1 00:00:08,200 --> 00:00:14,400 Speaker 1: Pushkin. Just a quick note here, you can listen to 2 00:00:14,440 --> 00:00:17,400 Speaker 1: all of the music mentioned in this episode on our playlist, 3 00:00:17,440 --> 00:00:19,479 Speaker 1: which you can find a link to in the show 4 00:00:19,560 --> 00:00:23,280 Speaker 1: notes for licensing reasons, each time a song is referenced 5 00:00:23,280 --> 00:00:28,480 Speaker 1: in this episode, you'll hear this sound effect. All right, 6 00:00:29,080 --> 00:00:32,839 Speaker 1: enjoyed the episode, Flying Lotus isn't one of those producers 7 00:00:32,840 --> 00:00:36,720 Speaker 1: who just programs beats. He creates an entire esthetic world 8 00:00:36,720 --> 00:00:39,159 Speaker 1: for the music he makes to live in. Over the 9 00:00:39,200 --> 00:00:41,960 Speaker 1: past thirteen years, he's a massed a diverse body of 10 00:00:41,960 --> 00:00:45,280 Speaker 1: work through the label he started, Brain Feeder. He's released 11 00:00:45,280 --> 00:00:48,560 Speaker 1: four solo albums, produced tracks with Kendrick Lamar, Tom York 12 00:00:48,880 --> 00:00:54,680 Speaker 1: director actor David Lynch in The Climb featuring Thundercat. Musical 13 00:00:54,680 --> 00:00:59,120 Speaker 1: innovation runs deep in Flylo's family. His grandmother, Marilyn McLeod, 14 00:00:59,160 --> 00:01:02,720 Speaker 1: wrote songs from Van Gay, Diana Ross, and other motown artists. 15 00:01:03,160 --> 00:01:05,680 Speaker 1: His great aunt Alice Coltrane married and played in John 16 00:01:05,680 --> 00:01:09,160 Speaker 1: Coltrane's final bands, then after his death, released a slew 17 00:01:09,200 --> 00:01:12,160 Speaker 1: of classic albums that seemed to grow in stature every 18 00:01:12,200 --> 00:01:15,520 Speaker 1: passing year. In this episode, Rick Rubin and Flying Loads 19 00:01:15,560 --> 00:01:18,680 Speaker 1: chop it up about visiting Alice Coltrane's ashram as a kid, 20 00:01:18,959 --> 00:01:21,360 Speaker 1: why his peak creative hours have changed over the years, 21 00:01:21,840 --> 00:01:24,680 Speaker 1: and why he directed a horror flick despite being scared 22 00:01:24,680 --> 00:01:30,600 Speaker 1: to death as a child by the thriller video. This 23 00:01:30,720 --> 00:01:33,560 Speaker 1: is broken record liner notes for the digital age. I'm 24 00:01:33,640 --> 00:01:42,280 Speaker 1: justin Richmond. Here's Rick Rubin and Flying Loice. How would 25 00:01:42,280 --> 00:01:46,480 Speaker 1: you say your relationship to music has changed from when 26 00:01:46,480 --> 00:01:49,360 Speaker 1: you were a kid till now? It's funny. There's this 27 00:01:49,520 --> 00:01:52,360 Speaker 1: video of me when I was a little kid, and 28 00:01:52,440 --> 00:01:55,720 Speaker 1: I was it was like my mom my grandma asked 29 00:01:55,760 --> 00:01:59,080 Speaker 1: me questions, was I so, Steve, how old are you? 30 00:01:59,120 --> 00:02:02,480 Speaker 1: And he like, like, Steve, what do you want to do? 31 00:02:02,520 --> 00:02:04,600 Speaker 1: When you go? I want to I don't know whatever, 32 00:02:04,720 --> 00:02:07,280 Speaker 1: But I was. I was kind of in this little 33 00:02:07,320 --> 00:02:09,920 Speaker 1: interview moment, and then I think there was some Stevie 34 00:02:10,000 --> 00:02:13,400 Speaker 1: Wonder that kind of turned on in the background, and 35 00:02:13,480 --> 00:02:15,560 Speaker 1: you just saw that I was just like perked up 36 00:02:15,600 --> 00:02:18,120 Speaker 1: and just was like I'm out of here, and I 37 00:02:18,240 --> 00:02:21,359 Speaker 1: went towards the speaker and I was like, okay, yeah, 38 00:02:21,360 --> 00:02:26,920 Speaker 1: that's the same same. Nothing's strange. I would just say 39 00:02:26,960 --> 00:02:30,720 Speaker 1: that over time that my relationship with music has just 40 00:02:30,720 --> 00:02:34,200 Speaker 1: gotten so much deeper. You know, at this point, it's 41 00:02:34,280 --> 00:02:38,080 Speaker 1: so crazy to think that I thought, maybe four or 42 00:02:38,120 --> 00:02:40,919 Speaker 1: five years ago, that I was the peak of my 43 00:02:41,080 --> 00:02:44,959 Speaker 1: love for music or my love for creating music. And 44 00:02:45,040 --> 00:02:48,240 Speaker 1: now I know that I was wrong, because I feel like, 45 00:02:48,360 --> 00:02:51,600 Speaker 1: right now I'm there again. You know, I feel like 46 00:02:51,639 --> 00:02:55,040 Speaker 1: I spent so much time learning things the past couple 47 00:02:55,040 --> 00:02:59,480 Speaker 1: of years with synthesis and you know, studying piano and 48 00:02:59,560 --> 00:03:04,000 Speaker 1: studying theory, harmonic theory and stuff that actually just yeah, 49 00:03:04,000 --> 00:03:07,639 Speaker 1: it gave me another burst of life in this whole thing. 50 00:03:07,919 --> 00:03:11,280 Speaker 1: You know, I feel like I just added more time 51 00:03:11,320 --> 00:03:15,519 Speaker 1: than my clock. That's good for all of us, I hope. 52 00:03:15,560 --> 00:03:20,000 Speaker 1: So what was the LA scene like when you were 53 00:03:20,000 --> 00:03:22,480 Speaker 1: coming up? What was going on when you first started? 54 00:03:23,919 --> 00:03:27,480 Speaker 1: When I first started, the scene that I was really 55 00:03:28,040 --> 00:03:31,720 Speaker 1: kind of watching was what stone Throw Records were doing. 56 00:03:31,760 --> 00:03:34,520 Speaker 1: They were doing a lot of stuff, Ubiquity was doing 57 00:03:34,520 --> 00:03:37,560 Speaker 1: a lot of stuff. We had all these cool parties 58 00:03:37,600 --> 00:03:40,840 Speaker 1: like Pooh Bah and Sketch Book. That was a cool scene. 59 00:03:40,840 --> 00:03:42,800 Speaker 1: And you know, there was like a lot of people 60 00:03:42,880 --> 00:03:45,640 Speaker 1: playing music that we like, you like shift from, like 61 00:03:46,440 --> 00:03:49,600 Speaker 1: Jay Dillah and mad Lib, you know, that kind of 62 00:03:49,600 --> 00:03:53,360 Speaker 1: beat music that that kind of vibe was going around, 63 00:03:53,480 --> 00:03:56,360 Speaker 1: and you started to see all these other producer beat 64 00:03:56,400 --> 00:03:59,480 Speaker 1: maker kids who were kind of hanging around, but they 65 00:03:59,480 --> 00:04:03,720 Speaker 1: didn't feel I think it was like even more underground 66 00:04:03,720 --> 00:04:06,160 Speaker 1: than Mad Living Diala. It was. It was just like 67 00:04:06,280 --> 00:04:09,320 Speaker 1: weird because we we didn't care about rappers. We didn't. 68 00:04:09,320 --> 00:04:11,520 Speaker 1: We were just like we're gonna do this without them, 69 00:04:11,640 --> 00:04:14,280 Speaker 1: you know, like we just came for the beats, you know. 70 00:04:14,320 --> 00:04:16,680 Speaker 1: And I think that was like that freak a lot 71 00:04:16,680 --> 00:04:20,440 Speaker 1: of people out, I think at first, but I think 72 00:04:20,480 --> 00:04:22,520 Speaker 1: we were there was at a point where it just 73 00:04:22,520 --> 00:04:25,560 Speaker 1: didn't seem like rappers going anywhere, so I think the 74 00:04:25,600 --> 00:04:28,960 Speaker 1: producers were just like, oh, let's just do this. I 75 00:04:29,000 --> 00:04:31,360 Speaker 1: think the scene was kind of built in the parking 76 00:04:31,400 --> 00:04:33,920 Speaker 1: lots of a lot of parties because we were just 77 00:04:33,960 --> 00:04:37,320 Speaker 1: like listening the tracks in the cars, like with the 78 00:04:37,360 --> 00:04:40,160 Speaker 1: doors open, blasting them out in the parking lot. You know, 79 00:04:40,200 --> 00:04:42,919 Speaker 1: Like that was like a whole vibe playing tracks on 80 00:04:42,960 --> 00:04:46,000 Speaker 1: the Homies boombox. Could you tell that something was going on? 81 00:04:46,080 --> 00:04:48,440 Speaker 1: Could you tell, like there's a vibe? Yeah, it was 82 00:04:48,440 --> 00:04:51,120 Speaker 1: like that it was important. That was important totally. You 83 00:04:51,160 --> 00:04:53,800 Speaker 1: can totally tell it was important. It was because there's 84 00:04:53,839 --> 00:04:57,760 Speaker 1: so many people who loved the same things. Yeah, there 85 00:04:57,839 --> 00:05:00,200 Speaker 1: was just there was this just this frustration. It was 86 00:05:00,200 --> 00:05:04,039 Speaker 1: just like this empty thing. It was just a void still. 87 00:05:04,800 --> 00:05:09,559 Speaker 1: And I think that that became something that I held 88 00:05:09,600 --> 00:05:13,440 Speaker 1: onto for so long actually and try to recognize, is that, 89 00:05:13,800 --> 00:05:16,120 Speaker 1: you know, people need to be heard. They have to 90 00:05:16,240 --> 00:05:18,320 Speaker 1: keep your ear out to the scene. You gotta keep 91 00:05:18,360 --> 00:05:21,320 Speaker 1: your ear out. You gotta like know what's going on 92 00:05:21,400 --> 00:05:23,960 Speaker 1: in the streets, man, because you don't want to miss it. 93 00:05:24,000 --> 00:05:26,279 Speaker 1: You don't want to miss the thing. You don't you 94 00:05:26,279 --> 00:05:29,680 Speaker 1: don't want to be left out of the of that 95 00:05:30,000 --> 00:05:32,919 Speaker 1: new moment, the next moment. At that point in time, 96 00:05:32,920 --> 00:05:37,280 Speaker 1: while the underground was just sort of taking form in La, 97 00:05:37,480 --> 00:05:40,560 Speaker 1: what was the mainstream of hip hop like at that time? 98 00:05:40,600 --> 00:05:45,600 Speaker 1: Do you remember, oh, mainstream? Was it still like New 99 00:05:45,720 --> 00:05:48,760 Speaker 1: York centric or not? Necessarily? I would say it was 100 00:05:48,880 --> 00:05:53,200 Speaker 1: still New York, but it was starting to get southern, 101 00:05:53,640 --> 00:05:57,839 Speaker 1: you know, starting to go in that direction for some reason, 102 00:05:57,960 --> 00:06:00,920 Speaker 1: I feel like, why do I want to say, gee, 103 00:06:00,920 --> 00:06:05,279 Speaker 1: even it was a thing you know, like around around 104 00:06:05,320 --> 00:06:10,279 Speaker 1: then it was like two thousand and five, I guess. So, yeah, 105 00:06:10,320 --> 00:06:14,119 Speaker 1: it was like that kind of post Shining Suit era 106 00:06:14,800 --> 00:06:19,279 Speaker 1: of hip hop. Looking back, now on the lacne men. 107 00:06:20,440 --> 00:06:23,320 Speaker 1: Would you say that there were any similar scenes anywhere 108 00:06:23,320 --> 00:06:26,599 Speaker 1: else in the world at that time, like kind of 109 00:06:26,640 --> 00:06:30,000 Speaker 1: picking up the same kind of vibe. Absolutely, there was 110 00:06:30,440 --> 00:06:34,960 Speaker 1: a crazy synergy around that moment for us because at 111 00:06:34,960 --> 00:06:38,000 Speaker 1: the same time MySpace came out too, and that was 112 00:06:38,480 --> 00:06:40,440 Speaker 1: a way for all of us to kind of hear 113 00:06:40,480 --> 00:06:44,640 Speaker 1: what everyone else was doing around the world, especially you know, 114 00:06:44,720 --> 00:06:48,120 Speaker 1: I think that that kind of helped cultivate the scene 115 00:06:48,120 --> 00:06:50,560 Speaker 1: and let us know that it wasn't just us out there. 116 00:06:50,880 --> 00:06:53,880 Speaker 1: There's small labels in Europe trying to do this stuff now, 117 00:06:53,960 --> 00:06:56,480 Speaker 1: and there's small labels in Japan trying to do it, 118 00:06:56,520 --> 00:06:59,000 Speaker 1: and it was like, okay, well this is something, this 119 00:06:59,080 --> 00:07:03,400 Speaker 1: is actually something, and they keep looking to la So 120 00:07:03,520 --> 00:07:06,520 Speaker 1: that was that was another thing. But I had a 121 00:07:06,560 --> 00:07:09,479 Speaker 1: feeling then my Space was was kind of popping off 122 00:07:09,560 --> 00:07:12,560 Speaker 1: and dubstep was kind of popping it was at the 123 00:07:12,600 --> 00:07:15,920 Speaker 1: same time. Like so it was like a new electronic 124 00:07:16,040 --> 00:07:22,080 Speaker 1: thing was brewing. The beats and the wobbly stuff going 125 00:07:22,160 --> 00:07:26,080 Speaker 1: on and calling it wonky and all. They were trying 126 00:07:26,080 --> 00:07:28,880 Speaker 1: to find all types of names to describe it. But 127 00:07:29,000 --> 00:07:31,680 Speaker 1: it was just dope because it was the first time 128 00:07:32,960 --> 00:07:37,400 Speaker 1: LA and UK are connecting like this, we're hearing stuff 129 00:07:37,520 --> 00:07:40,840 Speaker 1: that just was just born in the studio, you know, 130 00:07:40,960 --> 00:07:45,119 Speaker 1: last night, and that's that never happened before then. So 131 00:07:45,480 --> 00:07:47,600 Speaker 1: I think it allowed a lot of people to just 132 00:07:47,760 --> 00:07:52,000 Speaker 1: kind of accelerate the sound quicker too. You know, you 133 00:07:52,040 --> 00:07:56,040 Speaker 1: hear something like it becomes part of the consciousness and 134 00:07:56,080 --> 00:07:59,560 Speaker 1: then it just snowballs and gets bigger and bigger and bigger, 135 00:07:59,560 --> 00:08:03,480 Speaker 1: and suddenly you know, there's hell of people trying to 136 00:08:03,520 --> 00:08:06,040 Speaker 1: do this thing. Yeah, it does seem like that connection 137 00:08:06,120 --> 00:08:11,160 Speaker 1: between the UK and LA at that time. It's a 138 00:08:11,160 --> 00:08:15,480 Speaker 1: fascinating one. Yeah, And it was definitely like just the 139 00:08:15,720 --> 00:08:20,640 Speaker 1: underground sound. He knew it wasn't meant to be for everybody, 140 00:08:21,400 --> 00:08:27,920 Speaker 1: but people really wanted it back in the day. How 141 00:08:27,960 --> 00:08:31,160 Speaker 1: did you first connect with Kendrick? I first connected with 142 00:08:31,240 --> 00:08:36,040 Speaker 1: Kendrick on on Twitter. He was like, have somebody tell 143 00:08:36,120 --> 00:08:38,720 Speaker 1: Flying loadus to hit me up. I was like, I 144 00:08:38,880 --> 00:08:41,959 Speaker 1: was already following this cat. I was like, whoa, what 145 00:08:42,080 --> 00:08:44,760 Speaker 1: do you talk? I'm here, hello, here, here, I am, sir. 146 00:08:47,400 --> 00:08:49,199 Speaker 1: What did he already what did he already have out 147 00:08:49,200 --> 00:08:52,439 Speaker 1: at that time? He was he was still on section eighty. 148 00:08:52,600 --> 00:08:55,000 Speaker 1: I think around then. It's just still a kind of 149 00:08:55,000 --> 00:08:58,960 Speaker 1: early days. I think when Good Kid Mad City came out, 150 00:08:59,400 --> 00:09:02,439 Speaker 1: he and I that at his signing in San Francisco. 151 00:09:02,600 --> 00:09:04,760 Speaker 1: When that album came out, I came out to a 152 00:09:04,840 --> 00:09:07,640 Speaker 1: signing and he hung out for a little bit. And 153 00:09:07,800 --> 00:09:09,720 Speaker 1: you know, ever since then, it was like, we gonna 154 00:09:09,720 --> 00:09:11,040 Speaker 1: make something, We gotta do something, we gotta do some 155 00:09:11,120 --> 00:09:13,080 Speaker 1: we gotta do a project, gotta do ep, you got 156 00:09:13,280 --> 00:09:16,600 Speaker 1: you know something. And then, um, the way we really 157 00:09:16,640 --> 00:09:20,040 Speaker 1: started connecting was for some reason, he reached out to 158 00:09:20,080 --> 00:09:21,920 Speaker 1: me because he wanted me to help him make his 159 00:09:22,000 --> 00:09:25,440 Speaker 1: live show for the Yeasest tour that he did. What 160 00:09:25,559 --> 00:09:28,000 Speaker 1: a time. I mean that record right there, that was 161 00:09:28,120 --> 00:09:32,040 Speaker 1: that was huge record, that one. But anyway, yeah, I 162 00:09:32,080 --> 00:09:34,920 Speaker 1: started working with him around then and I started playing 163 00:09:34,920 --> 00:09:38,360 Speaker 1: stuff to him on that tour that kind of had 164 00:09:38,440 --> 00:09:42,439 Speaker 1: that sort of like Parliament sound to it, kind of 165 00:09:42,440 --> 00:09:45,280 Speaker 1: like Funkadelic sound, and he was really feeling that and 166 00:09:46,280 --> 00:09:49,040 Speaker 1: that kind of kicked things off for the Pimp Butterfly 167 00:09:49,320 --> 00:09:52,000 Speaker 1: and it kind of, you know, that was kind of 168 00:09:52,040 --> 00:09:54,720 Speaker 1: the beginning of our collaboration. For our song never Catch 169 00:09:54,840 --> 00:09:57,920 Speaker 1: Me In That was did you did you go on 170 00:09:57,960 --> 00:10:00,920 Speaker 1: the tour. Yeah, I was on the tour for Little Bit. Yeah, 171 00:10:00,960 --> 00:10:02,880 Speaker 1: I was there. I was there for the first few stops. 172 00:10:03,040 --> 00:10:05,360 Speaker 1: How was that? It was cool? It was cool. It 173 00:10:05,440 --> 00:10:08,760 Speaker 1: was really uh. It was really trippy to have been 174 00:10:08,880 --> 00:10:12,520 Speaker 1: part of that show. And I'd never done anything like 175 00:10:12,600 --> 00:10:15,800 Speaker 1: that before. I never put on helped anybody build a 176 00:10:15,800 --> 00:10:19,400 Speaker 1: live show, so it was really uh, it was really fun. 177 00:10:19,600 --> 00:10:23,479 Speaker 1: I never thought that would happen. It sounds great. Yeah, 178 00:10:23,640 --> 00:10:27,720 Speaker 1: it sounds like fun experience and it's interesting to get 179 00:10:27,760 --> 00:10:31,720 Speaker 1: to to get to experimenting new arenas. It's just fun. 180 00:10:31,800 --> 00:10:34,400 Speaker 1: It's a fun. You know, if all you ever did 181 00:10:34,760 --> 00:10:39,560 Speaker 1: was just sit and make beats forever, I know, But 182 00:10:39,600 --> 00:10:42,000 Speaker 1: then when you go and do something else interesting, and 183 00:10:42,040 --> 00:10:43,880 Speaker 1: then you come back, you get to make beats again, 184 00:10:43,960 --> 00:10:47,360 Speaker 1: and it's incredible all over again. Yoh yeah. That's the thing. 185 00:10:47,400 --> 00:10:50,120 Speaker 1: Like anytime I have to do anything else, I get 186 00:10:50,160 --> 00:10:53,439 Speaker 1: so excited to just go home make some beats. But 187 00:10:53,679 --> 00:10:55,679 Speaker 1: it's just let me make beats, that's it. That's all 188 00:10:55,679 --> 00:10:57,600 Speaker 1: I want to do. I found the same with working 189 00:10:57,640 --> 00:11:00,400 Speaker 1: on different kinds of music. If if all I have, dude, 190 00:11:00,480 --> 00:11:02,679 Speaker 1: was make hip hop records, it would have gotten old 191 00:11:02,760 --> 00:11:05,400 Speaker 1: long time ago. For all I made was heavy metal records. 192 00:11:05,400 --> 00:11:07,520 Speaker 1: It would have gotten old. But the fact that I 193 00:11:07,559 --> 00:11:14,040 Speaker 1: get to really submerge myself in different different things keeps 194 00:11:14,080 --> 00:11:16,280 Speaker 1: it really interesting. It's always new. I never you know, 195 00:11:16,320 --> 00:11:18,600 Speaker 1: I never know what's going to happen next, and that's 196 00:11:18,600 --> 00:11:21,360 Speaker 1: a good feeling. Yeah, tell me, tell me a little 197 00:11:21,360 --> 00:11:24,360 Speaker 1: bit about your creative process, like, um, are you always 198 00:11:24,400 --> 00:11:27,320 Speaker 1: making something? What's the what's the rhythm of your work? 199 00:11:27,400 --> 00:11:31,200 Speaker 1: Like I'm kind of similar, you know, I'm always in something, 200 00:11:31,280 --> 00:11:35,480 Speaker 1: but with music especially, I'm like so in it right 201 00:11:35,480 --> 00:11:40,480 Speaker 1: now and always trying to learn more. You know. I 202 00:11:40,520 --> 00:11:43,479 Speaker 1: think whenever I get in a place where I feel comfortable, 203 00:11:43,480 --> 00:11:45,400 Speaker 1: I'm like, all right, I need to learn some more stuff. 204 00:11:45,480 --> 00:11:47,319 Speaker 1: I need to learn how to do things that I 205 00:11:47,400 --> 00:11:51,679 Speaker 1: don't know yet. And this, this kind of quarantine time 206 00:11:51,760 --> 00:11:55,439 Speaker 1: has been really good for me to just kind of 207 00:11:55,440 --> 00:11:59,079 Speaker 1: focus and hone in on a couple of little things 208 00:11:59,080 --> 00:12:02,440 Speaker 1: that I wanted to learn. You know, I really wanted 209 00:12:02,480 --> 00:12:07,640 Speaker 1: to understand synthesis on like a very detailed level. You know, 210 00:12:07,880 --> 00:12:09,400 Speaker 1: I don't want to be one of those people who's 211 00:12:09,440 --> 00:12:13,000 Speaker 1: just like always using the presets and stuff on synthesizers. 212 00:12:13,040 --> 00:12:16,400 Speaker 1: I wanted to know like exactly what everything does, and 213 00:12:16,920 --> 00:12:19,280 Speaker 1: I spend time like just digging into that. So now 214 00:12:19,640 --> 00:12:21,640 Speaker 1: I can go up to any of these boards, I 215 00:12:21,720 --> 00:12:24,560 Speaker 1: know exactly how to get the sounds I want. And 216 00:12:25,120 --> 00:12:26,959 Speaker 1: you know, this is like a little bit of time 217 00:12:27,880 --> 00:12:30,720 Speaker 1: that has now, you know, changed the rest of my life. 218 00:12:30,760 --> 00:12:33,280 Speaker 1: Now it's like I know from here on out, I'll 219 00:12:33,280 --> 00:12:35,160 Speaker 1: be able to get get busy on it, you know, 220 00:12:35,240 --> 00:12:37,720 Speaker 1: like like I always wanted to. So, yeah, I don't 221 00:12:37,720 --> 00:12:41,600 Speaker 1: know my process. Though I wake up early. I'm not 222 00:12:41,679 --> 00:12:45,880 Speaker 1: one of those people who stays up until crazy. I 223 00:12:46,200 --> 00:12:49,320 Speaker 1: wish I could. What are your hours? Usually I start 224 00:12:49,320 --> 00:12:52,000 Speaker 1: to day at six in the morning and then I 225 00:12:52,160 --> 00:12:56,079 Speaker 1: go to bed like twelve one, But I'm like always 226 00:12:56,120 --> 00:12:59,600 Speaker 1: on the machine between you know, work hours. I try 227 00:12:59,600 --> 00:13:02,839 Speaker 1: to treat it like a job now really, where I'm 228 00:13:02,880 --> 00:13:05,960 Speaker 1: just like on it nine to five at least, and 229 00:13:06,000 --> 00:13:10,640 Speaker 1: then if it's super inspired, keep going. But at five 230 00:13:10,679 --> 00:13:15,640 Speaker 1: I feel comfortable like stepping away and throwing on some cartoons. 231 00:13:16,160 --> 00:13:18,080 Speaker 1: From the time you wake up, how soon do you 232 00:13:18,080 --> 00:13:21,320 Speaker 1: start working? Usually after I brush my teeth and do 233 00:13:21,360 --> 00:13:23,560 Speaker 1: all that stuff, you know, I'm like right right on it. 234 00:13:23,600 --> 00:13:26,880 Speaker 1: I feel like that's my best, my best energetic moment. 235 00:13:26,920 --> 00:13:28,880 Speaker 1: It actually is when I'm like just fresh out of 236 00:13:28,920 --> 00:13:32,560 Speaker 1: bed ready to work, you know, sometimes after coffee and 237 00:13:32,600 --> 00:13:36,480 Speaker 1: a joint or something good to go. But I wish 238 00:13:36,480 --> 00:13:38,280 Speaker 1: I could do the late night thing because I do 239 00:13:38,400 --> 00:13:40,800 Speaker 1: find that when I'm up late at night working on 240 00:13:40,920 --> 00:13:45,160 Speaker 1: music that I'm less inhibited and the ideas they're not 241 00:13:45,360 --> 00:13:48,200 Speaker 1: as you know, just you don't think so much. She's 242 00:13:48,200 --> 00:13:51,959 Speaker 1: just kind of like flowing whatever. The the ghost is 243 00:13:52,240 --> 00:13:55,640 Speaker 1: just like it flows through you way easier, less cerebral, 244 00:13:56,280 --> 00:14:00,640 Speaker 1: you know. But I also find that I'm way less 245 00:14:00,679 --> 00:14:05,400 Speaker 1: attentive to detail, and I don't really care about the 246 00:14:05,559 --> 00:14:09,320 Speaker 1: little things as much. It's just like all idea. Do 247 00:14:09,320 --> 00:14:11,600 Speaker 1: you think that has to do with you and how 248 00:14:11,640 --> 00:14:13,439 Speaker 1: long you've been awake or do you think it has 249 00:14:13,440 --> 00:14:17,280 Speaker 1: to do with something else? For me, personally, it's definitely 250 00:14:18,200 --> 00:14:20,920 Speaker 1: time of day and energy. I feel like by the 251 00:14:21,000 --> 00:14:25,040 Speaker 1: time eight o'clock rolls around, you know, I like smoked 252 00:14:25,080 --> 00:14:28,760 Speaker 1: like several blunts, and you know, I'm tired, and you know, 253 00:14:28,920 --> 00:14:31,200 Speaker 1: it's just I feel like I need a lot of 254 00:14:31,320 --> 00:14:34,240 Speaker 1: energy to make music. Personally, I need a lot of 255 00:14:34,360 --> 00:14:37,880 Speaker 1: energy or else it's just gonna be like you know, 256 00:14:38,480 --> 00:14:41,600 Speaker 1: a couple of chords. You know, I need to be 257 00:14:41,640 --> 00:14:44,320 Speaker 1: able to, like, I need to have this pulse in me, 258 00:14:44,480 --> 00:14:47,440 Speaker 1: like when I'm working on stuff, or it just don't work. 259 00:14:47,760 --> 00:14:52,120 Speaker 1: So whenever I got that, when I got that energy, 260 00:14:52,160 --> 00:14:54,960 Speaker 1: it's good to go. Has this schedule and that rhythm 261 00:14:55,000 --> 00:14:57,960 Speaker 1: of working always been your whole life. No, I feel 262 00:14:57,960 --> 00:15:01,800 Speaker 1: like I only really started waking up early when I 263 00:15:01,840 --> 00:15:06,160 Speaker 1: started having like British management and then my label, my 264 00:15:06,240 --> 00:15:10,760 Speaker 1: record label, Warp Records. They they're based in the UK, 265 00:15:10,880 --> 00:15:13,960 Speaker 1: so I think I started getting used to getting emails 266 00:15:13,960 --> 00:15:16,160 Speaker 1: and phone calls super early in the morning. So my 267 00:15:16,240 --> 00:15:18,320 Speaker 1: brain just kind of go. I was like, whoa, they 268 00:15:18,400 --> 00:15:20,280 Speaker 1: might be trying to find me. I don't know, you know, 269 00:15:20,400 --> 00:15:23,160 Speaker 1: maybe my brain just starts going. But before then I 270 00:15:23,240 --> 00:15:25,880 Speaker 1: was definitely like a night out. But now I'm just 271 00:15:25,960 --> 00:15:31,080 Speaker 1: kind of adjusted too, you know, always being awake. And 272 00:15:31,200 --> 00:15:33,640 Speaker 1: so it's so funny you say that when I was 273 00:15:33,840 --> 00:15:36,120 Speaker 1: when I lived in New York, I was on the 274 00:15:36,200 --> 00:15:41,720 Speaker 1: late schedule, and I would usually sleep until three and 275 00:15:41,800 --> 00:15:45,280 Speaker 1: then yeah, probably not be outside until it was dark, 276 00:15:45,320 --> 00:15:48,240 Speaker 1: and then that would be my schedule. And you go 277 00:15:48,320 --> 00:15:52,360 Speaker 1: to sleep sort of typically heading home as the sun 278 00:15:52,400 --> 00:15:56,160 Speaker 1: was coming up was typical. Yeah, that's the artist special 279 00:15:56,280 --> 00:15:59,480 Speaker 1: right there. That's it. So in the morning, you brush 280 00:15:59,480 --> 00:16:02,760 Speaker 1: your teeth, go into the studio, and how does the 281 00:16:02,880 --> 00:16:07,080 Speaker 1: process start, Like, what's the first thing you do? Well, lately, 282 00:16:07,400 --> 00:16:09,800 Speaker 1: what I do now is I try to just write 283 00:16:09,840 --> 00:16:13,320 Speaker 1: some patches and the keyboard or like synthesizer stuff. I 284 00:16:13,400 --> 00:16:15,400 Speaker 1: go up to a machine, one of my machines and 285 00:16:16,160 --> 00:16:19,720 Speaker 1: try to make a patch that I've not heard before, 286 00:16:21,320 --> 00:16:24,800 Speaker 1: whether it's like a cool pad sound or a cool 287 00:16:24,920 --> 00:16:29,120 Speaker 1: lead tone something, because then that will inspire an idea always, 288 00:16:29,160 --> 00:16:33,120 Speaker 1: so it starts with it. So it starts with a sound. Yeah, 289 00:16:33,320 --> 00:16:36,800 Speaker 1: usually starts with a sound, or you know, I'll just 290 00:16:36,840 --> 00:16:39,600 Speaker 1: start playing keys, play some chords and then you know, 291 00:16:40,160 --> 00:16:42,600 Speaker 1: then trying to find a sound that goes with it, 292 00:16:43,120 --> 00:16:46,960 Speaker 1: and then a thing happens. But yeah, I love just 293 00:16:46,960 --> 00:16:51,200 Speaker 1: trying to write patches. I think that's been a really 294 00:16:51,320 --> 00:16:54,440 Speaker 1: fun kind of thing to add to my daily routine. 295 00:16:54,600 --> 00:16:56,480 Speaker 1: Is I have to make a new sound today. What 296 00:16:56,520 --> 00:17:00,680 Speaker 1: does it sound like? And you know what can I 297 00:17:00,720 --> 00:17:03,120 Speaker 1: apply from other things that I've learned to it? I 298 00:17:03,200 --> 00:17:05,879 Speaker 1: mix it with samples. You know what happens when I 299 00:17:05,960 --> 00:17:08,800 Speaker 1: run through a reverb? This that whatever, and then maybe 300 00:17:08,840 --> 00:17:11,159 Speaker 1: that's the beginning of a song, and like the past 301 00:17:11,200 --> 00:17:14,320 Speaker 1: few times I've done that, it comes out as a song. 302 00:17:14,560 --> 00:17:17,560 Speaker 1: Does the sound from the time that you get sound 303 00:17:18,200 --> 00:17:20,520 Speaker 1: where it's like, okay, this is the sound and you're 304 00:17:20,560 --> 00:17:22,240 Speaker 1: inspired by it and you feel like, okay, now I'm 305 00:17:22,240 --> 00:17:27,560 Speaker 1: ready to develop past finding the sound, does that sound 306 00:17:27,640 --> 00:17:32,240 Speaker 1: ever change going forward? Or is that sort of the 307 00:17:32,400 --> 00:17:36,240 Speaker 1: central theme that is unchanged regardless of what else goes 308 00:17:36,280 --> 00:17:39,679 Speaker 1: on around it. That part is usually unchanged because I 309 00:17:39,680 --> 00:17:42,240 Speaker 1: feel like I end up structuring everything else around it, 310 00:17:42,800 --> 00:17:47,280 Speaker 1: you know. But sometimes you find that, oh, well, this 311 00:17:47,520 --> 00:17:50,159 Speaker 1: sound was actually too bright in the context of the 312 00:17:50,200 --> 00:17:52,600 Speaker 1: track now, so you gotta filter it down a little 313 00:17:52,600 --> 00:17:55,359 Speaker 1: bit and then change things. But yeah, usually it is 314 00:17:56,080 --> 00:18:00,280 Speaker 1: the spark happens with that sound is like oh and 315 00:18:00,320 --> 00:18:02,600 Speaker 1: then you know you started like, oh it sounds good 316 00:18:02,600 --> 00:18:05,560 Speaker 1: with these drums, and oh, he just keeps going, and 317 00:18:06,080 --> 00:18:09,680 Speaker 1: you know, two hours goes by, and yeah, typically, how 318 00:18:09,680 --> 00:18:11,760 Speaker 1: long does it take to find the sound? And from 319 00:18:11,760 --> 00:18:14,240 Speaker 1: the time it takes to find the sound, what give 320 00:18:14,320 --> 00:18:17,920 Speaker 1: me an idea? Um, it can take from like five 321 00:18:18,080 --> 00:18:21,320 Speaker 1: to twenty minutes, I think to write a patch when 322 00:18:21,359 --> 00:18:25,000 Speaker 1: I'm not in a hurry to put something out. I 323 00:18:25,040 --> 00:18:29,959 Speaker 1: really do enjoy recording sounds and recording noises, grabbing different 324 00:18:30,359 --> 00:18:34,399 Speaker 1: tones and things because that's my palette. That's that's what 325 00:18:34,520 --> 00:18:40,320 Speaker 1: I have to work with. And you know, we're kind 326 00:18:40,320 --> 00:18:42,479 Speaker 1: of in this time where everyone is using like the 327 00:18:42,520 --> 00:18:45,640 Speaker 1: same sounds and the same drums and the same noises. 328 00:18:45,720 --> 00:18:49,120 Speaker 1: So for me personally, I'm in this place now where 329 00:18:49,160 --> 00:18:51,280 Speaker 1: I'm trying to go out of my way to make 330 00:18:51,280 --> 00:18:54,200 Speaker 1: sure that all the sounds that I have are unique. 331 00:18:54,359 --> 00:18:57,359 Speaker 1: So you're working on the sound, what's the feeling in 332 00:18:57,480 --> 00:19:02,520 Speaker 1: you that tells you, Okay, I'm gonna move forward with 333 00:19:02,600 --> 00:19:05,240 Speaker 1: this sound? What does it? What does that feel like? 334 00:19:05,640 --> 00:19:09,240 Speaker 1: How do you know? It's it's like it's the same 335 00:19:09,280 --> 00:19:12,520 Speaker 1: sound as when you hear that break on a record, 336 00:19:12,960 --> 00:19:15,000 Speaker 1: you know, where you hear something and you're like, oh 337 00:19:15,040 --> 00:19:17,719 Speaker 1: my god, I gotta sample this where it's like it 338 00:19:17,760 --> 00:19:20,400 Speaker 1: almost feels like you cheated, Like it's just like there's 339 00:19:20,440 --> 00:19:24,840 Speaker 1: no way I'm supposed to have this right now, no 340 00:19:24,880 --> 00:19:27,760 Speaker 1: one's watching, you know, It's like it feels like that, 341 00:19:28,200 --> 00:19:30,760 Speaker 1: and that's when you know, and then you like you 342 00:19:30,800 --> 00:19:33,080 Speaker 1: get you like you play some chords and there's like 343 00:19:33,119 --> 00:19:37,400 Speaker 1: a little like chord. It sounds like, you know, that's 344 00:19:37,440 --> 00:19:39,200 Speaker 1: when that's when they do it, when you hit the 345 00:19:39,240 --> 00:19:42,960 Speaker 1: record button. Yeah, it's a it's a thrilling feeling, isn't 346 00:19:42,960 --> 00:19:46,000 Speaker 1: it that? It is? It is. It's addicting because you know, 347 00:19:46,160 --> 00:19:48,399 Speaker 1: every time you feel like you're getting close to that 348 00:19:48,520 --> 00:19:52,679 Speaker 1: perfect beat, that perfect thing, and it never is, but 349 00:19:52,800 --> 00:19:57,959 Speaker 1: you just feel like, oh, i'most there, you know, if only, 350 00:19:58,000 --> 00:20:00,960 Speaker 1: if only? Typically do you work on music thinking it's 351 00:20:01,040 --> 00:20:04,720 Speaker 1: going to be instrumental? Is that the typical default? No, 352 00:20:05,280 --> 00:20:08,360 Speaker 1: there's no default. I think I just try to make 353 00:20:08,400 --> 00:20:12,800 Speaker 1: stuff and then serve whatever the sound is later, you know, 354 00:20:12,880 --> 00:20:16,680 Speaker 1: like it's like, okay, this don't need nobody, just let 355 00:20:16,720 --> 00:20:20,359 Speaker 1: it be. But I think lately I do write music 356 00:20:20,440 --> 00:20:24,639 Speaker 1: with vocalists in mind a lot of times, because there's 357 00:20:25,240 --> 00:20:28,000 Speaker 1: you know how it is, there's people knocking on the door. 358 00:20:28,720 --> 00:20:31,760 Speaker 1: You know, I'm working with Thundercat, you know, and all 359 00:20:31,760 --> 00:20:35,119 Speaker 1: these different people and they're gonna want tracks. So I 360 00:20:35,160 --> 00:20:37,920 Speaker 1: always try to keep that in mind. But I don't 361 00:20:37,920 --> 00:20:40,680 Speaker 1: ever go into it a thing thinking it's going to 362 00:20:40,760 --> 00:20:43,919 Speaker 1: be a certain type of track. But I like to 363 00:20:43,960 --> 00:20:46,920 Speaker 1: just kind of just feel the ghost where we're going, 364 00:20:47,200 --> 00:20:50,400 Speaker 1: I don't know, but you got me hype now talking 365 00:20:50,440 --> 00:20:55,600 Speaker 1: about making tracks right now, we'll be back with Flying 366 00:20:55,640 --> 00:21:03,720 Speaker 1: Lotus after quick break. We're back with Flying Lotus. After 367 00:21:03,760 --> 00:21:06,560 Speaker 1: talking about the difficulties that come along with directing movies, 368 00:21:06,880 --> 00:21:09,879 Speaker 1: Flylow tells Rick about his great aunt, jazz legend and 369 00:21:10,000 --> 00:21:14,640 Speaker 1: spiritualist Alice Coltrane. How would you say the creative muscle 370 00:21:14,840 --> 00:21:19,760 Speaker 1: is different between making music and making film. Making films 371 00:21:19,760 --> 00:21:23,440 Speaker 1: and making music are so different, and they're they're such 372 00:21:23,520 --> 00:21:27,560 Speaker 1: different muscles. But it's weird because there are things that 373 00:21:27,600 --> 00:21:31,120 Speaker 1: relate where especially with producing, where you know, it's it's 374 00:21:31,200 --> 00:21:33,919 Speaker 1: up to us to kind of vocalize a lot of 375 00:21:33,920 --> 00:21:37,760 Speaker 1: things that are in our minds and manifest these ideas 376 00:21:38,080 --> 00:21:43,600 Speaker 1: to people who can. You know, they have these different 377 00:21:43,640 --> 00:21:45,600 Speaker 1: tools and different things that they bring to the table, 378 00:21:45,640 --> 00:21:48,359 Speaker 1: so you have to be able to wrangle each department 379 00:21:48,800 --> 00:21:52,359 Speaker 1: and be able to communicate with them this grand vision 380 00:21:52,440 --> 00:21:55,760 Speaker 1: that you have. Same with music, same with film, though 381 00:21:55,880 --> 00:21:59,800 Speaker 1: both of those things relate. But I would say film 382 00:22:00,080 --> 00:22:03,040 Speaker 1: it's it's way more fucked up because there's way more 383 00:22:03,040 --> 00:22:09,320 Speaker 1: money involved and there's way more people involved. And when 384 00:22:09,359 --> 00:22:11,760 Speaker 1: it comes to music, I can i can just sit 385 00:22:11,840 --> 00:22:15,800 Speaker 1: here in my room and make an album alone, really, 386 00:22:16,080 --> 00:22:20,320 Speaker 1: But with film you could do that, but it wouldn't 387 00:22:20,359 --> 00:22:23,879 Speaker 1: be the most interesting movie in the world. But you know, 388 00:22:24,040 --> 00:22:26,240 Speaker 1: if you did it with CG animation or something, that 389 00:22:26,240 --> 00:22:28,359 Speaker 1: could be great. But it's hard to make a movie 390 00:22:28,400 --> 00:22:32,639 Speaker 1: on your own. I think producing making beats and stuff, 391 00:22:32,680 --> 00:22:38,360 Speaker 1: it lends itself to people who are kind of more introverted, introspective, 392 00:22:38,880 --> 00:22:41,159 Speaker 1: But I think with films you have to really be 393 00:22:41,240 --> 00:22:47,840 Speaker 1: able to be outward and expressive, and it's it's it 394 00:22:48,000 --> 00:22:50,560 Speaker 1: is a different muscle for sure. Yeah, it sounds like 395 00:22:50,560 --> 00:22:53,600 Speaker 1: with music you have to motivate yourself to do it, 396 00:22:54,000 --> 00:22:57,080 Speaker 1: and with a movie you have to motivate the cast 397 00:22:57,160 --> 00:23:01,160 Speaker 1: and crew. Yeah, absolutely, get the vision to come to life. Yeah, 398 00:23:01,200 --> 00:23:03,879 Speaker 1: and you have to stay You have to obviously be 399 00:23:04,000 --> 00:23:07,280 Speaker 1: the most motivated, you know, like, because there's no one 400 00:23:07,320 --> 00:23:09,520 Speaker 1: who's going to be nearly as motivated as you on 401 00:23:09,560 --> 00:23:13,960 Speaker 1: your film project. It's hard. It's hard. It's one of 402 00:23:14,000 --> 00:23:17,520 Speaker 1: those things where you know, if anyone ever recommends, like 403 00:23:18,600 --> 00:23:21,160 Speaker 1: what should I do? How should I don't do it? 404 00:23:21,720 --> 00:23:26,200 Speaker 1: Don't I just don't do it? But would you imagine 405 00:23:26,200 --> 00:23:29,960 Speaker 1: doing it again? Oh? Absolutely, Yeah, I will. I don't 406 00:23:29,960 --> 00:23:32,320 Speaker 1: know if I recommend it for everyone, but I definitely will. 407 00:23:32,560 --> 00:23:35,480 Speaker 1: But you know the things that I've done, and you know, 408 00:23:35,520 --> 00:23:40,080 Speaker 1: I've learned so much in my process that you can't 409 00:23:40,119 --> 00:23:42,240 Speaker 1: wait to do it again because of all the things 410 00:23:42,240 --> 00:23:44,919 Speaker 1: that you've learned. You say, Okay, well, next time I 411 00:23:44,960 --> 00:23:46,879 Speaker 1: make a film, I could do it like this, And 412 00:23:47,600 --> 00:23:49,760 Speaker 1: you know, it's like could have, would have, should have hindsight. 413 00:23:49,920 --> 00:23:53,560 Speaker 1: It's crazy, you know. So when people are building things 414 00:23:54,000 --> 00:23:58,520 Speaker 1: and constructing props from your imagination and you're seeing these 415 00:23:58,520 --> 00:24:02,359 Speaker 1: things manifested and people acting out dialogue that you wrote, 416 00:24:02,720 --> 00:24:08,440 Speaker 1: that's there's no drug that can compare to nothing like it. 417 00:24:08,560 --> 00:24:12,360 Speaker 1: How did you choose to make that particular movie? Are 418 00:24:12,359 --> 00:24:16,640 Speaker 1: you a fanatic of horror movies? I love horror films. 419 00:24:16,880 --> 00:24:20,360 Speaker 1: I love horror films. I've always loved horror films, especially 420 00:24:20,400 --> 00:24:22,879 Speaker 1: because when I was a kid, I was terrified of 421 00:24:23,000 --> 00:24:26,480 Speaker 1: horror films until maybe like ten years old. I was 422 00:24:26,520 --> 00:24:30,400 Speaker 1: like really afraid of these movies, you know, like Freddy Krueger. 423 00:24:30,440 --> 00:24:32,199 Speaker 1: He would always be in my dreams and stuff and 424 00:24:32,200 --> 00:24:34,639 Speaker 1: the be like so like why would they make these 425 00:24:34,840 --> 00:24:38,400 Speaker 1: horrible things to frighten us? You know, and even like thriller. 426 00:24:38,480 --> 00:24:41,000 Speaker 1: I remember that video was like so scary. When I 427 00:24:41,040 --> 00:24:42,840 Speaker 1: was a kid, I didn't want to see the thrillers 428 00:24:42,880 --> 00:24:46,719 Speaker 1: into Michael Jackson change and none of that stuff. Just 429 00:24:46,800 --> 00:24:50,080 Speaker 1: I couldn't deal with it. And eventually when it starts 430 00:24:50,119 --> 00:24:52,600 Speaker 1: to get fun and you're like, oh, this is just 431 00:24:53,080 --> 00:24:55,679 Speaker 1: props and effects and stuff and you learn all the stuff, 432 00:24:55,920 --> 00:24:58,520 Speaker 1: and I don't know, I just fell in love with it. 433 00:24:58,600 --> 00:25:00,800 Speaker 1: I think because it was so scary to me. I 434 00:25:01,240 --> 00:25:04,280 Speaker 1: loved it so much. And yeah, I love the genre. 435 00:25:04,320 --> 00:25:07,680 Speaker 1: I love horror. I love horror films and scary games 436 00:25:07,840 --> 00:25:10,920 Speaker 1: and you know the maccab but I love I love 437 00:25:10,960 --> 00:25:14,000 Speaker 1: all that stuff. But I also love funny stuff too. 438 00:25:14,119 --> 00:25:18,000 Speaker 1: I love when those things can intersect. I don't love 439 00:25:18,280 --> 00:25:21,280 Speaker 1: serious horror as much as I like funny horror and 440 00:25:22,080 --> 00:25:24,680 Speaker 1: being able to have fun with it and be playful. 441 00:25:25,000 --> 00:25:28,600 Speaker 1: I guess because life is pretty serious enough. You know 442 00:25:28,720 --> 00:25:31,959 Speaker 1: that life is pretty real, So when you can have 443 00:25:32,040 --> 00:25:35,240 Speaker 1: your horror with comedy, it's it's a lot easier to 444 00:25:35,280 --> 00:25:37,920 Speaker 1: digest for me these days. But I think when it 445 00:25:38,000 --> 00:25:40,040 Speaker 1: came to me making my own movie, I wanted to 446 00:25:40,040 --> 00:25:42,919 Speaker 1: make something that I know i'd have fun with because 447 00:25:43,119 --> 00:25:46,080 Speaker 1: making movies as hard as shit. I was like, Yo, 448 00:25:46,160 --> 00:25:48,480 Speaker 1: I want to make something that every day that I 449 00:25:48,640 --> 00:25:51,200 Speaker 1: work on this thing, I will have a great time. 450 00:25:51,320 --> 00:25:54,280 Speaker 1: I will laugh my ass off, and you know, just 451 00:25:54,480 --> 00:25:57,440 Speaker 1: it'll be a blast for everyone in the process. How 452 00:25:57,520 --> 00:26:00,920 Speaker 1: much does the work that you've aid in the past 453 00:26:01,520 --> 00:26:06,000 Speaker 1: influenced the work that you make? Now, that's a good question, 454 00:26:06,280 --> 00:26:10,000 Speaker 1: you know. I actually I think that's why, you know, 455 00:26:10,320 --> 00:26:15,879 Speaker 1: side projects and alter egos become so attractive to people, 456 00:26:16,160 --> 00:26:19,000 Speaker 1: to other artists, because they get to take a little 457 00:26:19,000 --> 00:26:23,040 Speaker 1: bit of pressure off themselves to explore different things. Yeah. 458 00:26:23,119 --> 00:26:26,240 Speaker 1: I definitely feel the pressure of things that I've done 459 00:26:26,280 --> 00:26:28,399 Speaker 1: in my catalog. I mean, man, you must feel the 460 00:26:28,400 --> 00:26:33,119 Speaker 1: pressure of your beard, dude, come on, man like like 461 00:26:33,840 --> 00:26:36,360 Speaker 1: you know, like that beard. You know, like people are like, oh, man, 462 00:26:36,760 --> 00:26:41,760 Speaker 1: Rick Rubin, It's like, you know the thing, man, you know, 463 00:26:41,880 --> 00:26:44,560 Speaker 1: I would say it's more itch than pressure. Pressure. It's like, 464 00:26:46,960 --> 00:26:49,000 Speaker 1: but what was the last time you thought about cutting 465 00:26:49,000 --> 00:26:51,600 Speaker 1: it off? I've never thought about cutting it off, right, 466 00:26:54,320 --> 00:26:56,560 Speaker 1: But I also didn't think about growing it at any point. 467 00:26:56,560 --> 00:26:59,960 Speaker 1: It just kind of happened. It was I decided to 468 00:27:00,119 --> 00:27:02,280 Speaker 1: stop shaving, and this is what happens when you stop. 469 00:27:02,520 --> 00:27:03,960 Speaker 1: But you know, if you cut it off, that shit 470 00:27:04,040 --> 00:27:11,320 Speaker 1: would suck people up. Me especially, I wouldn't recognize myself. 471 00:27:12,119 --> 00:27:18,120 Speaker 1: Tell me about Alice. Oh yeah, Alice was just always Auntie. 472 00:27:18,160 --> 00:27:20,280 Speaker 1: You know, she was she was Auntie. She was my 473 00:27:20,280 --> 00:27:24,320 Speaker 1: closest aunt, close, one of my closest relatives. So my 474 00:27:24,359 --> 00:27:28,080 Speaker 1: experience with her was was really unique. I saw her 475 00:27:28,119 --> 00:27:34,280 Speaker 1: as you know, my grandmother's sister, mostly um, but she 476 00:27:34,600 --> 00:27:37,520 Speaker 1: was also you knew that she was this very special, 477 00:27:38,240 --> 00:27:44,160 Speaker 1: unique individual. And as time went on and as I 478 00:27:44,160 --> 00:27:47,400 Speaker 1: grew up, and you know, I just would respect her 479 00:27:47,440 --> 00:27:50,560 Speaker 1: more and more every head seeing like every decade, I 480 00:27:50,520 --> 00:27:54,800 Speaker 1: would just wow, my Auntie is amazing human being. Oh wow, 481 00:27:54,840 --> 00:27:59,400 Speaker 1: my aunt amazing. You know. I remember going to college 482 00:27:59,800 --> 00:28:02,520 Speaker 1: and then really really falling in love with her music 483 00:28:02,880 --> 00:28:08,440 Speaker 1: and coming home from college and you know, it was like, wow, teacher, 484 00:28:10,440 --> 00:28:12,520 Speaker 1: where have you been this whole time? You know, you 485 00:28:12,960 --> 00:28:15,480 Speaker 1: were just telling me how to just you know, break 486 00:28:15,600 --> 00:28:19,320 Speaker 1: the lawn and stuff. You show me different things on 487 00:28:19,359 --> 00:28:22,160 Speaker 1: the piano. But I didn't know how deep it went, 488 00:28:22,320 --> 00:28:26,240 Speaker 1: you know, because I felt like in my youth and 489 00:28:26,240 --> 00:28:30,000 Speaker 1: in a lot of her lifetime, she was John Coltrane's wife. 490 00:28:30,280 --> 00:28:34,119 Speaker 1: That was her thing. You know, she wasn't Alice Coltrane 491 00:28:34,920 --> 00:28:37,840 Speaker 1: a great jazz icon in her own right. People were 492 00:28:37,840 --> 00:28:41,120 Speaker 1: always asking her, what was it like being John Coltrane's 493 00:28:41,520 --> 00:28:43,560 Speaker 1: you know, you know, it was like she didn't have 494 00:28:43,560 --> 00:28:47,040 Speaker 1: any problem with that. But I think that that just 495 00:28:47,120 --> 00:28:51,080 Speaker 1: kind of became her thing, you know, for for so long, 496 00:28:51,240 --> 00:28:55,720 Speaker 1: so we the emphasis wasn't on her music or on 497 00:28:55,760 --> 00:28:59,680 Speaker 1: her personal legacy or it was always about his. And 498 00:29:00,400 --> 00:29:02,440 Speaker 1: you know, I think only towards the end of her 499 00:29:02,440 --> 00:29:05,120 Speaker 1: life she really started getting back into making music again 500 00:29:05,640 --> 00:29:08,880 Speaker 1: and then that was you know, it just kind of 501 00:29:09,520 --> 00:29:12,720 Speaker 1: we started to see her as the artist again, you know, 502 00:29:12,800 --> 00:29:15,360 Speaker 1: the things that she would create because she took so 503 00:29:15,440 --> 00:29:18,800 Speaker 1: much time off of it. I mean I would I'd 504 00:29:19,200 --> 00:29:23,920 Speaker 1: never I see her a lot. I never I've never 505 00:29:23,960 --> 00:29:26,680 Speaker 1: seen her practice. Yeah, never see her practice, but I 506 00:29:26,760 --> 00:29:30,960 Speaker 1: see her play. She would play, But there never of 507 00:29:31,080 --> 00:29:33,120 Speaker 1: that time where I come by this auntie and she 508 00:29:33,200 --> 00:29:36,760 Speaker 1: was at the piano, messed around right, never ever ever ever, 509 00:29:37,680 --> 00:29:40,880 Speaker 1: And you know, but she would unleash on Sundays at 510 00:29:40,880 --> 00:29:45,680 Speaker 1: the ashram Um, but yeah, never never practice. Tell me 511 00:29:45,760 --> 00:29:48,120 Speaker 1: about the ashram What was the scene like at the Ashram. 512 00:29:48,680 --> 00:29:56,920 Speaker 1: Ashram Um as this beautiful, beautiful land in Agora Hills 513 00:29:57,400 --> 00:30:00,760 Speaker 1: and it was recently destroyed by the fires. We had 514 00:30:00,800 --> 00:30:06,920 Speaker 1: the wildfires two years ago, and but the Ashram was 515 00:30:06,800 --> 00:30:10,280 Speaker 1: it was Yeah, it was beautiful. It was a big, 516 00:30:10,520 --> 00:30:12,880 Speaker 1: big space and it was you know, as soon as 517 00:30:12,920 --> 00:30:15,560 Speaker 1: you would get out of your car, you would notice 518 00:30:15,640 --> 00:30:18,280 Speaker 1: is how you could hear a pin drop. It was 519 00:30:18,280 --> 00:30:21,760 Speaker 1: just so quiet there and you know, there are people 520 00:30:21,840 --> 00:30:26,480 Speaker 1: wearing white everywhere and like you rot coyfish ponds and stuff. 521 00:30:26,520 --> 00:30:30,840 Speaker 1: It was very, very, very beautiful. But again, it's one 522 00:30:30,840 --> 00:30:32,440 Speaker 1: of those things that I kind of just took for 523 00:30:32,480 --> 00:30:35,040 Speaker 1: granted because it was there in my whole life, and 524 00:30:35,960 --> 00:30:38,520 Speaker 1: you know, it was just something that we did on Sundays. 525 00:30:38,560 --> 00:30:41,360 Speaker 1: But then as you get older you start living, you 526 00:30:41,360 --> 00:30:46,640 Speaker 1: see how amazing spaces like this are, and yeah, it 527 00:30:46,720 --> 00:30:49,640 Speaker 1: was a very unique experience. Did you ever talk about 528 00:30:49,640 --> 00:30:53,120 Speaker 1: spirituality with you all the time? Yeah, yeah, she would, 529 00:30:53,240 --> 00:30:58,200 Speaker 1: and she would always be kind of my my spiritual guide, 530 00:30:58,280 --> 00:31:00,400 Speaker 1: I guess, And you know, i'd call all her up 531 00:31:00,440 --> 00:31:03,720 Speaker 1: whenever I had a question that about the universe or 532 00:31:04,360 --> 00:31:07,120 Speaker 1: wanted to try to make sense of this world, help 533 00:31:07,200 --> 00:31:10,040 Speaker 1: me understand. She would always always have the right thing 534 00:31:10,080 --> 00:31:16,080 Speaker 1: to say. Yeah, so unique, beautiful, beautiful. Yeah, we'll be 535 00:31:16,160 --> 00:31:22,960 Speaker 1: right back with Flying Lotus. After a quick break, we're 536 00:31:22,960 --> 00:31:25,920 Speaker 1: back with the rest of Rick's conversation with Flying Lotus. 537 00:31:26,520 --> 00:31:29,760 Speaker 1: What are you working on now? Talk about it? Yeah, 538 00:31:29,800 --> 00:31:33,080 Speaker 1: a few things actually read just as a fun thing. 539 00:31:34,640 --> 00:31:36,640 Speaker 1: I was friends with Johnny Ramone from the Ramones, and 540 00:31:36,760 --> 00:31:38,640 Speaker 1: Ramones were one of my favorite groups, top you know, 541 00:31:38,720 --> 00:31:42,800 Speaker 1: top three favorite groups, and they made an album there 542 00:31:42,920 --> 00:31:45,480 Speaker 1: I think it was their fifth album called End of 543 00:31:45,520 --> 00:31:48,920 Speaker 1: the Century with Phil Spector, and it's it's as a 544 00:31:49,000 --> 00:31:51,080 Speaker 1: Ramones fan at the time. I remember I was in 545 00:31:51,280 --> 00:31:53,560 Speaker 1: junior high school when it came out, and I already 546 00:31:53,640 --> 00:31:56,480 Speaker 1: loved the Ramones, maybe high school, first year high school maybe, 547 00:31:56,960 --> 00:31:59,240 Speaker 1: And I remember buying the album and putting it on 548 00:31:59,320 --> 00:32:02,360 Speaker 1: and being so disappointed because I loved the Ramons so 549 00:32:02,440 --> 00:32:05,240 Speaker 1: much and it didn't sound like the Ramones and it 550 00:32:05,320 --> 00:32:07,760 Speaker 1: just broke my heart. And then years later I met 551 00:32:07,840 --> 00:32:10,400 Speaker 1: Johnny and then who lived in LA when I moved 552 00:32:10,400 --> 00:32:13,400 Speaker 1: to LA started hanging out with him, and I told 553 00:32:13,480 --> 00:32:15,320 Speaker 1: him the story when I heard the album, and he said, 554 00:32:15,680 --> 00:32:19,880 Speaker 1: it breaks his heart hearing the album because he said 555 00:32:19,960 --> 00:32:23,440 Speaker 1: they're great Ramones songs, but the way they were presented 556 00:32:23,520 --> 00:32:25,920 Speaker 1: didn't sound like the Ramones. So he always thought it 557 00:32:26,000 --> 00:32:29,880 Speaker 1: was a miss and his dream was for some day 558 00:32:30,680 --> 00:32:34,120 Speaker 1: that album to be remixed and re released as a 559 00:32:34,160 --> 00:32:37,320 Speaker 1: proper Ramones album again, not to take away anything from 560 00:32:37,400 --> 00:32:40,720 Speaker 1: the original version, both of them. You know, you could 561 00:32:40,720 --> 00:32:44,160 Speaker 1: listen to him back to back. So through a series 562 00:32:44,200 --> 00:32:46,360 Speaker 1: of events, we tried doing it about ten years ago 563 00:32:46,440 --> 00:32:50,480 Speaker 1: and it didn't come together. And in that time, Johnny 564 00:32:50,480 --> 00:32:53,320 Speaker 1: passed away, and I always felt like, since he passed away, 565 00:32:53,760 --> 00:32:56,120 Speaker 1: I always wanted to make his dream come true, like 566 00:32:56,160 --> 00:33:00,240 Speaker 1: a true man. Yeah. Yeah, So we're just finishing at 567 00:33:00,280 --> 00:33:02,680 Speaker 1: now and it's uh good. Yeah, And it's just like 568 00:33:02,880 --> 00:33:06,120 Speaker 1: it's just a feel good project, like an artist's dream 569 00:33:06,200 --> 00:33:12,240 Speaker 1: gets to come true posthumously. Yeah, that's good. What did 570 00:33:12,360 --> 00:33:14,320 Speaker 1: you want to be different about it? He just wants 571 00:33:14,320 --> 00:33:17,480 Speaker 1: to sound just like a Ramones record, like much more 572 00:33:17,520 --> 00:33:21,600 Speaker 1: stripped down, much more direct, much more raw, Just to 573 00:33:21,880 --> 00:33:23,600 Speaker 1: like to sound like if you listen to their first 574 00:33:23,640 --> 00:33:26,880 Speaker 1: four albums, to have this fifth one sound like what 575 00:33:26,920 --> 00:33:30,760 Speaker 1: you'd expect after those first four in the trajectory instead 576 00:33:30,800 --> 00:33:33,600 Speaker 1: of the left turn. And it's interesting too, like I like, 577 00:33:34,240 --> 00:33:36,840 Speaker 1: I like Left Turn albums, you know, I like both. 578 00:33:37,280 --> 00:33:40,920 Speaker 1: Some people though, right, Yeah, depend people want them to change. 579 00:33:41,120 --> 00:33:45,840 Speaker 1: That's what's fucked up. You know. It's rough. It's rough. Yeah. 580 00:33:45,880 --> 00:33:49,880 Speaker 1: It's one of the things I recommend young artists is 581 00:33:50,600 --> 00:33:53,120 Speaker 1: if they want to have that ability to do that, 582 00:33:53,560 --> 00:33:58,040 Speaker 1: it's important to set that standard early in their career. Yeah, 583 00:33:58,080 --> 00:34:00,560 Speaker 1: that you change all the time. Yeah, it's like if 584 00:34:00,600 --> 00:34:03,160 Speaker 1: you make if you make four albums that are very 585 00:34:03,280 --> 00:34:06,520 Speaker 1: much like Volume one, two, three, and four of the 586 00:34:06,560 --> 00:34:11,400 Speaker 1: same idea, if Volume five is really different, there's a 587 00:34:11,400 --> 00:34:13,160 Speaker 1: lot of people who are just not gonna like that. 588 00:34:13,760 --> 00:34:17,120 Speaker 1: That's real. That's so real. Yeah. So it's almost like, 589 00:34:17,520 --> 00:34:19,520 Speaker 1: in a way, it's like training your audience to be 590 00:34:19,880 --> 00:34:23,360 Speaker 1: open to go on the journey review. It's like if 591 00:34:23,400 --> 00:34:26,399 Speaker 1: you if you listen to the Beatles. The Beatles were 592 00:34:26,480 --> 00:34:30,560 Speaker 1: clearly well received, and if you listen to the thirteen 593 00:34:30,600 --> 00:34:33,439 Speaker 1: albums from the beginning to the end, they don't sound 594 00:34:33,480 --> 00:34:37,239 Speaker 1: like the same band. Like they radically change every two 595 00:34:37,280 --> 00:34:41,640 Speaker 1: albums radically, and those were typically thirteen albums over seven years, 596 00:34:41,640 --> 00:34:43,879 Speaker 1: so it was two albums a year, so every year 597 00:34:43,920 --> 00:34:48,680 Speaker 1: they were a different band essentially. Yeah, that's hard. It's 598 00:34:48,719 --> 00:34:52,359 Speaker 1: hard to do. But yeah, I think I think doing 599 00:34:52,400 --> 00:34:55,120 Speaker 1: the same thing and it's such a drag. But then 600 00:34:55,280 --> 00:34:57,960 Speaker 1: like if James Brown did something else, I don't know 601 00:34:58,000 --> 00:35:00,920 Speaker 1: if I want to hear it right right, Yeah, Yeah, 602 00:35:00,960 --> 00:35:08,040 Speaker 1: I'm very happy with James Brown trajectory. Yeah. There's certain artists, yeah, 603 00:35:08,040 --> 00:35:09,920 Speaker 1: a lot of Yeah, a lot of them. You just 604 00:35:10,600 --> 00:35:12,879 Speaker 1: don't don't go there. You don't gotta you don't gotta 605 00:35:12,960 --> 00:35:15,600 Speaker 1: be that person, don't do that. Yeah. I think it 606 00:35:15,640 --> 00:35:19,160 Speaker 1: has to do with how much the artist is a 607 00:35:19,239 --> 00:35:23,359 Speaker 1: genre defining artist. Maybe maybe I don't know, I don't know, 608 00:35:23,520 --> 00:35:25,960 Speaker 1: something I never thought about before. But be interesting to 609 00:35:26,040 --> 00:35:30,160 Speaker 1: understand why certain artists you you're excited about them to change, 610 00:35:30,160 --> 00:35:32,560 Speaker 1: and other artists you don't want them to change. Yeah, 611 00:35:32,719 --> 00:35:35,600 Speaker 1: because I think I think, yeah, you might you might 612 00:35:35,640 --> 00:35:39,719 Speaker 1: be right about that. If they define a sound and 613 00:35:39,760 --> 00:35:42,000 Speaker 1: then they step away from it, then it might be 614 00:35:42,080 --> 00:35:44,920 Speaker 1: way way too jarring. Yeah, that was that was the 615 00:35:44,920 --> 00:35:46,839 Speaker 1: experience with Jesus. There were a lot of people who 616 00:35:46,840 --> 00:35:51,160 Speaker 1: were not on board with Jesus oh god man, Yeah, yeah, totally. 617 00:35:51,600 --> 00:35:55,439 Speaker 1: And to me, that was my that's my favorite of 618 00:35:55,680 --> 00:35:59,000 Speaker 1: all his stuff. I think it's just it's the most different. 619 00:35:59,400 --> 00:36:01,720 Speaker 1: But yeah, the first listen was like, what the fuck 620 00:36:01,800 --> 00:36:10,439 Speaker 1: is this shit? Fuck but fucking sounds that there ain't 621 00:36:10,480 --> 00:36:14,360 Speaker 1: no sounds on here, And then it was like, whoa, 622 00:36:14,440 --> 00:36:19,839 Speaker 1: this is some other futuristic shit. It's cool. I can 623 00:36:19,960 --> 00:36:24,600 Speaker 1: remember also hearing Um trouble Funk for the first time. 624 00:36:25,640 --> 00:36:28,080 Speaker 1: Right in the early days of hip hop. The only 625 00:36:28,080 --> 00:36:29,640 Speaker 1: way that I was able to hear the only place 626 00:36:29,680 --> 00:36:32,000 Speaker 1: you could hear hip hop when I was growing up 627 00:36:32,880 --> 00:36:38,360 Speaker 1: was WHBI had a Mister Magic show, which was like 628 00:36:38,400 --> 00:36:42,839 Speaker 1: a oh yeah, an hour long mix show of I'll 629 00:36:42,840 --> 00:36:45,880 Speaker 1: call it underground hip hop because there was only underground 630 00:36:45,960 --> 00:36:47,880 Speaker 1: hip hop at that time. There was no there was 631 00:36:48,040 --> 00:36:50,759 Speaker 1: no above ground, you know. It's all the hip hop 632 00:36:50,760 --> 00:36:54,759 Speaker 1: in the world was underground at that time, and you 633 00:36:54,760 --> 00:36:59,560 Speaker 1: couldn't hear it on any mainstream station ever. UM, but 634 00:36:59,600 --> 00:37:02,080 Speaker 1: this one weekly show for an hour played hip hop 635 00:37:02,120 --> 00:37:07,600 Speaker 1: records and so we took it very uh. We cared 636 00:37:07,600 --> 00:37:09,360 Speaker 1: a lot about that show because it was the only 637 00:37:09,400 --> 00:37:13,640 Speaker 1: source of hearing this music and UM and then one 638 00:37:13,680 --> 00:37:15,799 Speaker 1: week he played this Trouble Funk record which was like 639 00:37:15,880 --> 00:37:17,680 Speaker 1: and it was also like a seven or eight minute 640 00:37:17,719 --> 00:37:20,799 Speaker 1: track which had of an hour show that's a lot. Yeah, 641 00:37:20,840 --> 00:37:24,200 Speaker 1: and it wasn't a rap record. Yeah. Yeah, it's like, 642 00:37:24,239 --> 00:37:28,040 Speaker 1: why did you give away our time? Time this exactly, 643 00:37:28,160 --> 00:37:30,439 Speaker 1: and I would forward, you know, the cassette. I would 644 00:37:30,480 --> 00:37:33,200 Speaker 1: forward through the cassette, pass the trouble funk song to 645 00:37:33,239 --> 00:37:36,799 Speaker 1: get back to the hip hop records. Yeah, and then 646 00:37:37,400 --> 00:37:39,879 Speaker 1: within a couple of weeks the only thing I would 647 00:37:39,880 --> 00:37:43,280 Speaker 1: listen to on the tape was a trouble funk song. Yeah. Yeah, 648 00:37:43,320 --> 00:37:46,160 Speaker 1: that's how it goes. I always think about that, like 649 00:37:46,200 --> 00:37:48,879 Speaker 1: I always try to spot out my least favorite song 650 00:37:48,960 --> 00:37:51,719 Speaker 1: on the record that I listened to, and like, all right, 651 00:37:51,920 --> 00:37:53,360 Speaker 1: is this going to be the one that I actually 652 00:37:53,360 --> 00:37:57,920 Speaker 1: fall in love with? Because that happens so much, so much. Yea, 653 00:37:57,960 --> 00:38:01,120 Speaker 1: it happens. Also sometimes with the thing that you love, 654 00:38:01,280 --> 00:38:07,520 Speaker 1: the first time you hear it might not have sustaining power. 655 00:38:07,760 --> 00:38:10,440 Speaker 1: Yeah it doesn't. Yeah, so I mean sometimes it does, 656 00:38:10,480 --> 00:38:14,480 Speaker 1: but sometimes it doesn't. Yeah, yeah, sometimes it doesn't. The 657 00:38:14,600 --> 00:38:17,080 Speaker 1: first thing that the single or whatever, that thing you 658 00:38:17,120 --> 00:38:18,800 Speaker 1: fell in love with it is like, yeah, that's cool, 659 00:38:18,840 --> 00:38:22,840 Speaker 1: but there's other deep cut that's gonna last me the 660 00:38:22,880 --> 00:38:25,080 Speaker 1: rest of the year. Yeah. Can you think of any 661 00:38:25,160 --> 00:38:27,759 Speaker 1: music in general, any Like, I remember when I was 662 00:38:27,800 --> 00:38:30,160 Speaker 1: a kid, classical music didn't speak to me at all, 663 00:38:30,280 --> 00:38:32,839 Speaker 1: and now I probably listened to that more than anything else. 664 00:38:33,239 --> 00:38:38,040 Speaker 1: Definitely classical for me. Um, I didn't really vibe with 665 00:38:38,160 --> 00:38:43,320 Speaker 1: it until I heard Stravinsky, um, some of that stuff, 666 00:38:43,360 --> 00:38:46,560 Speaker 1: and then I connected it to Fantasia, and then I 667 00:38:46,680 --> 00:38:50,400 Speaker 1: was like, oh, okay, all classical music is just Fantasia 668 00:38:53,280 --> 00:38:57,040 Speaker 1: with no with no images. Okay, cool, it's all It's 669 00:38:57,080 --> 00:39:01,320 Speaker 1: all this vibrant cartoon that keeps change changing, and you 670 00:39:01,440 --> 00:39:05,319 Speaker 1: know obviously your connection with the changes. But yeah, I 671 00:39:05,360 --> 00:39:08,440 Speaker 1: think that was that was huge. Fall in love with 672 00:39:08,480 --> 00:39:12,080 Speaker 1: that music and just kind of being open to that 673 00:39:12,640 --> 00:39:15,600 Speaker 1: at an early age I think was so so good 674 00:39:15,640 --> 00:39:21,560 Speaker 1: for me. My favorite my favorite thing is new old music, 675 00:39:22,520 --> 00:39:25,359 Speaker 1: you know, old music that I haven't heard before. That's 676 00:39:26,000 --> 00:39:28,080 Speaker 1: that's the best because I just like the way that 677 00:39:28,160 --> 00:39:31,799 Speaker 1: music's made and it, uh, it's a flavor I like, 678 00:39:31,960 --> 00:39:34,840 Speaker 1: and I'm really used to all of the stuff that's familiar. 679 00:39:35,200 --> 00:39:38,200 Speaker 1: But when I can hear something in that flavor that's 680 00:39:38,200 --> 00:39:42,600 Speaker 1: not familiar, that really feels like it expands the mind. Yeah. Same, 681 00:39:42,680 --> 00:39:44,920 Speaker 1: I've been on that too. Man. Like anytime you just 682 00:39:44,960 --> 00:39:47,959 Speaker 1: like you find something from the seventies you haven't heard before. 683 00:39:48,000 --> 00:39:50,640 Speaker 1: You're like, oh wow, you know you can dig into it. 684 00:39:50,760 --> 00:39:54,160 Speaker 1: You know, like it's gonna have certain instruments, certain ideas 685 00:39:54,200 --> 00:39:56,920 Speaker 1: and techniques of how they recorded in everything. What have 686 00:39:56,920 --> 00:39:59,080 Speaker 1: you been What have you been vibing on? Though? Just 687 00:39:59,080 --> 00:40:00,960 Speaker 1: a lot of all the kinds of old music, a 688 00:40:01,000 --> 00:40:04,080 Speaker 1: lot of old psychedelic music, a lot of classical music, 689 00:40:04,080 --> 00:40:06,640 Speaker 1: a lot of jazz, kind of the new you know, 690 00:40:06,680 --> 00:40:11,440 Speaker 1: the the new classical. It's like somewhere in between new 691 00:40:11,480 --> 00:40:16,400 Speaker 1: age and classical like Max Richter and meals from and yeah, 692 00:40:16,440 --> 00:40:18,200 Speaker 1: I don't I don't even know what you really call that. 693 00:40:18,360 --> 00:40:22,040 Speaker 1: I guess it's contemporary classical. I don't know, but yeah, 694 00:40:22,080 --> 00:40:25,440 Speaker 1: that's that's the vibe though. Yeah, it's often electronic based, 695 00:40:25,480 --> 00:40:30,040 Speaker 1: but doesn't have to be. It feels inspiring. It feels like, um, 696 00:40:30,200 --> 00:40:32,600 Speaker 1: they're using the same machines in different ways, and I 697 00:40:32,680 --> 00:40:37,879 Speaker 1: like that. Do you like Philip Glass and Ryuichi Sakamoto? Yes, 698 00:40:38,080 --> 00:40:42,200 Speaker 1: Rucci Sakamo amazing, incredible. Yeah, I've been listening to a 699 00:40:42,239 --> 00:40:44,160 Speaker 1: lot of his stuff and it's it's so crazy to 700 00:40:44,200 --> 00:40:48,440 Speaker 1: hear all the different vibes that cat. It's been across 701 00:40:48,760 --> 00:40:52,480 Speaker 1: you know, like from the seventies to now, he was 702 00:40:52,520 --> 00:40:55,040 Speaker 1: always in the electron of music, but always in the 703 00:40:55,719 --> 00:40:58,960 Speaker 1: kind of classical and playing and whatnot. And it's just 704 00:40:59,200 --> 00:41:01,440 Speaker 1: it's wild. Yeah, the stuff he was doing back then 705 00:41:01,600 --> 00:41:04,879 Speaker 1: kind of sounds so new and fresh. Also a lot 706 00:41:04,880 --> 00:41:07,640 Speaker 1: of you know David Axel rods always always come out. 707 00:41:07,760 --> 00:41:10,399 Speaker 1: Yeah yeah, yeah. Do you hear that there's a there's 708 00:41:10,400 --> 00:41:14,120 Speaker 1: an album he produced of the Electric Prunes. Yeah, it's 709 00:41:14,160 --> 00:41:18,399 Speaker 1: so good. Yeah, yeah, it sounds amazing too. Yeah. I didn't, 710 00:41:18,440 --> 00:41:20,880 Speaker 1: and I the way I found it wasn't through him. 711 00:41:20,960 --> 00:41:23,680 Speaker 1: It was just through listening to old psychedelic music and 712 00:41:23,800 --> 00:41:25,560 Speaker 1: Matt came up. It's like, oh, this is different than 713 00:41:25,600 --> 00:41:29,640 Speaker 1: everything else, and who produced it? Turn it turns out 714 00:41:29,719 --> 00:41:31,400 Speaker 1: he produced it, but I didn't know that. It's like, 715 00:41:31,480 --> 00:41:33,600 Speaker 1: why is this different than everything else? Why is this 716 00:41:33,680 --> 00:41:35,759 Speaker 1: so special? Then I listened to the whole album before 717 00:41:35,800 --> 00:41:38,239 Speaker 1: I even knew he produced it, and thinking like, this 718 00:41:38,280 --> 00:41:41,799 Speaker 1: doesn't sound anything like anything this band did before this. 719 00:41:41,800 --> 00:41:45,800 Speaker 1: This is a unique moment. Oh yeah, cool, A pleasure. 720 00:41:46,120 --> 00:41:48,480 Speaker 1: I look forward to hanging soon. Yeah, I would love 721 00:41:48,520 --> 00:41:52,600 Speaker 1: to real a pleasure. Sir, Thank you very much much love, 722 00:41:55,640 --> 00:41:58,040 Speaker 1: thanks the Flying Lotus for Talking Shop with Rick, you 723 00:41:58,040 --> 00:42:00,160 Speaker 1: can hear all of her favorite fly Loow tracks long 724 00:42:00,160 --> 00:42:02,080 Speaker 1: with a bunch of other songs he's produced over the 725 00:42:02,160 --> 00:42:06,000 Speaker 1: years on a playlist at broken record podcast dot com, 726 00:42:06,040 --> 00:42:08,239 Speaker 1: and be sure to subscribe to our YouTube channel at 727 00:42:08,280 --> 00:42:11,879 Speaker 1: YouTube dot com slash broken record Podcast. There you can 728 00:42:11,880 --> 00:42:16,080 Speaker 1: find extended cuts of our past episodes. Broken Record is 729 00:42:16,120 --> 00:42:19,480 Speaker 1: produced with help from Jason Gambrell, Mila Belle, Leah Rose, 730 00:42:19,880 --> 00:42:24,480 Speaker 1: Eric Sandler, and Martin Gonzalez for Pushkin Industries. A theme 731 00:42:24,560 --> 00:42:27,040 Speaker 1: musics by Kenny Beats. I'm justin Richmond.