that you’ll come across Mutual Slump, the show helmed by producer Afterhours. It’s his second outing for the station after “Field Recordings of the Afterhours” which he co-hosted. Like it’s predecessor Mutual Slump is a hazy affair, decompression vibes to ease the transition from weekend to weekday. The records he plays are a cross section of drone, musique concrete, trip hop, spoken word, dissonant jazz and other tunes of a low or no BPM persuasion.
Slices from many of those styles appear on Lowlife, his latest record for Not Not Fun. Much of the EP is rooted in the sample heavy downtempo grooves of the 1990s but Afterhours melds them seamlessly with the other, more experimental, sounds that appear in his sets. Since a mix is worth at least a thousand words, he sent one over that should give you an idea of what you’re in for if you tune into his show or pick up one of his records. He was also chill enough to chat with us a bit about KCHUNG, digging in the dollar bin, and copping field recordings from unexpected sources.
We’ve been cruising around to your mix a lot this week, what do you think is the ideal time and place to listen to it? “While being mugged somewhere between sunday night and monday morning.”
You’ve done show on pirate radio station KCHUNG for quite a while right? What can someone expect if they tune into “Field Recordings of the Afterhours”? “They can expect to hear silence, ’cause that show is sort of defunct now. But I’ve been involved with KCHUNG more or less from the beginning, about two and a half years. “Field Recordings of the Afterhours” was an ongoing project between me and my friend and collaborator Maxfield Hegedus. Musically, it focused mostly on trip-hop and downtempo electronic, particularly cuts from the fifty-cent bin, things we considered to be lost classics in some minor way. From the start, though, we were interested in abstracting the structure of our sets, always improvising our mixes and pushing the element of sound collage with endless stacks of Environments records, spoken word, lectures and so on.”
Your records combine elements from many different genres so deftly. Has the similarly wide scope of your radio show inspired your production? or vis versa? “Ah yeah, absolutely. The radio show has profoundly informed and augmented my musical practice over the last two years, particularly with this record. There are a fairly limited number of trip-hop records; it’s a genre that existed in its classic form for what, like four or five years? 1994 to 1998? And so, as that well began to run dry, we were incorporating more jazz, more deep house, more generalized downtempo. Not that those genres are wildly different from each other, but the emphasis shifted to sustaining that mood of nocturnal melancholy, regardless of the style.”
Likewise, we may just be projecting, but your work has a very “LA” feel to it. Has the city influenced you in any way? “If it’s influenced me, it’s been in actively keeping any sort of LA aesthetic out of my work. That’s probably where the rain sounds come from. The parts of Los Angeles I like the best are the ones that resemble other cities: parts of downtown, Chinatown, whatever. This is a very nice place to live, but I don’t like looking at it.”
“Lowlife” sounds like it’s peppered with field recordings. Do you often carry a recorder with you? What are the sounds that you gravitate toward most? “I record things on my phone sometimes, that’s about it. Snippets of conversation or just some fluke of pleasant ambient sound. None of the field recordings on the album are originally sourced, though. It’s all youtube or sound effects records. I don’t know of a better source than youtube for that kind of audio, almost everything is there.”
I can’t believe we’re asking this question, but somebody’s got to take a crack at it! When did you first sit down and start producing? Do you have a specific way of approaching a track? “I started working on proto-Afterhours material sometime in 2011, I guess. Playing around with samples as my interest in the guitar waned, a way to make music with less of my own trace on it. After going on a few 100% Silk tours with LA Vampires and living with that style of music night after night for long stretches of time, my inclinations just kind of naturally moved in that direction. I don’t think I have a specific way of approaching a track, or at least I try not to. It usually just begins with a sample, something I hear on the radio while driving or at home digging through garbage, then the rest of it falls into place somewhat arbitrarily.”
And finally, this is something we ask all the Californians we chat with. If some Truants found themselves in LA where could we snag the best taco? “I don’t know, the best places are probably the ones with the longest lines. Which I notice as I drive past them, on my way to eat somewhere else.”
Susumu Yokota – Tankui
9lazy9 – Big Six
Rypdal, Vitous, Dejohnette – Will
Franklin de Costa – Souldbound
Anenon – Shibaura
DJ Cam – Mad Blunted Jazz
El Mahdy Jr – From Hate To Smoke
Biosphere – Iberia Eterea
Words by Stephanie Neptune, 24 February 2014. Leave a comment
Mancunian Boomkat-offspring imprint Modern Love certainly has its hallmarks, from the manufactured decay of Demdike Stare to the cold warmth of Andy Stott. One prominent aesthetic of the label is its multiple-shades-of-grey approach that encases and enshrouds much more than embraces its listeners. In the midst of all this lies Rainer Veil’s latest, the “New Brutalism” EP. The names speak for themselves – the duo’s moniker and northern creative roots resonating with how well the release matches with a bed of rainfall, and the title of the EP’s non-abstract representation of the architectural style that serves as both muse and material throughout; even the record sleeve is adorned with it in the form of Preston’s locally iconic bus station.
“New Brutalism” is essentially a dystopia that hasn’t washed away, one that’s become part our reality so much so that it’s accepted as mundane. To listen to the EP is to take a stroll through Chernobyl, to contemplate fragments of a past wrought awry, a future snatched away. Where Lee Gamble’s junglist archaeology would investigate, “Three Day Jag” is an atmospheric experience that doesn’t have you specifically looking for anything. Where Actress’ inner city expeditions would refine details so doggedly the microscopic slides would pixelate, “Negative Space” reveals the surrounding bigger picture at once, the presence of the looming gargantuan structures demanding to submerge you in shadow. Where Burial’s lone wanderings beneath the starlight of street lamps would kindle innate emotion, “UK Will Not Survive” happens to some other entity, and the listener merely observes. The opener’s bluntness is doubly so on reflection, it being the most forthright affair on the EP as layers of ambience morph into sandpaper self-destructively grinding against each other until those initially comforting and familiar bass movements are drowned out completely – Rainer Veil opt to make direct statements rather than express a feeling or challenge inquisitively. They purposely obfuscate the sharp-edged aspects on pieces in the same way different ranges of difficulty are pressed onto videogames to shape a learning curve, and exploring the climate loses priority as it becomes a matter of self-realisation; a slow waking. Sure enough, New Brutalism never seems to consider a room or an abode, or anything inside of the concrete – everything’s outside, ringing out, reflecting off of the immovable, inevitable and inscrutable. Environmental, yet completely inorganic. The feelings perpetrated by this atmosphere are haunting at times, like drum and bass tinnitus that sirens on whim during “Three Day Jag” after leaving the early-hours dance of fading broken beats. Other times, tracks stipulate stop-and-stare moments of rumination more than anything else, most conspicuously present on “Run Out” where memories planted in the surroundings bore their way into the mind.
Rainer Veil may have channeled another, more subversive piece of commentary on New Brutalism, present in their soundset of UKG, jungle and industrial techno. Their seamless juxtaposition of influences is commendable, and for all the different artist comparisons, New Brutalism isn’t really about the duo at all so it doesn’t matter that they haven’t forged a synonymous sound as of yet. They’ve painted a vivid picture and served it in the form of a puzzle, and perhaps their reinterpretation of the landscape (and soundscape) can be considered particularly faithful to the reality. Brutalist architecture thrived in preparation for a future and circumstances that eventually eluded reality, its popularity in turn inflicting its own unintended consequences. In the same way, New Brutalism is a great example which shows how the suppression of 90s rave culture has come to define current trends as genres coexist – nay, conflate – in the same soundspace where the only distinctions between them are the foundations laid by others, echoes of memories which belonged to those before us.
Words by: Tayyab Amin, Photo credit: Thomas Valentine
Words by Truants, 24 February 2014. Leave a comment