Upon relocating to Los Angeles, he found a niche for himself amid the city's massive underground party scene and ultimately found a home for himself as a resident DJ at the club Low End Theory, which resulted in a series of club-sponsored podcasts. Born William Benjamin Bensussen, he originally comes from San Diego, CA, whose downtown Gaslamp District's bar scene inspired him to name himself the Gaslamp Killer in disgust for much of the patronage. Associated with Flying Lotus' Brainfeeder Records, he made his production debut in the late 2000s with a series of EPs. Throughout all nine songs, Glenn-Copeland's voice seems to exist on the eternal plane, powerful and vulnerable in equal measure, an elder sharing his knowledge in stirring sonic form.The Gaslamp Killer is a Los Angeles-based DJ whose electric style ranges from psychedelia and world music to dubstep and left-field hip-hop. Warbling soul, classical lieder, No Other's stage-musical rapture, the title track's echo of Copeland's 1986 New-Age-synth album Keyboard Fantasies - all united by his seemingly unshakeable belief in humanity. The Canadian composer’s first new material since the 2016 rediscovery of his 1986 LP Keyboard Fantasies is a joyous, hope-filled showcase of his singular voice and healing visionīeverly Glenn-Copeland's latest effort draws from a diverse range of musical avenues, from American jazz and Irish fiddle songs all the way to traditional West African drumming It's impossible to find fault with his optimism, and the songs' messages clearly resonate He’s created a balm to ease the pain of the future, while frequently standing in defiance of that pain affecting us in the presentĪ consummate composer and performer, it is one of the best albums I’ve heard in years UTOPIA sees Scott stay true to his style, his preferences, and his principles, going against the grain of the tendencies in the viral-hungry world that is 2023 ra Lead single ‘K-POP’ remains a titanic moment, but its immediacy is perhaps a misnomer on a record dominated by misdirection, about-turns, and sudden revelations The album operates less as a cohesive body of work and more as a series of show-stopping set pieces The Houston rapper's first album since 2018 teases a brave new sonic world, but has little to say about what might happen if we get there
Print edition onlyĪs a whole, Breakthrough can be powerful and hypnotic, but does feels a little familiar by nowĮven when priming a track with dense monstercore trimmings (see Impulse and Flange Face for Bensussen’s fondness for Herrmann-like sonics), he never loses sight of the overall sound he’s keen to pitch But in 2012, with Flying Lotus set to redefine the LA scene with his keenly awaited fourth album it’s not quite enoughīreakthrough splatters so many short ideas across its 47 minutes that a front-to-back listen is wearyingĪ smart journey through pleasingly unpredictable corners of electronic dance The resulting noodly beats might have pricked ears in 2007. These songs are dark, murky and downright unnervingĪ substantive piece of work, an album to be reckoned with by critics and fans alike
Meticulous arrangements, pace, narrative and emotional authenticity are prioritized over an all-out assault of catatonia-inducing madness to convey its messageīensussen has delivered a varied, immersive set of highly memorable, enjoyable and danceable tracks that should push him further into the limelight where he has triumphantly proved he belongsĪs befitting an artist who's as important for who he's hung out with and given opportunities to as he is for what he's done on his own, this is a record that leads him to filter his ideas through a number of like-minded collaborators Sort by ADM rating Sort by most recent reviewĪ breathtaking, diverse and challenging piece of work from a truly unique producerĪ wonderfully bananas breakthrough.
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