I want to hear the new shit right now. As far as the underground is concerned, people are making a lot of house and realizing that people want to dance.
But in terms of music, a lot of people are getting into the modular stuff — like how to make the music make itself.
The whole A. Of course there will be another Low End Theory. The desire to create will always exist, it might just not be in the same neighborhood. Handshakes might be over. Masks are going to stay for a while. People will embrace the mask like they do in Japan. In some respects I am. I feel people have become more unified, and that will continue.
It might be TikTok, it might be Gmail. What happens when you can reverse look up Gmail addresses to search for emails that went to whoever? You can hear music by Flying Lotus during the opening and closing credits of Yasuke. These music projects are a testament on how Flying Lotus is staying ahead of the entertainment game. Steven Ellison aka Flying Lotus. She would teach a service there and they'd also play music for hours.
My connection with her music was more of a spiritual one. I always had a feeling like there was something about it and it was so unique in the landscape of everything else I was hearing as a kid. It was like a very specific sound. I don't know if I truly appreciated it at the time when I was kid, but with their music, all that stuff, as I grew into it and as I got older, I started to understand more and understand the importance of what they were all doing.
He's spent a lot of time watching films and playing video games. Video games have definitely played a big part in my musical catalogue, because especially in the early days I was sampling Nintendos a lot and sampling video games. That was a whole vibe for a while. Now, not so much. But yeah, I would remember video game melodies in my mind and come back later and be like, 'Oh yeah, I know this one. Sample that right there'. Nowadays, it's so cool to see good games with different music now; these independent games are making different choices for music.
It's very inspiring. Silent Hill's music is just so melancholy. There's just something about the dreariness of it that's so beautiful. It's not always scary, but it feels like winter and memories.
He likes to meditate. I've been getting into meditation a lot more. They were on the cusp of a deal with Kanye at the time when all of this was popping off. We were kind of on the outskirts of their movement because their scene was a bit inclusive, but we all spun their music and it was all love, really. But it was good because we got to build our own thing. There were some amazing people back in the day that gave me hope.
I remember that we were AIM buddies — like iChat friends. Once Stones Throw guys like Dudley Perkins started showing love it was very validating, because those were the cats I was really looking up to at the time. Just to be associated with that was amazing. It was just perfect timing.
A whole remix album happened on the back of it. When I hear it now, it stirs good memories. That was one of the ones that hit MySpace pretty hard back then.
At that time, I still had a day job. And you know what, I have never been as productive musically as I was when I had a job. Then, I had to hustle out of it [the job] because all I wanted to do was make music all day. I guess I still feel that way. When Kamasi started soloing I drifted off into thought. It was like my past, present and future. It was a showcase for up-and-coming jazz musicians as well as cats like Carlos Santana and Alice Coltrane doing interesting things. I would go to the festival every year and later worked setting those up.
It was a job, as was managing the publishing of John Coltrane. She would teach a service there and play music for hours. My connection with her music was more like a spiritual one.
It was so unique in the landscape of everything else I was hearing as a kid. After that I worked at Stones Throw Records, which was great. Even though it was a regular job, it was great to be around that environment and see the possibilities of things that could happen. They just inspired me so much and gave me a real perspective on the record industry.
Egon and Peanut Butter Wolf definitely had my back in that way. They also gave me encouragement. I was a fan of the label long before I worked there. My mind was blown. Then I fell in love with all of the Jaylib and Madvillain stuff. Through being at Stones throw I got to meet Dilla and go over to his house and stuff. It was really helpful to me to be able to meet people in the industry during those formative years.
His work ethic is insane. I got really serious about starting a label while I was living in this apartment complex called Das Bauhaus. At the time, Samiyam, Teebs and my friend Adam all lived in that complex as well.
I started seeing all these little labels in Europe trying to do beat music and offering little deals to these cats from LA. We should just own it and let it be ours, something that we can build together.
I felt like I had everything around me that I needed to get something going. There was all this potential with Samiyam and Ras G, people who were just so close to me.
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