Brainfeeder at the Bowl: A roundtable discussion with George Clinton, Flying Lotus and Thundercat – LA Times

Mikael Wood talks with George Clinton, Flying Lotus and Thundercat — funk visionaries from different generations — ahead of their joint Sept. 17 concert at the Hollywood Bowl.

Source: Brainfeeder at the Bowl: A roundtable discussion with George Clinton, Flying Lotus and Thundercat – LA Times

Perhaps telling of my taste or opinion of the contemporary music landscape, but this meeting of minds is the thing I’m genuinely most excited about in 2017. Not only are FlyLo and Thundercat relative vanguards of trans-genre impressionistic creative output, but they are carrying on the legacy under the guidance of one of the people who laid the gauntlet down in the first place – which once again singles out GC as a visionary.

Props where props are due! Keeping it locked for the new album.

Wilsoni Beat “Slow Asstley” blogged | blornagain – New Music Monthly

Somehow he’s managed to pull off the ultimate rickroll and produce a genuinely decent beat from Asstley on morphine.

Read the full post on the blornagain blog: https://blornagainblog.wordpress.com/january-2016/

Hey there, long time no see. What’s good?

Just takin’ some time out to sort out my shit, got some plans for a brace of new EPs this year in the pipeline.

In the meantime, a little instrumental I tossed off a while ago (based on a super-slow recording of Never Gonna Give You Up by Rick Astley) has been very kindly featured by music blog blornagain in their January “New & Underexposed” post, after being posted on Soundcloud. The blog has a rather tasty selection of tunage every month from across the board – of great taste, might I add, so not only am I pleasantly surprised to be featured, but also pretty stoked that it’s  right next to one of my fav up-and-coming bands, Basildon-based Indie-Rap outfit COURTS who just dropped a new single called Glass Half Empty.

Very appreciative of the kind words, Mr. Blorn. Thank you muchly!

Christmas is coming early this year!

Don’t you think Christmas is getting earlier and earlier every year? I do.

But hey – those stores need the cash injection, right? >:(

So, I thought I’d get in on the action…

Longtime Friend of Tha’ Funk Masta and collaborator Andrew Denholm has done it again and made some mentalist illustration for my new single, but I need folks to share it about on Twitter – every retweet gets closer to uncovering the full image. It’s really great, trust me!

Click here to help a brother out!

Much appreciated. Stay Tuned!

Six Neglected Drummers Who Deserve Recognition | BBC Culture Online

Though singers and lead guitarists are celebrated by the hundreds in rock annals, drummers are often turned into punch lines

– read the full article @ bbc.com/culture

Stumbled across this piece by Auntie Beeb (or more accurately, BBC journo Greg Knot) celebrating the much maligned backline-beats laid out by drummers. And rightly so!

Despite the fact that this article fails to even mention the pure slice of uncut Funk that is session legend Bernard “Pretty” Purdie (the ‘Hitmaker’, or ‘The World’s Most Recorded Drummer’ – his groove is impeccable, as demonstrated in one of my favourite videos of all time), this article does go some way in helping the reader think with their feet and give the drummer some well-deserved props – as well as demonstrate some nice little rhythmic chops for your listening pleasure.

Do It All Night – The Story of Prince’s Dirty Mind | Pitchfork

“When I brought it to the record company, it shocked a lot of people,” Prince told Rolling Stone of Dirty Mind. “But they didn’t ask me to go back and change anything, and I’m real grateful. Anyway, I wasn’t being deliberately provocative. I was being deliberately me.” 

via Pitchfork – click here for the full article

Even if you know the stories, have heard the album, know about His Royal Badness’ bitter history with the “King of Punk Funk” Rick James (bitch) and dig the context, this great Pitchfork article from their next ‘review’ issue is still a great and insightful read. A lot of people who don’t know much about Prince always peg him as a power-balladeering short guy – who might be gay. Which is hugely selling short the notion of a black artist coming out of (traditionally in the mainstream) white Minneapolis, blending R&B, Rock n’ Roll, New Wave and (Post?) Punk into a truly crossover music, with a mixed-race, mixed-gender band and a deliberately ambiguous omni-sexual image with religious overtones in the lyrics? In the early ’80s?!

Read the article. 😀

Prince drops new single “FREE URSELF” exclusively on Tidal | OkayPlayer

…perhaps this is Prince telling me and the world to, in fact, free ourselves from the streaming bubbles we’ve been confined to.

via OkayPlayer: www.okayplayer.com/news/prince-free-urself-mp3.html

tidal.com/track/51844380 – 30 sec clip for non-subscribers


It increasingly seems that His Royal Badness has staked his claim to the next generation of online music distribution, releasing this new track exclusively on Tidal after limiting his past Warners catalogue and some relatively rare NPGMusicClub releases to Jay-Z’s service. Whether this is a shrewd move – from the man who helped pioneer online music during it’s relative infancy – is moot. Personally, for someone who previously declared the internet “over” it seems to sit somewhere between putting all is eggs in one basket and a transparent attempt to keep up with the latest trend in an attempt to reach a wider audience – but then Prince is the kind of person with the longevity and the kudos to pretty much get away with anything, even in a musical sense.

As for the track? I managed to find my own copy outside of Tidal (shh!) and it stands up pretty well – more old-skool Prince in pop mode with a real Funky tag, less by-numbers than a lot of his recent stuff, including what I’ve heard from HITNRUN PHASE ONE that I’ve managed to hear without subscribing to the service (I’ll surely buy a physical copy when I have enough pocket-money 😀 ). I actually really like it!

Just as a side note, you can find my own stuff on Tidal here, soon including the Strange People EP. Dig if you will, and if you want to support direct, grab a copy on Bandcamp.

Prince – Joshua Welton interview | Cuepoint | Medium.com

Could it be that the master notorious for controlling every part of the mix and playing every instrument, the genius musician who, in a 30+ year career, has only been heard on a song he didn’t produce completely himself three, maybe four times now has a creative partner?

via Cuepoint | Medium – click here for the full article.

It’s a really interesting article – an anything that gives some insight into the method behind the man is relative gold-dust. However…

One of the things I love about Prince is his auteur approach – despite being criticised by Quincy Jones for it – the fact that he writes the lyrics, conceives all the parts, plays everything, and produces the record (short of engineering the mix) is mind-blowingly impressive, especially considering his output, and a big influence on me as a veritable one-man-band. Even when being influenced by Wendy & Lisa during the Revolution years, farming out orchestral arrangements to Clare Fischer and crediting Alan Leeds, Atlanta Bliss and Michael B Nelson for additional horns (apparently he’d usually pitch them parts on keyboards), all the extra musicians acted as a conduit for Prince’s pre-existing creative ideas.

But now, after a few years of records with tracks that seem a bit like ‘writing on auto-pilot’, it seems like he’s either taking a break from 38 years of artistic outpouring and jumping on ideas laid out for him in a production-line fashion (this has been the other way round in the past, most notably with songs like Strange Relationship and infamously with Kiss), or he’s run out of ideas – which would be a tragedy, but perhaps for most other people not unreasonable. It’s been mentioned in the past as saying the contents of ‘The Vault’ are for him to retire on.

Prince has a history of ‘mentoring’ various artists from Vanity 6 to Sheila E to Sheena Easton to Carmen Electra to Lianne La Havas (for better or worse) and perhaps taking young Joshua under his wing is another example of this. There’s also another possibility that taking on a new creative partner who’s more in touch with contemporary trends in music is an attempt to reach a new audience, as seemed to be prevalent with absorbing Doug E. Fresh and Tony M. into the NPG to give the sound a Hip-Hop flavour in the ’90s.

Unfortunately, I haven’t managed to grab my own copy of HITNRUN: PHASE ONE yet, but from what I’ve heard of it, and the Art Official Age record from last year, whilst some of the tracks do have some stank on them they don’t really sound as vibrant and (pretention alert!) expansive as some of His Royal Badness’ previous output even in the last 10 years – though they do seems to have a new energy to them, which could be attributed to Welton. From reading the nature of the collaorative approach in the article, this seems to make sense.

The Jury’s out – I’ll have to listen to more work from the duo to make my mind up.