OFFICIAL BIO
Regarded upon his 2006 arrival as a promising beatmaker looming in the shadows of J Dilla, Madlib, waterfalls and Dabrye, Steven Ellison -- known as Flying Lotus -- nullified all comparisons only two years later with Los Angeles. On that album, his first of five for the Warp label, Ellison distilled a uniquely crisp, spasmodic, and heady sound with elements of hip-hop, avant-garde jazz, IDM, and dubstep. While the abovementioned producers fueled Ellison, he had also been excited as a youngster by the '90s West Coast rap classics that combined programming and live instrumentation. His sound continued to develop as he put his own twist on the approach, recording with a crop of jazz musicians including the indispensable likes of bassist Thundercat and strings master Miguel Atwood-Ferguson. This process began with the turbulent 2010 set Cosmogramma and peaked in terms of acclaim in 2014 with You're Dead!, which crashed the Top 20 of the Billboard 200 and spawned the Kendrick Lamar collaboration "Never Catch Me," a Grammy nominee for Best Dance Recording. Ellison devoted a few years to various forms of film work and the operation of his revered Brainfeeder label, and returned in 2019 with Flamagra, his second consecutive album to top Billboard's Dance/Electronic chart.

At just 25 years-old, Madison still has an entire lifetime only just beginning to stretch out before her. But she’s been making music for years. The multi-instrumentalist is most at home on guitar, which she first picked up at age 7, but also writes on piano.
 As its title suggests, Revealer—the new album by Madison Cunningham—is full of confessions, intimations, and hard truths the Los Angeles singer-songwriter-guitaristmight rather have kept to herself. It’s a warts-and-all self-portrait of a young artist who is full of doubt and uncertainty, yetbursting with exciting ideas about music and life, who has numerous Grammy nominations but still feels like she has far to go, who turns those misgivings into songs that are confident in their idiosyncrasies. It’s also a rumination on music as a vehicle for such revelations, what’s gained and what’s lost when you put words to your innermost feelings.“There’s a sense of conflictabout revealing anything about yourself—not just what to reveal, but whetheryou should reveal anything at all,” she says. “When you have to vouch for yourself and present a true picture of who you are, that can get confusing very quickly.This record is a product of me trying to find myself and my interests again. I felt like somewhere along the way I had lost the big picture of my own life.”

(eves works in improvisation and the incidental/ considering temporal, material and experiential connections to place through chance encounters, tangential processes and unanticipated outcomes/ focusing on environmental sound, responsive synthesis and acoustic+listening possibilities...)

Narrm, Wurundjeri land / Otepoti, Aotearoa.

Grady Meadows is following