Flying Lotus - the creative universe

Flying Lotus is an artist whose far-from-ephemeral sound is steeped in an ancestry of jazz and littered with influences of hip-hop. But, three albums deep, his music continues to transcend genres and generations alike. His highly revered Brainfeeder imprint continues to boast a staggeringly diverse roster (including Teebs, Matthew David, Lorn etc.) and has steadily become a household name among electronica's elite. FlyLo spoke to Ray Murphy ahead of four live shows in Australia [dates below] about working with Radiohead's multi-talented frontman, the vision of Brainfeeder's artists and his forthcoming solo album.


You've been noted as saying that Cosmogramma was your 'jazz record' and some might say 1983 was your hip-hop record. What was Los Angeles to you? Flying Lotus: That's interesting...To me, that was my first album. I didn't pick some tracks and say 'Yes this could work for an LP'; L.A. was something I designed to be an album. I look back at that as a really special time because there I saw a lot of promise in myself and in the whole community that I was involved in.

Cosmogramma has been widely received as one of your most experimental albums so far. Did you feel you needed to build up a certain level of trust with fans in order to be allowed this creative freedom, or was it simply a reflection of how your sound has developed and matured over time? Honestly, I really try not to get caught up in what people want me, or expect me, to do. I just try to do what I can and make music that comes naturally to me, whether people like it or not. Hopefully the kids dig it.

Can you tell us about the philosophy behind your label, Brainfeeder? I wanted Brainfeeder to be a label where I didn't have to engineer all these ideas; where albums could come out and I could just trust the artists to create what they wanted to create without me telling them what I'm looking for. Sometimes, the artists do like my involvement, but I didn't ever want to be A&R'ing everything. 


So what you do you look for from a talent scout's perspective? Generally, I search for people who are trying to say more with their work, and I tend to gravitate toward people who are true artists. I'm not interested in doing the 'hip thing' because someone else says it's cool. I really look for something genuine and something unique because I want to push real artists forward. I'm trying to find people who see more than just the partying and all the good things that come with doing what we do. I want people who are seeking answers.

What attracted you to Thundercat (Stephen Brunner)? Do you think he might become one of the more accessible acts on Brainfeeder? 
He was a big part of Cosmogramma and he is a big part of my creative universe. We have a kind of arrangement whereby he helps me with my records and I help him with his. The stuff that he is making is really beautiful; I think he always gravitates toward beautiful, melodic, compositions. It's inspiring hanging out with him because he puts me onto new music and plays amazing basslines and melodies that catch me by surprise! 

I first heard Thundercat on Gilles Peterson's Worldwide show. He's sadly being forced to leave his slot on the UK's main radio station, BBC Radio 1. How important is it to have DJs like him and Mary Anne Hobbs on mainstream radio these days, despite the presence of Soundcloud and other social media? Anyone who's willing to shout from the rooftops is important. Whether it's in my favour or against it, I feel like we need more passionate people speaking on behalf of those artists who aren't able (or don't choose) to speak on these things, because some artists aren't able to carry it all on their own. Not all artists are into the whole social media thing so [radio DJ's] are important in order for those artists to make it.


Could you tell us a little about any of the non-musicians on the label who might usually be overlooked (e.g. Beeple)? Beeple is a brilliant motion graphic artist, designer etc. and a very influential figure. It's cool because I'm so close to one scene but I feel like Beeple is the FlyLo of his world. But again, it's more about his intent than anything. How he chooses what projects to get involved in and how he chooses to use his style. All that stuff is what makes him unique, not just the content [of his work].


Flying Lotus - Kill Your Co-Workers from Warp Records on Vimeo.

How do you balance choosing artists for their artistic motives and vision, with running a label that you want to (at the very least) break-even? I hate to say this, but it's true: I never saw Brainfeeder as a means to make money. Every bit of money I make from Brainfeeder goes back into it somehow. It's not my meal ticket, but I do it because I like to do it. I would never want it to be about money because it would affect my decision on the releases I put out. I only want to put out things I care about and love, whether or not they are commercially viable. I would much rather put out 10 really amazing records that people would hold onto for their entire lives than put out records that would sell and be forgotten about after two weeks. That's more rewarding. These people on Brainfeeder are not my business associates; they're like my extended family and I'm just trying to do right by them.

What's your process for selecting the artwork on Brainfeeder releases? I like to let the artists pick their artwork but sometimes I have to get involved and help them find something. Sometimes, musicians may not have the eye for it and I feel there always needs to be some kind of aesthetic that connects things together.

How did you come to choose the work by Leigh J. McCloskey for Cosmogramma? Using something by Liam was a really easy choice, because Leigh was like a mentor to me. However, picking just one of his pieces was the hardest part. He's quite particular about where his artwork is going and what he is involved with, so I was really honoured that he wanted to be part of the album. The art is so important!


How did the idea for the ALT takes bonus EP come about - was it meant as a way to help fans gain a better insight into the creative process behind Cosmogramma, or a was it an incentive for people to buy the record, legally? I was aware of Augmented Reality technology and knew when we were making the album that I wanted to have it within the artwork. In doing so we opened up the album and the Cosmogramma world a bit more. It was such a special album to me and hopefully to a lot of those who bought it. A lot of my lineage and my history is present in that record, so I couldn't have just done the usual thing for it.


Did you set out with the deliberate intention to pay homage to your past? Definitely, because I was still trying to understand who I was at the time, having had been through a lot with my family and losing my mother. All that stuff had me thinking about what I wanted to say with my work; I wanted it to be honest and I don't think it gets more honest than family.


How did you come to hook up with Thom Yorke?
 He's always in the know of young electronic producers who are out there and I guess that led him to some of my records. Radiohead had asked me to do a remix of one of their songs [Reckoner] so we met in Japan and soon hit it off. Whenever he's in town we hang out. He might even be on the new album... who knows!


I've heard rumours that you're working with Erykah Badu. Can you tell us what might be in store? I honestly don't know what's going to happen. We've only recorded a couple of songs at the moment so it might be an EP, or it might be features on my new album. We'll see what happens.


You recently co-directed the video for Gone Baby, Don't Be Long by Badu. Have you any plans to direct anything else?
 Yes. At the moment I'm developing a script for a feature film. I don't know when it'll happen but it's something I'm super inspired and motivated by.


What can readers expect in the way of any future solo albums and Brainfeeder releases? My new album will be another journey into my little universe. At the moment it feels as though it's going be a more accessible record than Cosmogramma, but it's still got a lot of the musicianship and the forward trajectory. I'm planning to do a big tour after my album is done, but I'll have a better idea once the record's complete of what I'll have to do to support it. 
As for Brainfeeder, we have some forthcoming releases from Lapalux, Taylor McFerrin, RIOT and an album from Miguel Atwood Ferguson.


What would you like Brainfeeder to look like in five years time? I'd like to see all the artists on the label not have to work two jobs. Instead, I'd like them to live comfortably and make a good living off of their craft. That's the ideal thing.

FLYING LOTUS AUSTRALIA 2012 TOUR DATES

The Operatives Presents
FLYING LOTUS + THE OPERATIVES + MOVE DJ'S
WEDNESDAY JANUARY 4TH - THE BAKERY, PERTH

Treehouse presents
FLYING LOTUS + DRED + ELLIOT + ROLEO
THURSDAY JANUARY 5TH - TRINITY BAR, CANBERRA.

Niche Productions & The Operatives presents
FLYING LOTUS + MARTYN + AFRICA HITECH + ARP 101
FRIDAY 6TH JANUARY 2012 - THE METRO, SYDNEY.

The Operatives presents
FLYING LOTUS + MARTYN + AFRICA HITECH + ARP101 
SATURDAY JANUARY 7TH - THE HI-FI BAR, MELBOURNE.

Listen to Flying Lotus on Pulse Radio