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And it's not just beats: "Satelllliiiiiiite" is as dreamy as anything FlyLo's done to date, its distorted vocal samples and steam-building arrangement not unlike something out of Burial's repertoire and frankly just as good. These aren't just tricks- in each case they push the song toward a groove. The beat of "Computer Face // Pure Being" trips over itself again and again like clothes tumbling in a dryer. In "Zodiac Shit", he makes a heavy, loping bass thump sputter out on cue, creating a physical rumbling quality. FlyLo shows ridiculous talent in each section- the things he can do with and to beats just aren't common. The latter partly serves as a necessary breather from the complicated sounds earlier on. True to its title, Cosmogramma then moves through a heady astral stretch and finally a more downtempo jazz-heavy period. Like much of the album, it sounds almost frustratingly unstable until you hear it a few times and the pieces begin to interlock and congeal. On "Nose Art", FlyLo puts raygun squiggles alongside woozy synths, grinding mechanical noises, and about 10 other sonic elements. There are roughly three of these passages- the first is an aggressive three-song suite based loosely on videogame sounds. That's clear on Cosmogramma, as there are distinct passages that pursue an elaborate kind of digital jazz and the album is constructed to move through different sections, as one of Coltrane's might. Ellison is, of course, the nephew of jazz great Alice Coltrane and has said in interviews that his albums are in part dedicated to her. Jazz is a big influence on the record, and it's a good place to start talking about the individual sections that make up the whole. In this sense, it feels almost like an avant-garde jazz piece, and so it takes more than a few listens to sink in- one or two spins and you're still at the tip of the iceberg. But Cosmogramma is conceived as a movement- bits of one song spill into the next, and its individual tracks make the most sense in the context of what surrounds them. Even on Los Angeles, which hung together well as a full-length, there were moments you could pick out as singles or highlights- the distorted pop of "Camel" or the maniacal electro-house of "Parisian Goldfish". The album launches Tuesday, with a full-length preview available on NPR’s fantastic All Songs Considered blog Monday.Indeed, Cosmogramma is an intricate, challenging record that fuses his loves- jazz, hip-hop, videogame sounds, IDM- into something unique. (Now, if there were just easier ways to get these kinds of creations on big-screen HDTVs.)

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I have to say, too, for all the hype about tablets and mobile devices (some of which I propagate myself), here’s a gorgeous, free toy that takes advantage of the larger, brighter screen and greater processor muscle on your laptop or desktop.

In the meantime, you can grab Fieldlines and play right now, free: I can’t bear to tease the thing any longer. More on FlyLo’s record as we get closer to launch. So I hacked together a quick prototype in OpenFrameworks and they were really into it and we just went from there. They showed me the cover artwork and at the time, I was looking some pictures of solar wind and the Earth’s magnetosphere (good images at the wikipedia pages for solar wind and magnetosphere) and it kind of clicked for me that the magnetic field line stuff I’d be playing with before related to the cover artwork in what I thought was a really intuitive way. So a little earlier this year, I was talking to the Warp guys about some of the stuff they wanted to do for the Cosmogramma release. Magnetic generative Processing goodness image courtesy Aaron Meyers. So anyway, I was playing around with that stuff and making stuff like this:

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The magnetic force algorithm was actually based on some code I discovered in Toxi’s onedotzero identity project.

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Late last year, I was writing a piece of software with Processing that I was using to make images and animation using simulated magnetic forces. I asked Aaron about how he put the work together. The work combines imagined magnetic fields with free code framework OpenFrameworks. Interactive artist Aaron Meyers did the programming. (Harpist Rebekah Raff’s delicate textures dance through the air as it moves.) McCloskey for Flying Lotus’ upcoming album “Cosmogramma”, the organic visual pattern animates to movement tracked from your computer webcam, accompanied by the sounds of the record. Based on the exquisite cover art by Leigh J.

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Just ask Flying Lotus.įieldlines is a free Mac and Windows application that creates an “augmented reality” experience for your computer. Well, eat your heart out, LPs: album art is back, it’s interactive, and it’s trippier than ever. You’ve heard the lamentations before: album art died with the move from the large canvas of the LP vinyl record to the CD.