Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Flying Lotus

Transcript

Flying Lotus · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:08
  Speaker 1: Pushkin. Just a quick note here, you can listen to
• 0:14
  Speaker 1: all of the music mentioned in this episode on our playlist,
• 0:17
  Speaker 1: which you can find a link to in the show
• 0:19
  Speaker 1: notes for licensing reasons, each time a song is referenced
• 0:23
  Speaker 1: in this episode, you'll hear this sound effect. All right,
• 0:29
  Speaker 1: enjoyed the episode, Flying Lotus isn't one of those producers
• 0:32
  Speaker 1: who just programs beats. He creates an entire esthetic world
• 0:36
  Speaker 1: for the music he makes to live in. Over the
• 0:39
  Speaker 1: past thirteen years, he's a massed a diverse body of
• 0:41
  Speaker 1: work through the label he started, Brain Feeder. He's released
• 0:45
  Speaker 1: four solo albums, produced tracks with Kendrick Lamar, Tom York
• 0:48
  Speaker 1: director actor David Lynch in The Climb featuring Thundercat. Musical
• 0:54
  Speaker 1: innovation runs deep in Flylo's family. His grandmother, Marilyn McLeod,
• 0:59
  Speaker 1: wrote songs from Van Gay, Diana Ross, and other motown artists.
• 1:03
  Speaker 1: His great aunt Alice Coltrane married and played in John
• 1:05
  Speaker 1: Coltrane's final bands, then after his death, released a slew
• 1:09
  Speaker 1: of classic albums that seemed to grow in stature every
• 1:12
  Speaker 1: passing year. In this episode, Rick Rubin and Flying Loads
• 1:15
  Speaker 1: chop it up about visiting Alice Coltrane's ashram as a kid,
• 1:18
  Speaker 1: why his peak creative hours have changed over the years,
• 1:21
  Speaker 1: and why he directed a horror flick despite being scared
• 1:24
  Speaker 1: to death as a child by the thriller video. This
• 1:30
  Speaker 1: is broken record liner notes for the digital age. I'm
• 1:33
  Speaker 1: justin Richmond. Here's Rick Rubin and Flying Loice. How would
• 1:42
  Speaker 1: you say your relationship to music has changed from when
• 1:46
  Speaker 1: you were a kid till now? It's funny. There's this
• 1:49
  Speaker 1: video of me when I was a little kid, and
• 1:52
  Speaker 1: I was it was like my mom my grandma asked
• 1:55
  Speaker 1: me questions, was I so, Steve, how old are you?
• 1:59
  Speaker 1: And he like, like, Steve, what do you want to do?
• 2:02
  Speaker 1: When you go? I want to I don't know whatever,
• 2:04
  Speaker 1: But I was. I was kind of in this little
• 2:07
  Speaker 1: interview moment, and then I think there was some Stevie
• 2:10
  Speaker 1: Wonder that kind of turned on in the background, and
• 2:13
  Speaker 1: you just saw that I was just like perked up
• 2:15
  Speaker 1: and just was like I'm out of here, and I
• 2:18
  Speaker 1: went towards the speaker and I was like, okay, yeah,
• 2:21
  Speaker 1: that's the same same. Nothing's strange. I would just say
• 2:26
  Speaker 1: that over time that my relationship with music has just
• 2:30
  Speaker 1: gotten so much deeper. You know, at this point, it's
• 2:34
  Speaker 1: so crazy to think that I thought, maybe four or
• 2:38
  Speaker 1: five years ago, that I was the peak of my
• 2:41
  Speaker 1: love for music or my love for creating music. And
• 2:45
  Speaker 1: now I know that I was wrong, because I feel like,
• 2:48
  Speaker 1: right now I'm there again. You know, I feel like
• 2:51
  Speaker 1: I spent so much time learning things the past couple
• 2:55
  Speaker 1: of years with synthesis and you know, studying piano and
• 2:59
  Speaker 1: studying theory, harmonic theory and stuff that actually just yeah,
• 3:04
  Speaker 1: it gave me another burst of life in this whole thing.
• 3:07
  Speaker 1: You know, I feel like I just added more time
• 3:11
  Speaker 1: than my clock. That's good for all of us, I hope.
• 3:15
  Speaker 1: So what was the LA scene like when you were
• 3:20
  Speaker 1: coming up? What was going on when you first started?
• 3:23
  Speaker 1: When I first started, the scene that I was really
• 3:28
  Speaker 1: kind of watching was what stone Throw Records were doing.
• 3:31
  Speaker 1: They were doing a lot of stuff, Ubiquity was doing
• 3:34
  Speaker 1: a lot of stuff. We had all these cool parties
• 3:37
  Speaker 1: like Pooh Bah and Sketch Book. That was a cool scene.
• 3:40
  Speaker 1: And you know, there was like a lot of people
• 3:42
  Speaker 1: playing music that we like, you like shift from, like
• 3:46
  Speaker 1: Jay Dillah and mad Lib, you know, that kind of
• 3:49
  Speaker 1: beat music that that kind of vibe was going around,
• 3:53
  Speaker 1: and you started to see all these other producer beat
• 3:56
  Speaker 1: maker kids who were kind of hanging around, but they
• 3:59
  Speaker 1: didn't feel I think it was like even more underground
• 4:03
  Speaker 1: than Mad Living Diala. It was. It was just like
• 4:06
  Speaker 1: weird because we we didn't care about rappers. We didn't.
• 4:09
  Speaker 1: We were just like we're gonna do this without them,
• 4:11
  Speaker 1: you know, like we just came for the beats, you know.
• 4:14
  Speaker 1: And I think that was like that freak a lot
• 4:16
  Speaker 1: of people out, I think at first, but I think
• 4:20
  Speaker 1: we were there was at a point where it just
• 4:22
  Speaker 1: didn't seem like rappers going anywhere, so I think the
• 4:25
  Speaker 1: producers were just like, oh, let's just do this. I
• 4:29
  Speaker 1: think the scene was kind of built in the parking
• 4:31
  Speaker 1: lots of a lot of parties because we were just
• 4:33
  Speaker 1: like listening the tracks in the cars, like with the
• 4:37
  Speaker 1: doors open, blasting them out in the parking lot. You know,
• 4:40
  Speaker 1: Like that was like a whole vibe playing tracks on
• 4:42
  Speaker 1: the Homies boombox. Could you tell that something was going on?
• 4:46
  Speaker 1: Could you tell, like there's a vibe? Yeah, it was
• 4:48
  Speaker 1: like that it was important. That was important totally. You
• 4:51
  Speaker 1: can totally tell it was important. It was because there's
• 4:53
  Speaker 1: so many people who loved the same things. Yeah, there
• 4:57
  Speaker 1: was just there was this just this frustration. It was
• 5:00
  Speaker 1: just like this empty thing. It was just a void still.
• 5:04
  Speaker 1: And I think that that became something that I held
• 5:09
  Speaker 1: onto for so long actually and try to recognize, is that,
• 5:13
  Speaker 1: you know, people need to be heard. They have to
• 5:16
  Speaker 1: keep your ear out to the scene. You gotta keep
• 5:18
  Speaker 1: your ear out. You gotta like know what's going on
• 5:21
  Speaker 1: in the streets, man, because you don't want to miss it.
• 5:24
  Speaker 1: You don't want to miss the thing. You don't you
• 5:26
  Speaker 1: don't want to be left out of the of that
• 5:30
  Speaker 1: new moment, the next moment. At that point in time,
• 5:32
  Speaker 1: while the underground was just sort of taking form in La,
• 5:37
  Speaker 1: what was the mainstream of hip hop like at that time?
• 5:40
  Speaker 1: Do you remember, oh, mainstream? Was it still like New
• 5:45
  Speaker 1: York centric or not? Necessarily? I would say it was
• 5:48
  Speaker 1: still New York, but it was starting to get southern,
• 5:53
  Speaker 1: you know, starting to go in that direction for some reason,
• 5:57
  Speaker 1: I feel like, why do I want to say, gee,
• 6:00
  Speaker 1: even it was a thing you know, like around around
• 6:05
  Speaker 1: then it was like two thousand and five, I guess. So, yeah,
• 6:10
  Speaker 1: it was like that kind of post Shining Suit era
• 6:14
  Speaker 1: of hip hop. Looking back, now on the lacne men.
• 6:20
  Speaker 1: Would you say that there were any similar scenes anywhere
• 6:23
  Speaker 1: else in the world at that time, like kind of
• 6:26
  Speaker 1: picking up the same kind of vibe. Absolutely, there was
• 6:30
  Speaker 1: a crazy synergy around that moment for us because at
• 6:34
  Speaker 1: the same time MySpace came out too, and that was
• 6:38
  Speaker 1: a way for all of us to kind of hear
• 6:40
  Speaker 1: what everyone else was doing around the world, especially you know,
• 6:44
  Speaker 1: I think that that kind of helped cultivate the scene
• 6:48
  Speaker 1: and let us know that it wasn't just us out there.
• 6:50
  Speaker 1: There's small labels in Europe trying to do this stuff now,
• 6:53
  Speaker 1: and there's small labels in Japan trying to do it,
• 6:56
  Speaker 1: and it was like, okay, well this is something, this
• 6:59
  Speaker 1: is actually something, and they keep looking to la So
• 7:03
  Speaker 1: that was that was another thing. But I had a
• 7:06
  Speaker 1: feeling then my Space was was kind of popping off
• 7:09
  Speaker 1: and dubstep was kind of popping it was at the
• 7:12
  Speaker 1: same time. Like so it was like a new electronic
• 7:16
  Speaker 1: thing was brewing. The beats and the wobbly stuff going
• 7:22
  Speaker 1: on and calling it wonky and all. They were trying
• 7:26
  Speaker 1: to find all types of names to describe it. But
• 7:29
  Speaker 1: it was just dope because it was the first time
• 7:32
  Speaker 1: LA and UK are connecting like this, we're hearing stuff
• 7:37
  Speaker 1: that just was just born in the studio, you know,
• 7:40
  Speaker 1: last night, and that's that never happened before then. So
• 7:45
  Speaker 1: I think it allowed a lot of people to just
• 7:47
  Speaker 1: kind of accelerate the sound quicker too. You know, you
• 7:52
  Speaker 1: hear something like it becomes part of the consciousness and
• 7:56
  Speaker 1: then it just snowballs and gets bigger and bigger and bigger,
• 7:59
  Speaker 1: and suddenly you know, there's hell of people trying to
• 8:03
  Speaker 1: do this thing. Yeah, it does seem like that connection
• 8:06
  Speaker 1: between the UK and LA at that time. It's a
• 8:11
  Speaker 1: fascinating one. Yeah, And it was definitely like just the
• 8:15
  Speaker 1: underground sound. He knew it wasn't meant to be for everybody,
• 8:21
  Speaker 1: but people really wanted it back in the day. How
• 8:27
  Speaker 1: did you first connect with Kendrick? I first connected with
• 8:31
  Speaker 1: Kendrick on on Twitter. He was like, have somebody tell
• 8:36
  Speaker 1: Flying loadus to hit me up. I was like, I
• 8:38
  Speaker 1: was already following this cat. I was like, whoa, what
• 8:42
  Speaker 1: do you talk? I'm here, hello, here, here, I am, sir.
• 8:47
  Speaker 1: What did he already what did he already have out
• 8:49
  Speaker 1: at that time? He was he was still on section eighty.
• 8:52
  Speaker 1: I think around then. It's just still a kind of
• 8:55
  Speaker 1: early days. I think when Good Kid Mad City came out,
• 8:59
  Speaker 1: he and I that at his signing in San Francisco.
• 9:02
  Speaker 1: When that album came out, I came out to a
• 9:04
  Speaker 1: signing and he hung out for a little bit. And
• 9:07
  Speaker 1: you know, ever since then, it was like, we gonna
• 9:09
  Speaker 1: make something, We gotta do something, we gotta do some
• 9:11
  Speaker 1: we gotta do a project, gotta do ep, you got
• 9:13
  Speaker 1: you know something. And then, um, the way we really
• 9:16
  Speaker 1: started connecting was for some reason, he reached out to
• 9:20
  Speaker 1: me because he wanted me to help him make his
• 9:22
  Speaker 1: live show for the Yeasest tour that he did. What
• 9:25
  Speaker 1: a time. I mean that record right there, that was
• 9:28
  Speaker 1: that was huge record, that one. But anyway, yeah, I
• 9:32
  Speaker 1: started working with him around then and I started playing
• 9:34
  Speaker 1: stuff to him on that tour that kind of had
• 9:38
  Speaker 1: that sort of like Parliament sound to it, kind of
• 9:42
  Speaker 1: like Funkadelic sound, and he was really feeling that and
• 9:46
  Speaker 1: that kind of kicked things off for the Pimp Butterfly
• 9:49
  Speaker 1: and it kind of, you know, that was kind of
• 9:52
  Speaker 1: the beginning of our collaboration. For our song never Catch
• 9:54
  Speaker 1: Me In That was did you did you go on
• 9:57
  Speaker 1: the tour. Yeah, I was on the tour for Little Bit. Yeah,
• 10:00
  Speaker 1: I was there. I was there for the first few stops.
• 10:03
  Speaker 1: How was that? It was cool? It was cool. It
• 10:05
  Speaker 1: was really uh. It was really trippy to have been
• 10:08
  Speaker 1: part of that show. And I'd never done anything like
• 10:12
  Speaker 1: that before. I never put on helped anybody build a
• 10:15
  Speaker 1: live show, so it was really uh, it was really fun.
• 10:19
  Speaker 1: I never thought that would happen. It sounds great. Yeah,
• 10:23
  Speaker 1: it sounds like fun experience and it's interesting to get
• 10:27
  Speaker 1: to to get to experimenting new arenas. It's just fun.
• 10:31
  Speaker 1: It's a fun. You know, if all you ever did
• 10:34
  Speaker 1: was just sit and make beats forever, I know, But
• 10:39
  Speaker 1: then when you go and do something else interesting, and
• 10:42
  Speaker 1: then you come back, you get to make beats again,
• 10:43
  Speaker 1: and it's incredible all over again. Yoh yeah. That's the thing.
• 10:47
  Speaker 1: Like anytime I have to do anything else, I get
• 10:50
  Speaker 1: so excited to just go home make some beats. But
• 10:53
  Speaker 1: it's just let me make beats, that's it. That's all
• 10:55
  Speaker 1: I want to do. I found the same with working
• 10:57
  Speaker 1: on different kinds of music. If if all I have, dude,
• 11:00
  Speaker 1: was make hip hop records, it would have gotten old
• 11:02
  Speaker 1: long time ago. For all I made was heavy metal records.
• 11:05
  Speaker 1: It would have gotten old. But the fact that I
• 11:07
  Speaker 1: get to really submerge myself in different different things keeps
• 11:14
  Speaker 1: it really interesting. It's always new. I never you know,
• 11:16
  Speaker 1: I never know what's going to happen next, and that's
• 11:18
  Speaker 1: a good feeling. Yeah, tell me, tell me a little
• 11:21
  Speaker 1: bit about your creative process, like, um, are you always
• 11:24
  Speaker 1: making something? What's the what's the rhythm of your work?
• 11:27
  Speaker 1: Like I'm kind of similar, you know, I'm always in something,
• 11:31
  Speaker 1: but with music especially, I'm like so in it right
• 11:35
  Speaker 1: now and always trying to learn more. You know. I
• 11:40
  Speaker 1: think whenever I get in a place where I feel comfortable,
• 11:43
  Speaker 1: I'm like, all right, I need to learn some more stuff.
• 11:45
  Speaker 1: I need to learn how to do things that I
• 11:47
  Speaker 1: don't know yet. And this, this kind of quarantine time
• 11:51
  Speaker 1: has been really good for me to just kind of
• 11:55
  Speaker 1: focus and hone in on a couple of little things
• 11:59
  Speaker 1: that I wanted to learn. You know, I really wanted
• 12:02
  Speaker 1: to understand synthesis on like a very detailed level. You know,
• 12:07
  Speaker 1: I don't want to be one of those people who's
• 12:09
  Speaker 1: just like always using the presets and stuff on synthesizers.
• 12:13
  Speaker 1: I wanted to know like exactly what everything does, and
• 12:16
  Speaker 1: I spend time like just digging into that. So now
• 12:19
  Speaker 1: I can go up to any of these boards, I
• 12:21
  Speaker 1: know exactly how to get the sounds I want. And
• 12:25
  Speaker 1: you know, this is like a little bit of time
• 12:27
  Speaker 1: that has now, you know, changed the rest of my life.
• 12:30
  Speaker 1: Now it's like I know from here on out, I'll
• 12:33
  Speaker 1: be able to get get busy on it, you know,
• 12:35
  Speaker 1: like like I always wanted to. So, yeah, I don't
• 12:37
  Speaker 1: know my process. Though I wake up early. I'm not
• 12:41
  Speaker 1: one of those people who stays up until crazy. I
• 12:46
  Speaker 1: wish I could. What are your hours? Usually I start
• 12:49
  Speaker 1: to day at six in the morning and then I
• 12:52
  Speaker 1: go to bed like twelve one, But I'm like always
• 12:56
  Speaker 1: on the machine between you know, work hours. I try
• 12:59
  Speaker 1: to treat it like a job now really, where I'm
• 13:02
  Speaker 1: just like on it nine to five at least, and
• 13:06
  Speaker 1: then if it's super inspired, keep going. But at five
• 13:10
  Speaker 1: I feel comfortable like stepping away and throwing on some cartoons.
• 13:16
  Speaker 1: From the time you wake up, how soon do you
• 13:18
  Speaker 1: start working? Usually after I brush my teeth and do
• 13:21
  Speaker 1: all that stuff, you know, I'm like right right on it.
• 13:23
  Speaker 1: I feel like that's my best, my best energetic moment.
• 13:26
  Speaker 1: It actually is when I'm like just fresh out of
• 13:28
  Speaker 1: bed ready to work, you know, sometimes after coffee and
• 13:32
  Speaker 1: a joint or something good to go. But I wish
• 13:36
  Speaker 1: I could do the late night thing because I do
• 13:38
  Speaker 1: find that when I'm up late at night working on
• 13:40
  Speaker 1: music that I'm less inhibited and the ideas they're not
• 13:45
  Speaker 1: as you know, just you don't think so much. She's
• 13:48
  Speaker 1: just kind of like flowing whatever. The the ghost is
• 13:52
  Speaker 1: just like it flows through you way easier, less cerebral,
• 13:56
  Speaker 1: you know. But I also find that I'm way less
• 14:00
  Speaker 1: attentive to detail, and I don't really care about the
• 14:05
  Speaker 1: little things as much. It's just like all idea. Do
• 14:09
  Speaker 1: you think that has to do with you and how
• 14:11
  Speaker 1: long you've been awake or do you think it has
• 14:13
  Speaker 1: to do with something else? For me, personally, it's definitely
• 14:18
  Speaker 1: time of day and energy. I feel like by the
• 14:21
  Speaker 1: time eight o'clock rolls around, you know, I like smoked
• 14:25
  Speaker 1: like several blunts, and you know, I'm tired, and you know,
• 14:28
  Speaker 1: it's just I feel like I need a lot of
• 14:31
  Speaker 1: energy to make music. Personally, I need a lot of
• 14:34
  Speaker 1: energy or else it's just gonna be like you know,
• 14:38
  Speaker 1: a couple of chords. You know, I need to be
• 14:41
  Speaker 1: able to, like, I need to have this pulse in me,
• 14:44
  Speaker 1: like when I'm working on stuff, or it just don't work.
• 14:47
  Speaker 1: So whenever I got that, when I got that energy,
• 14:52
  Speaker 1: it's good to go. Has this schedule and that rhythm
• 14:55
  Speaker 1: of working always been your whole life. No, I feel
• 14:57
  Speaker 1: like I only really started waking up early when I
• 15:01
  Speaker 1: started having like British management and then my label, my
• 15:06
  Speaker 1: record label, Warp Records. They they're based in the UK,
• 15:10
  Speaker 1: so I think I started getting used to getting emails
• 15:13
  Speaker 1: and phone calls super early in the morning. So my
• 15:16
  Speaker 1: brain just kind of go. I was like, whoa, they
• 15:18
  Speaker 1: might be trying to find me. I don't know, you know,
• 15:20
  Speaker 1: maybe my brain just starts going. But before then I
• 15:23
  Speaker 1: was definitely like a night out. But now I'm just
• 15:25
  Speaker 1: kind of adjusted too, you know, always being awake. And
• 15:31
  Speaker 1: so it's so funny you say that when I was
• 15:33
  Speaker 1: when I lived in New York, I was on the
• 15:36
  Speaker 1: late schedule, and I would usually sleep until three and
• 15:41
  Speaker 1: then yeah, probably not be outside until it was dark,
• 15:45
  Speaker 1: and then that would be my schedule. And you go
• 15:48
  Speaker 1: to sleep sort of typically heading home as the sun
• 15:52
  Speaker 1: was coming up was typical. Yeah, that's the artist special
• 15:56
  Speaker 1: right there. That's it. So in the morning, you brush
• 15:59
  Speaker 1: your teeth, go into the studio, and how does the
• 16:02
  Speaker 1: process start, Like, what's the first thing you do? Well, lately,
• 16:07
  Speaker 1: what I do now is I try to just write
• 16:09
  Speaker 1: some patches and the keyboard or like synthesizer stuff. I
• 16:13
  Speaker 1: go up to a machine, one of my machines and
• 16:16
  Speaker 1: try to make a patch that I've not heard before,
• 16:21
  Speaker 1: whether it's like a cool pad sound or a cool
• 16:24
  Speaker 1: lead tone something, because then that will inspire an idea always,
• 16:29
  Speaker 1: so it starts with it. So it starts with a sound. Yeah,
• 16:33
  Speaker 1: usually starts with a sound, or you know, I'll just
• 16:36
  Speaker 1: start playing keys, play some chords and then you know,
• 16:40
  Speaker 1: then trying to find a sound that goes with it,
• 16:43
  Speaker 1: and then a thing happens. But yeah, I love just
• 16:46
  Speaker 1: trying to write patches. I think that's been a really
• 16:51
  Speaker 1: fun kind of thing to add to my daily routine.
• 16:54
  Speaker 1: Is I have to make a new sound today. What
• 16:56
  Speaker 1: does it sound like? And you know what can I
• 17:00
  Speaker 1: apply from other things that I've learned to it? I
• 17:03
  Speaker 1: mix it with samples. You know what happens when I
• 17:05
  Speaker 1: run through a reverb? This that whatever, and then maybe
• 17:08
  Speaker 1: that's the beginning of a song, and like the past
• 17:11
  Speaker 1: few times I've done that, it comes out as a song.
• 17:14
  Speaker 1: Does the sound from the time that you get sound
• 17:18
  Speaker 1: where it's like, okay, this is the sound and you're
• 17:20
  Speaker 1: inspired by it and you feel like, okay, now I'm
• 17:22
  Speaker 1: ready to develop past finding the sound, does that sound
• 17:27
  Speaker 1: ever change going forward? Or is that sort of the
• 17:32
  Speaker 1: central theme that is unchanged regardless of what else goes
• 17:36
  Speaker 1: on around it. That part is usually unchanged because I
• 17:39
  Speaker 1: feel like I end up structuring everything else around it,
• 17:42
  Speaker 1: you know. But sometimes you find that, oh, well, this
• 17:47
  Speaker 1: sound was actually too bright in the context of the
• 17:50
  Speaker 1: track now, so you gotta filter it down a little
• 17:52
  Speaker 1: bit and then change things. But yeah, usually it is
• 17:56
  Speaker 1: the spark happens with that sound is like oh and
• 18:00
  Speaker 1: then you know you started like, oh it sounds good
• 18:02
  Speaker 1: with these drums, and oh, he just keeps going, and
• 18:06
  Speaker 1: you know, two hours goes by, and yeah, typically, how
• 18:09
  Speaker 1: long does it take to find the sound? And from
• 18:11
  Speaker 1: the time it takes to find the sound, what give
• 18:14
  Speaker 1: me an idea? Um, it can take from like five
• 18:18
  Speaker 1: to twenty minutes, I think to write a patch when
• 18:21
  Speaker 1: I'm not in a hurry to put something out. I
• 18:25
  Speaker 1: really do enjoy recording sounds and recording noises, grabbing different
• 18:30
  Speaker 1: tones and things because that's my palette. That's that's what
• 18:34
  Speaker 1: I have to work with. And you know, we're kind
• 18:40
  Speaker 1: of in this time where everyone is using like the
• 18:42
  Speaker 1: same sounds and the same drums and the same noises.
• 18:45
  Speaker 1: So for me personally, I'm in this place now where
• 18:49
  Speaker 1: I'm trying to go out of my way to make
• 18:51
  Speaker 1: sure that all the sounds that I have are unique.
• 18:54
  Speaker 1: So you're working on the sound, what's the feeling in
• 18:57
  Speaker 1: you that tells you, Okay, I'm gonna move forward with
• 19:02
  Speaker 1: this sound? What does it? What does that feel like?
• 19:05
  Speaker 1: How do you know? It's it's like it's the same
• 19:09
  Speaker 1: sound as when you hear that break on a record,
• 19:12
  Speaker 1: you know, where you hear something and you're like, oh
• 19:15
  Speaker 1: my god, I gotta sample this where it's like it
• 19:17
  Speaker 1: almost feels like you cheated, Like it's just like there's
• 19:20
  Speaker 1: no way I'm supposed to have this right now, no
• 19:24
  Speaker 1: one's watching, you know, It's like it feels like that,
• 19:28
  Speaker 1: and that's when you know, and then you like you
• 19:30
  Speaker 1: get you like you play some chords and there's like
• 19:33
  Speaker 1: a little like chord. It sounds like, you know, that's
• 19:37
  Speaker 1: when that's when they do it, when you hit the
• 19:39
  Speaker 1: record button. Yeah, it's a it's a thrilling feeling, isn't
• 19:42
  Speaker 1: it that? It is? It is. It's addicting because you know,
• 19:46
  Speaker 1: every time you feel like you're getting close to that
• 19:48
  Speaker 1: perfect beat, that perfect thing, and it never is, but
• 19:52
  Speaker 1: you just feel like, oh, i'most there, you know, if only,
• 19:58
  Speaker 1: if only? Typically do you work on music thinking it's
• 20:01
  Speaker 1: going to be instrumental? Is that the typical default? No,
• 20:05
  Speaker 1: there's no default. I think I just try to make
• 20:08
  Speaker 1: stuff and then serve whatever the sound is later, you know,
• 20:12
  Speaker 1: like it's like, okay, this don't need nobody, just let
• 20:16
  Speaker 1: it be. But I think lately I do write music
• 20:20
  Speaker 1: with vocalists in mind a lot of times, because there's
• 20:25
  Speaker 1: you know how it is, there's people knocking on the door.
• 20:28
  Speaker 1: You know, I'm working with Thundercat, you know, and all
• 20:31
  Speaker 1: these different people and they're gonna want tracks. So I
• 20:35
  Speaker 1: always try to keep that in mind. But I don't
• 20:37
  Speaker 1: ever go into it a thing thinking it's going to
• 20:40
  Speaker 1: be a certain type of track. But I like to
• 20:43
  Speaker 1: just kind of just feel the ghost where we're going,
• 20:47
  Speaker 1: I don't know, but you got me hype now talking
• 20:50
  Speaker 1: about making tracks right now, we'll be back with Flying
• 20:55
  Speaker 1: Lotus after quick break. We're back with Flying Lotus. After
• 21:03
  Speaker 1: talking about the difficulties that come along with directing movies,
• 21:06
  Speaker 1: Flylow tells Rick about his great aunt, jazz legend and
• 21:10
  Speaker 1: spiritualist Alice Coltrane. How would you say the creative muscle
• 21:14
  Speaker 1: is different between making music and making film. Making films
• 21:19
  Speaker 1: and making music are so different, and they're they're such
• 21:23
  Speaker 1: different muscles. But it's weird because there are things that
• 21:27
  Speaker 1: relate where especially with producing, where you know, it's it's
• 21:31
  Speaker 1: up to us to kind of vocalize a lot of
• 21:33
  Speaker 1: things that are in our minds and manifest these ideas
• 21:38
  Speaker 1: to people who can. You know, they have these different
• 21:43
  Speaker 1: tools and different things that they bring to the table,
• 21:45
  Speaker 1: so you have to be able to wrangle each department
• 21:48
  Speaker 1: and be able to communicate with them this grand vision
• 21:52
  Speaker 1: that you have. Same with music, same with film, though
• 21:55
  Speaker 1: both of those things relate. But I would say film
• 22:00
  Speaker 1: it's it's way more fucked up because there's way more
• 22:03
  Speaker 1: money involved and there's way more people involved. And when
• 22:09
  Speaker 1: it comes to music, I can i can just sit
• 22:11
  Speaker 1: here in my room and make an album alone, really,
• 22:16
  Speaker 1: But with film you could do that, but it wouldn't
• 22:20
  Speaker 1: be the most interesting movie in the world. But you know,
• 22:24
  Speaker 1: if you did it with CG animation or something, that
• 22:26
  Speaker 1: could be great. But it's hard to make a movie
• 22:28
  Speaker 1: on your own. I think producing making beats and stuff,
• 22:32
  Speaker 1: it lends itself to people who are kind of more introverted, introspective,
• 22:38
  Speaker 1: But I think with films you have to really be
• 22:41
  Speaker 1: able to be outward and expressive, and it's it's it
• 22:48
  Speaker 1: is a different muscle for sure. Yeah, it sounds like
• 22:50
  Speaker 1: with music you have to motivate yourself to do it,
• 22:54
  Speaker 1: and with a movie you have to motivate the cast
• 22:57
  Speaker 1: and crew. Yeah, absolutely, get the vision to come to life. Yeah,
• 23:01
  Speaker 1: and you have to stay You have to obviously be
• 23:04
  Speaker 1: the most motivated, you know, like, because there's no one
• 23:07
  Speaker 1: who's going to be nearly as motivated as you on
• 23:09
  Speaker 1: your film project. It's hard. It's hard. It's one of
• 23:14
  Speaker 1: those things where you know, if anyone ever recommends, like
• 23:18
  Speaker 1: what should I do? How should I don't do it?
• 23:21
  Speaker 1: Don't I just don't do it? But would you imagine
• 23:26
  Speaker 1: doing it again? Oh? Absolutely, Yeah, I will. I don't
• 23:29
  Speaker 1: know if I recommend it for everyone, but I definitely will.
• 23:32
  Speaker 1: But you know the things that I've done, and you know,
• 23:35
  Speaker 1: I've learned so much in my process that you can't
• 23:40
  Speaker 1: wait to do it again because of all the things
• 23:42
  Speaker 1: that you've learned. You say, Okay, well, next time I
• 23:44
  Speaker 1: make a film, I could do it like this, And
• 23:47
  Speaker 1: you know, it's like could have, would have, should have hindsight.
• 23:49
  Speaker 1: It's crazy, you know. So when people are building things
• 23:54
  Speaker 1: and constructing props from your imagination and you're seeing these
• 23:58
  Speaker 1: things manifested and people acting out dialogue that you wrote,
• 24:02
  Speaker 1: that's there's no drug that can compare to nothing like it.
• 24:08
  Speaker 1: How did you choose to make that particular movie? Are
• 24:12
  Speaker 1: you a fanatic of horror movies? I love horror films.
• 24:16
  Speaker 1: I love horror films. I've always loved horror films, especially
• 24:20
  Speaker 1: because when I was a kid, I was terrified of
• 24:23
  Speaker 1: horror films until maybe like ten years old. I was
• 24:26
  Speaker 1: like really afraid of these movies, you know, like Freddy Krueger.
• 24:30
  Speaker 1: He would always be in my dreams and stuff and
• 24:32
  Speaker 1: the be like so like why would they make these
• 24:34
  Speaker 1: horrible things to frighten us? You know, and even like thriller.
• 24:38
  Speaker 1: I remember that video was like so scary. When I
• 24:41
  Speaker 1: was a kid, I didn't want to see the thrillers
• 24:42
  Speaker 1: into Michael Jackson change and none of that stuff. Just
• 24:46
  Speaker 1: I couldn't deal with it. And eventually when it starts
• 24:50
  Speaker 1: to get fun and you're like, oh, this is just
• 24:53
  Speaker 1: props and effects and stuff and you learn all the stuff,
• 24:55
  Speaker 1: and I don't know, I just fell in love with it.
• 24:58
  Speaker 1: I think because it was so scary to me. I
• 25:01
  Speaker 1: loved it so much. And yeah, I love the genre.
• 25:04
  Speaker 1: I love horror. I love horror films and scary games
• 25:07
  Speaker 1: and you know the maccab but I love I love
• 25:10
  Speaker 1: all that stuff. But I also love funny stuff too.
• 25:14
  Speaker 1: I love when those things can intersect. I don't love
• 25:18
  Speaker 1: serious horror as much as I like funny horror and
• 25:22
  Speaker 1: being able to have fun with it and be playful.
• 25:25
  Speaker 1: I guess because life is pretty serious enough. You know
• 25:28
  Speaker 1: that life is pretty real, So when you can have
• 25:32
  Speaker 1: your horror with comedy, it's it's a lot easier to
• 25:35
  Speaker 1: digest for me these days. But I think when it
• 25:38
  Speaker 1: came to me making my own movie, I wanted to
• 25:40
  Speaker 1: make something that I know i'd have fun with because
• 25:43
  Speaker 1: making movies as hard as shit. I was like, Yo,
• 25:46
  Speaker 1: I want to make something that every day that I
• 25:48
  Speaker 1: work on this thing, I will have a great time.
• 25:51
  Speaker 1: I will laugh my ass off, and you know, just
• 25:54
  Speaker 1: it'll be a blast for everyone in the process. How
• 25:57
  Speaker 1: much does the work that you've aid in the past
• 26:01
  Speaker 1: influenced the work that you make? Now, that's a good question,
• 26:06
  Speaker 1: you know. I actually I think that's why, you know,
• 26:10
  Speaker 1: side projects and alter egos become so attractive to people,
• 26:16
  Speaker 1: to other artists, because they get to take a little
• 26:19
  Speaker 1: bit of pressure off themselves to explore different things. Yeah.
• 26:23
  Speaker 1: I definitely feel the pressure of things that I've done
• 26:26
  Speaker 1: in my catalog. I mean, man, you must feel the
• 26:28
  Speaker 1: pressure of your beard, dude, come on, man like like
• 26:33
  Speaker 1: you know, like that beard. You know, like people are like, oh, man,
• 26:36
  Speaker 1: Rick Rubin, It's like, you know the thing, man, you know,
• 26:41
  Speaker 1: I would say it's more itch than pressure. Pressure. It's like,
• 26:46
  Speaker 1: but what was the last time you thought about cutting
• 26:49
  Speaker 1: it off? I've never thought about cutting it off, right,
• 26:54
  Speaker 1: But I also didn't think about growing it at any point.
• 26:56
  Speaker 1: It just kind of happened. It was I decided to
• 27:00
  Speaker 1: stop shaving, and this is what happens when you stop.
• 27:02
  Speaker 1: But you know, if you cut it off, that shit
• 27:04
  Speaker 1: would suck people up. Me especially, I wouldn't recognize myself.
• 27:12
  Speaker 1: Tell me about Alice. Oh yeah, Alice was just always Auntie.
• 27:18
  Speaker 1: You know, she was she was Auntie. She was my
• 27:20
  Speaker 1: closest aunt, close, one of my closest relatives. So my
• 27:24
  Speaker 1: experience with her was was really unique. I saw her
• 27:28
  Speaker 1: as you know, my grandmother's sister, mostly um, but she
• 27:34
  Speaker 1: was also you knew that she was this very special,
• 27:38
  Speaker 1: unique individual. And as time went on and as I
• 27:44
  Speaker 1: grew up, and you know, I just would respect her
• 27:47
  Speaker 1: more and more every head seeing like every decade, I
• 27:50
  Speaker 1: would just wow, my Auntie is amazing human being. Oh wow,
• 27:54
  Speaker 1: my aunt amazing. You know. I remember going to college
• 27:59
  Speaker 1: and then really really falling in love with her music
• 28:02
  Speaker 1: and coming home from college and you know, it was like, wow, teacher,
• 28:10
  Speaker 1: where have you been this whole time? You know, you
• 28:12
  Speaker 1: were just telling me how to just you know, break
• 28:15
  Speaker 1: the lawn and stuff. You show me different things on
• 28:19
  Speaker 1: the piano. But I didn't know how deep it went,
• 28:22
  Speaker 1: you know, because I felt like in my youth and
• 28:26
  Speaker 1: in a lot of her lifetime, she was John Coltrane's wife.
• 28:30
  Speaker 1: That was her thing. You know, she wasn't Alice Coltrane
• 28:34
  Speaker 1: a great jazz icon in her own right. People were
• 28:37
  Speaker 1: always asking her, what was it like being John Coltrane's
• 28:41
  Speaker 1: you know, you know, it was like she didn't have
• 28:43
  Speaker 1: any problem with that. But I think that that just
• 28:47
  Speaker 1: kind of became her thing, you know, for for so long,
• 28:51
  Speaker 1: so we the emphasis wasn't on her music or on
• 28:55
  Speaker 1: her personal legacy or it was always about his. And
• 29:00
  Speaker 1: you know, I think only towards the end of her
• 29:02
  Speaker 1: life she really started getting back into making music again
• 29:05
  Speaker 1: and then that was you know, it just kind of
• 29:09
  Speaker 1: we started to see her as the artist again, you know,
• 29:12
  Speaker 1: the things that she would create because she took so
• 29:15
  Speaker 1: much time off of it. I mean I would I'd
• 29:19
  Speaker 1: never I see her a lot. I never I've never
• 29:23
  Speaker 1: seen her practice. Yeah, never see her practice, but I
• 29:26
  Speaker 1: see her play. She would play, But there never of
• 29:31
  Speaker 1: that time where I come by this auntie and she
• 29:33
  Speaker 1: was at the piano, messed around right, never ever ever ever,
• 29:37
  Speaker 1: And you know, but she would unleash on Sundays at
• 29:40
  Speaker 1: the ashram Um, but yeah, never never practice. Tell me
• 29:45
  Speaker 1: about the ashram What was the scene like at the Ashram.
• 29:48
  Speaker 1: Ashram Um as this beautiful, beautiful land in Agora Hills
• 29:57
  Speaker 1: and it was recently destroyed by the fires. We had
• 30:00
  Speaker 1: the wildfires two years ago, and but the Ashram was
• 30:06
  Speaker 1: it was Yeah, it was beautiful. It was a big,
• 30:10
  Speaker 1: big space and it was you know, as soon as
• 30:12
  Speaker 1: you would get out of your car, you would notice
• 30:15
  Speaker 1: is how you could hear a pin drop. It was
• 30:18
  Speaker 1: just so quiet there and you know, there are people
• 30:21
  Speaker 1: wearing white everywhere and like you rot coyfish ponds and stuff.
• 30:26
  Speaker 1: It was very, very, very beautiful. But again, it's one
• 30:30
  Speaker 1: of those things that I kind of just took for
• 30:32
  Speaker 1: granted because it was there in my whole life, and
• 30:35
  Speaker 1: you know, it was just something that we did on Sundays.
• 30:38
  Speaker 1: But then as you get older you start living, you
• 30:41
  Speaker 1: see how amazing spaces like this are, and yeah, it
• 30:46
  Speaker 1: was a very unique experience. Did you ever talk about
• 30:49
  Speaker 1: spirituality with you all the time? Yeah, yeah, she would,
• 30:53
  Speaker 1: and she would always be kind of my my spiritual guide,
• 30:58
  Speaker 1: I guess, And you know, i'd call all her up
• 31:00
  Speaker 1: whenever I had a question that about the universe or
• 31:04
  Speaker 1: wanted to try to make sense of this world, help
• 31:07
  Speaker 1: me understand. She would always always have the right thing
• 31:10
  Speaker 1: to say. Yeah, so unique, beautiful, beautiful. Yeah, we'll be
• 31:16
  Speaker 1: right back with Flying Lotus. After a quick break, we're
• 31:22
  Speaker 1: back with the rest of Rick's conversation with Flying Lotus.
• 31:26
  Speaker 1: What are you working on now? Talk about it? Yeah,
• 31:29
  Speaker 1: a few things actually read just as a fun thing.
• 31:34
  Speaker 1: I was friends with Johnny Ramone from the Ramones, and
• 31:36
  Speaker 1: Ramones were one of my favorite groups, top you know,
• 31:38
  Speaker 1: top three favorite groups, and they made an album there
• 31:42
  Speaker 1: I think it was their fifth album called End of
• 31:45
  Speaker 1: the Century with Phil Spector, and it's it's as a
• 31:49
  Speaker 1: Ramones fan at the time. I remember I was in
• 31:51
  Speaker 1: junior high school when it came out, and I already
• 31:53
  Speaker 1: loved the Ramones, maybe high school, first year high school maybe,
• 31:56
  Speaker 1: And I remember buying the album and putting it on
• 31:59
  Speaker 1: and being so disappointed because I loved the Ramons so
• 32:02
  Speaker 1: much and it didn't sound like the Ramones and it
• 32:05
  Speaker 1: just broke my heart. And then years later I met
• 32:07
  Speaker 1: Johnny and then who lived in LA when I moved
• 32:10
  Speaker 1: to LA started hanging out with him, and I told
• 32:13
  Speaker 1: him the story when I heard the album, and he said,
• 32:15
  Speaker 1: it breaks his heart hearing the album because he said
• 32:19
  Speaker 1: they're great Ramones songs, but the way they were presented
• 32:23
  Speaker 1: didn't sound like the Ramones. So he always thought it
• 32:26
  Speaker 1: was a miss and his dream was for some day
• 32:30
  Speaker 1: that album to be remixed and re released as a
• 32:34
  Speaker 1: proper Ramones album again, not to take away anything from
• 32:37
  Speaker 1: the original version, both of them. You know, you could
• 32:40
  Speaker 1: listen to him back to back. So through a series
• 32:44
  Speaker 1: of events, we tried doing it about ten years ago
• 32:46
  Speaker 1: and it didn't come together. And in that time, Johnny
• 32:50
  Speaker 1: passed away, and I always felt like, since he passed away,
• 32:53
  Speaker 1: I always wanted to make his dream come true, like
• 32:56
  Speaker 1: a true man. Yeah. Yeah, So we're just finishing at
• 33:00
  Speaker 1: now and it's uh good. Yeah, And it's just like
• 33:02
  Speaker 1: it's just a feel good project, like an artist's dream
• 33:06
  Speaker 1: gets to come true posthumously. Yeah, that's good. What did
• 33:12
  Speaker 1: you want to be different about it? He just wants
• 33:14
  Speaker 1: to sound just like a Ramones record, like much more
• 33:17
  Speaker 1: stripped down, much more direct, much more raw, Just to
• 33:21
  Speaker 1: like to sound like if you listen to their first
• 33:23
  Speaker 1: four albums, to have this fifth one sound like what
• 33:26
  Speaker 1: you'd expect after those first four in the trajectory instead
• 33:30
  Speaker 1: of the left turn. And it's interesting too, like I like,
• 33:34
  Speaker 1: I like Left Turn albums, you know, I like both.
• 33:37
  Speaker 1: Some people though, right, Yeah, depend people want them to change.
• 33:41
  Speaker 1: That's what's fucked up. You know. It's rough. It's rough. Yeah.
• 33:45
  Speaker 1: It's one of the things I recommend young artists is
• 33:50
  Speaker 1: if they want to have that ability to do that,
• 33:53
  Speaker 1: it's important to set that standard early in their career. Yeah,
• 33:58
  Speaker 1: that you change all the time. Yeah, it's like if
• 34:00
  Speaker 1: you make if you make four albums that are very
• 34:03
  Speaker 1: much like Volume one, two, three, and four of the
• 34:06
  Speaker 1: same idea, if Volume five is really different, there's a
• 34:11
  Speaker 1: lot of people who are just not gonna like that.
• 34:13
  Speaker 1: That's real. That's so real. Yeah. So it's almost like,
• 34:17
  Speaker 1: in a way, it's like training your audience to be
• 34:19
  Speaker 1: open to go on the journey review. It's like if
• 34:23
  Speaker 1: you if you listen to the Beatles. The Beatles were
• 34:26
  Speaker 1: clearly well received, and if you listen to the thirteen
• 34:30
  Speaker 1: albums from the beginning to the end, they don't sound
• 34:33
  Speaker 1: like the same band. Like they radically change every two
• 34:37
  Speaker 1: albums radically, and those were typically thirteen albums over seven years,
• 34:41
  Speaker 1: so it was two albums a year, so every year
• 34:43
  Speaker 1: they were a different band essentially. Yeah, that's hard. It's
• 34:48
  Speaker 1: hard to do. But yeah, I think I think doing
• 34:52
  Speaker 1: the same thing and it's such a drag. But then
• 34:55
  Speaker 1: like if James Brown did something else, I don't know
• 34:58
  Speaker 1: if I want to hear it right right, Yeah, Yeah,
• 35:00
  Speaker 1: I'm very happy with James Brown trajectory. Yeah. There's certain artists, yeah,
• 35:08
  Speaker 1: a lot of Yeah, a lot of them. You just
• 35:10
  Speaker 1: don't don't go there. You don't gotta you don't gotta
• 35:12
  Speaker 1: be that person, don't do that. Yeah. I think it
• 35:15
  Speaker 1: has to do with how much the artist is a
• 35:19
  Speaker 1: genre defining artist. Maybe maybe I don't know, I don't know,
• 35:23
  Speaker 1: something I never thought about before. But be interesting to
• 35:26
  Speaker 1: understand why certain artists you you're excited about them to change,
• 35:30
  Speaker 1: and other artists you don't want them to change. Yeah,
• 35:32
  Speaker 1: because I think I think, yeah, you might you might
• 35:35
  Speaker 1: be right about that. If they define a sound and
• 35:39
  Speaker 1: then they step away from it, then it might be
• 35:42
  Speaker 1: way way too jarring. Yeah, that was that was the
• 35:44
  Speaker 1: experience with Jesus. There were a lot of people who
• 35:46
  Speaker 1: were not on board with Jesus oh god man, Yeah, yeah, totally.
• 35:51
  Speaker 1: And to me, that was my that's my favorite of
• 35:55
  Speaker 1: all his stuff. I think it's just it's the most different.
• 35:59
  Speaker 1: But yeah, the first listen was like, what the fuck
• 36:01
  Speaker 1: is this shit? Fuck but fucking sounds that there ain't
• 36:10
  Speaker 1: no sounds on here, And then it was like, whoa,
• 36:14
  Speaker 1: this is some other futuristic shit. It's cool. I can
• 36:19
  Speaker 1: remember also hearing Um trouble Funk for the first time.
• 36:25
  Speaker 1: Right in the early days of hip hop. The only
• 36:28
  Speaker 1: way that I was able to hear the only place
• 36:29
  Speaker 1: you could hear hip hop when I was growing up
• 36:32
  Speaker 1: was WHBI had a Mister Magic show, which was like
• 36:38
  Speaker 1: a oh yeah, an hour long mix show of I'll
• 36:42
  Speaker 1: call it underground hip hop because there was only underground
• 36:45
  Speaker 1: hip hop at that time. There was no there was
• 36:48
  Speaker 1: no above ground, you know. It's all the hip hop
• 36:50
  Speaker 1: in the world was underground at that time, and you
• 36:54
  Speaker 1: couldn't hear it on any mainstream station ever. UM, but
• 36:59
  Speaker 1: this one weekly show for an hour played hip hop
• 37:02
  Speaker 1: records and so we took it very uh. We cared
• 37:07
  Speaker 1: a lot about that show because it was the only
• 37:09
  Speaker 1: source of hearing this music and UM and then one
• 37:13
  Speaker 1: week he played this Trouble Funk record which was like
• 37:15
  Speaker 1: and it was also like a seven or eight minute
• 37:17
  Speaker 1: track which had of an hour show that's a lot. Yeah,
• 37:20
  Speaker 1: and it wasn't a rap record. Yeah. Yeah, it's like,
• 37:24
  Speaker 1: why did you give away our time? Time this exactly,
• 37:28
  Speaker 1: and I would forward, you know, the cassette. I would
• 37:30
  Speaker 1: forward through the cassette, pass the trouble funk song to
• 37:33
  Speaker 1: get back to the hip hop records. Yeah, and then
• 37:37
  Speaker 1: within a couple of weeks the only thing I would
• 37:39
  Speaker 1: listen to on the tape was a trouble funk song. Yeah. Yeah,
• 37:43
  Speaker 1: that's how it goes. I always think about that, like
• 37:46
  Speaker 1: I always try to spot out my least favorite song
• 37:48
  Speaker 1: on the record that I listened to, and like, all right,
• 37:51
  Speaker 1: is this going to be the one that I actually
• 37:53
  Speaker 1: fall in love with? Because that happens so much, so much. Yea,
• 37:57
  Speaker 1: it happens. Also sometimes with the thing that you love,
• 38:01
  Speaker 1: the first time you hear it might not have sustaining power.
• 38:07
  Speaker 1: Yeah it doesn't. Yeah, so I mean sometimes it does,
• 38:10
  Speaker 1: but sometimes it doesn't. Yeah, yeah, sometimes it doesn't. The
• 38:14
  Speaker 1: first thing that the single or whatever, that thing you
• 38:17
  Speaker 1: fell in love with it is like, yeah, that's cool,
• 38:18
  Speaker 1: but there's other deep cut that's gonna last me the
• 38:22
  Speaker 1: rest of the year. Yeah. Can you think of any
• 38:25
  Speaker 1: music in general, any Like, I remember when I was
• 38:27
  Speaker 1: a kid, classical music didn't speak to me at all,
• 38:30
  Speaker 1: and now I probably listened to that more than anything else.
• 38:33
  Speaker 1: Definitely classical for me. Um, I didn't really vibe with
• 38:38
  Speaker 1: it until I heard Stravinsky, um, some of that stuff,
• 38:43
  Speaker 1: and then I connected it to Fantasia, and then I
• 38:46
  Speaker 1: was like, oh, okay, all classical music is just Fantasia
• 38:53
  Speaker 1: with no with no images. Okay, cool, it's all It's
• 38:57
  Speaker 1: all this vibrant cartoon that keeps change changing, and you
• 39:01
  Speaker 1: know obviously your connection with the changes. But yeah, I
• 39:05
  Speaker 1: think that was that was huge. Fall in love with
• 39:08
  Speaker 1: that music and just kind of being open to that
• 39:12
  Speaker 1: at an early age I think was so so good
• 39:15
  Speaker 1: for me. My favorite my favorite thing is new old music,
• 39:22
  Speaker 1: you know, old music that I haven't heard before. That's
• 39:26
  Speaker 1: that's the best because I just like the way that
• 39:28
  Speaker 1: music's made and it, uh, it's a flavor I like,
• 39:31
  Speaker 1: and I'm really used to all of the stuff that's familiar.
• 39:35
  Speaker 1: But when I can hear something in that flavor that's
• 39:38
  Speaker 1: not familiar, that really feels like it expands the mind. Yeah. Same,
• 39:42
  Speaker 1: I've been on that too. Man. Like anytime you just
• 39:44
  Speaker 1: like you find something from the seventies you haven't heard before.
• 39:48
  Speaker 1: You're like, oh wow, you know you can dig into it.
• 39:50
  Speaker 1: You know, like it's gonna have certain instruments, certain ideas
• 39:54
  Speaker 1: and techniques of how they recorded in everything. What have
• 39:56
  Speaker 1: you been What have you been vibing on? Though? Just
• 39:59
  Speaker 1: a lot of all the kinds of old music, a
• 40:01
  Speaker 1: lot of old psychedelic music, a lot of classical music,
• 40:04
  Speaker 1: a lot of jazz, kind of the new you know,
• 40:06
  Speaker 1: the the new classical. It's like somewhere in between new
• 40:11
  Speaker 1: age and classical like Max Richter and meals from and yeah,
• 40:16
  Speaker 1: I don't I don't even know what you really call that.
• 40:18
  Speaker 1: I guess it's contemporary classical. I don't know, but yeah,
• 40:22
  Speaker 1: that's that's the vibe though. Yeah, it's often electronic based,
• 40:25
  Speaker 1: but doesn't have to be. It feels inspiring. It feels like, um,
• 40:30
  Speaker 1: they're using the same machines in different ways, and I
• 40:32
  Speaker 1: like that. Do you like Philip Glass and Ryuichi Sakamoto? Yes,
• 40:38
  Speaker 1: Rucci Sakamo amazing, incredible. Yeah, I've been listening to a
• 40:42
  Speaker 1: lot of his stuff and it's it's so crazy to
• 40:44
  Speaker 1: hear all the different vibes that cat. It's been across
• 40:48
  Speaker 1: you know, like from the seventies to now, he was
• 40:52
  Speaker 1: always in the electron of music, but always in the
• 40:55
  Speaker 1: kind of classical and playing and whatnot. And it's just
• 40:59
  Speaker 1: it's wild. Yeah, the stuff he was doing back then
• 41:01
  Speaker 1: kind of sounds so new and fresh. Also a lot
• 41:04
  Speaker 1: of you know David Axel rods always always come out.
• 41:07
  Speaker 1: Yeah yeah, yeah. Do you hear that there's a there's
• 41:10
  Speaker 1: an album he produced of the Electric Prunes. Yeah, it's
• 41:14
  Speaker 1: so good. Yeah, yeah, it sounds amazing too. Yeah. I didn't,
• 41:18
  Speaker 1: and I the way I found it wasn't through him.
• 41:20
  Speaker 1: It was just through listening to old psychedelic music and
• 41:23
  Speaker 1: Matt came up. It's like, oh, this is different than
• 41:25
  Speaker 1: everything else, and who produced it? Turn it turns out
• 41:29
  Speaker 1: he produced it, but I didn't know that. It's like,
• 41:31
  Speaker 1: why is this different than everything else? Why is this
• 41:33
  Speaker 1: so special? Then I listened to the whole album before
• 41:35
  Speaker 1: I even knew he produced it, and thinking like, this
• 41:38
  Speaker 1: doesn't sound anything like anything this band did before this.
• 41:41
  Speaker 1: This is a unique moment. Oh yeah, cool, A pleasure.
• 41:46
  Speaker 1: I look forward to hanging soon. Yeah, I would love
• 41:48
  Speaker 1: to real a pleasure. Sir, Thank you very much much love,
• 41:55
  Speaker 1: thanks the Flying Lotus for Talking Shop with Rick, you
• 41:58
  Speaker 1: can hear all of her favorite fly Loow tracks long
• 42:00
  Speaker 1: with a bunch of other songs he's produced over the
• 42:02
  Speaker 1: years on a playlist at broken record podcast dot com,
• 42:06
  Speaker 1: and be sure to subscribe to our YouTube channel at
• 42:08
  Speaker 1: YouTube dot com slash broken record Podcast. There you can
• 42:11
  Speaker 1: find extended cuts of our past episodes. Broken Record is
• 42:16
  Speaker 1: produced with help from Jason Gambrell, Mila Belle, Leah Rose,
• 42:19
  Speaker 1: Eric Sandler, and Martin Gonzalez for Pushkin Industries. A theme
• 42:24
  Speaker 1: musics by Kenny Beats. I'm justin Richmond.