The Los Angeles electronic music scene is unlike any other in the world. For one thing, it is closely-knit – its main participants have usually worked together, cross-pollinating at avenues like underground radio broadcaster Dublab.com or the weekly club showcase Low End Theory. Their proximity to one another results in a sound that listeners have struggled to name ever since. Some just call it “beats,” which might partly be a legacy of a podcast called BTS Radio that helped spread the sound during its early years.
The beats sound emerged from instrumental hip-hop and downtempo. Instrumental hip-hop in particular has a curious history. Back in the late 1990s, it essentially died in the mainstream when club DJs stopped blending rap and R&B with instrumental “breaks” made by Frankie Cutlass, DJ Spinna, Mark the 45 King and others; and started mashing the latest hits together. (It was also when mainstream rap DJs stopped cutting and mixing and devolved into carnival barkers. But that’s another story.) While virtually ignored by radio rap fans, it continued to flourish in the underground, thanks to DJ Shadow’s elaborate sample pastiches, Madlib’s dusty beat loops, and others.
In the early 2000s, major developments elsewhere inspired LA beat producers to push into deeper waters. There was the glitch-hop trend, personified by Prefuse 73 and Dabrye, as well as groundbreaking UK imprints such as Ninja Tune and Warp Records. Detroit’s J Dilla and Waajeed mixed swaggering rap beats with electronic funk. Back in LA, Daedelus made an eccentric swirl of modern classical techniques and dance rhythms. There were the electronic duo Ammoncontact, the downtempo producer Nobody, the soul-jazz orchestra Build An Ark, and beat makers like Omid, Take and Ras G. In 2003, there was the landmark compilation Mu.sic, which debuted producers like GB (Gifted and Blessed) and DJ Exile.
2006 was a watershed year. J Dilla, who by then had relocated to L.A., finished his Donuts masterpiece before he passed away. Producer, mastering engineer, Alpha Pup Records owner and scene godfather Daddy Kev launched Low End Theory. And Flying Lotus, a former Stones Throw intern who cut his teeth spinning tracks on Dublab.com, released 1983 on local label Plug Research. When Warp signed him the following year, his subsequent string of works like 2010’s Cosmogramma turned LA into a global mecca for beats music.
Today, the LA beats scene cuts wide and deep. There is the “lazer bass” of the Glitch Mob; MPC-smacking, head-nod-inducing “blappers” like Samiyam, Jonwayne and Dibia$e; the atmospheric ambience of Teebs and Mono/Poly; the folk-inflected, electronics-infused indie-pop of Baths and Matthewdavid; and the baroque psychedelics of the Gaslamp Killer. Leading lights such as Nosaj Thing, Shlohmo and Tokimonsta evolve in new ways as they flirt with R&B, radio pop, and sundry post-millennial trends. Despite the eclecticism of these various artists, they share a common lineage that’s regional and wholly distinctive in sound.
(Rhapsody – October 9, 2014)