Its eighteen sketchlike constructions sound like the work of a dreamer, eyes cast to an imagined horizon where colours blur into one another to form a sort of soft-focus landscape. Teebs' Ardour is another to add to that impressive collection, then, though its fresh-faced, wide-awake charm – bordering on playful naivety no bad thing – sets it quite apart from the typically darkened, borderline sleazy nocturnes the label has attached its name to so far.
And all operating in parallel to Flying Lotus' twin peaks – Los Angeles, 2008's prophetic map of the city's ungainly musical sprawl, and this year's expansive jazz odyssey Cosmogramma – both of which are simultaneously of the same world and entirely, chronically other.
TEEBS ARDOUR CRACKED
The output to date of FlyLo's Brainfeeder label acts as a pretty neat microcosm of that whole community's eclectic approach, placing the darkened robo-funk of Lorn alongside Gaslamp Killer's slithering samplework, Gonjasufi's cracked howl next to the aural cut-up techniques Daedelus displayed on Righteous Fists Of Harmony. In that sense the creative conduit that has opened between LA and London's dubstep community stands out in even sharper relief: both sounds permanently strive to overcome any lazy limitations placed upon them, content to live in states of flux, contained only by loose adherence to mixable tempo. Sure, there are similarities aplenty – how could that not be the case when all work variations on the loose enough 'beats' theme? – but the music emerging from that axis remains so consistently thrilling precisely because of its diversity. One of the most appealing aspects of the Los Angeles Brainfeeder collective, that loosely defined group of hip-hop producers surrounding scene luminary Flying Lotus, is that no two individuals within it sound the same.
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