If the previous era of “FL” tracks (indicating FL Studio projects) were mostly defined by software synths then the next phase would probably be defined by utilizing and recording from outboard gear and sequencers and arranging in Ableton. This album represents the eschewing of proper retirement savings for an orchestra of beautiful black and silver boxes and hardware and wires to hook them all up.
Also, along the way, I felt the urge to smash myself on the rocks of pasty white boys trying to pay homage to the hiphop I grew up with and the dusty vinyl beats I continue to grow and get nostalgic with, from guys like DJ Shadow, RJD2, MF DOOM, J Dilla, and Madlib. I love triphop and when it comes to actual work ethic and demeanor, there’s really no one I admire more as a producer than Madlib. There’s no one I’ve learned more about low-fidelity charm from than Madlib. There’s probably no one that has inspired me to clear technical obstacles and get down to business more than Madlib. Dude makes beats and digs for records all day or he’ll make an album in a day and not sample a single thing. Also, nothing Madlib does is a big production. He’s famous for making beats in the hotel room in Brazil with a boombox, a crappy portable turntable, and an SP-303.
I don’t think I wallpapered the room on this album with dirty vinyl the way Madlib does on his tracks, but I did get very much into crate digging and dollar records (and if I ever get a bigger place, I will probably be just as unrestrained about carrying out 40-50 dollar records on a trip, but I don’t wanna move that shit out of a rental) and I felt it was beginning to represent itself on this release. As an aside, Peant Butter Wolf is still the only person I’ve ever presented with a demo CD.