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Flying Lotus' Artist Tips

L.A.-based instrumental hip-hop sculptor Flying Lotus (a.k.a. Steve Ellison) is a concept man first, gear hound second. His opus, 1983, is entirely indicative of that recording philosophy, and you'll hear how his eerie, electro-fractured sounds are hardly the product of Guitar Center-studio foolery. Instead, they come from a place of mental organization, far away from the world of gear shops and plug-in downloads. Here, Ellison walks us through some important components in making a Flying Lotus recording.


Border Community: Future Frontiers

Perhaps no label in 2006 more distinctly reflected the fluidity of musical tags and genres than James Holden's Border Community. The nascent imprint is all things to all people. It's a techno label, an electro-house label, a psychedelic prog-house label, an indie label, and it even stands a chance of reclaiming the much-maligned T-word (ahem, "trance") back from the likes of Paul Van Dyk and Oakenfold. Read more » 

Final Fantasy LARPs Out Loud

If you thought Rush was geeky–with their hockey-hair mullets and myriad references to wizardry–then you haven't met fellow Canadian Owen Pallett. The 25-year-old Torontonian, who records strikingly original violin compositions and breathy vocals under the moniker Final Fantasy, attempts to "remodel fantasy fiction as a musical medium, and one that is satirical," he says. Central to Final Fantasy's aesthetic are '80s videogames, Lewis Carroll, and Gore Vidal's Duluth.


C.neeon: Bright Lights, Big City

Amid the neo-rave/'80s clubwear and serious party frocks of London Fashion Week, C.neeon's designs stood out boldly from the black-and-khaki-clad pack. The runway show from C.neeon–a brand created in 2001 by Berliners Clara Leskovar and Doreen Schulz–featured a cavalcade of interesting clothes bearing striking, Bauhaus-inspired graphical prints in colors (muted rust, celery, chocolate brown) last seen on '70s macrame wall-hangings, or maybe in the work of Art Deco painter Erte. Read more » 

Tom Moulton vs. Rub-N-Tug

In the '60s and '70s, if you had the phrase "A Tom Moulton Mix" tagged to your record, you probably had a hit. The former record-promotions-man turned-studio-engineer took classic funk, soul, and R&B artists to new heights with his patented brand of mixing. But when disco came around, Moulton blew everyone out of the water by literally inventing the 12-inch single–because his mastering studio was out of blank sevens. Read more » 

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