Johnson Barnes (born April 15, 1983), better known by his stage name Blu, is an American West Coast rapper and producer from Los Angeles, California[1]. Following the major success of his 2007 debut album, Below the Heavens, Blu was named HipHop DX's "Rookie of the Year" [2]. Since then, Blu has become one of the most prolific underground artists in the Los Angeles area, releasing "six full-length albums, and countless other projects and mixtapes" since his emergence on the rap scene [3] . Blu has also become as proficient a producer as he has a rapper. In September of 2011, Blu released his commercial album Open, his 4th solo project [4] which features tracks all produced by the West Coast emcee.
Contents  [hide] 
1 Early Life
2 Music Career
2.1 2003
2.2 2004-08
2.3 2009-10
2.4 2011 and Warner Bros.
3 Current Projects
4 Discography
4.1 Mixtapes
4.2 Instrumental Tapes
4.3 EPs
4.4 Independent Albums
4.5 Produced Albums
5 Guest appearances
6 References
7 External links
Early Life

Johnson Barnes was born on April 15, 1983 in San Pedro, California. Raised by his mother and stepfather who was a pastor, Barnes was highly influenced by gospel and Christian rap when he was growing up.[1] However, Barnes' was also influenced by gangsta rap that he received from his father, contributing to his delivery of conscious yet raw lyrics. In his early days in the music business, Johnson worked as a hype man for underground rap and soul artists such as Slum Village, Steve Spacek, Platinum Pied Pipers, and Emanon.[1] However, taking influence from Common, Barnes began turning from freestyle rhyming to crafting songs.[1] In an interview with HipHopDx, Barnes talks about what it was like to listen to Common's 1994 song I Used to Love H.E.R.:
"When I heard it, it really changed my life. I felt like I had heard Hip Hop for the first time. It made me change my content and my whole approach. It made me serious about writing and wanting to say something."[5]
[edit]Music Career

2003
Some of the earliest tracks by Blu can be found on the 2003 mixtape Bruised Brothers, done with fellow L.A. emcee Blacc also known as Jac Spade[6]. Spade is also a producer and has worked with the likes of Planet Asia and Charlie Tuna.
[edit]2004-08
Blu signed to L.A. independent label Sound in Color in 2004, choosing the label ahead of other big name companies such as Interscope Records and Death Row Records.[1] After Blu was introduced to Los Angeles based producer Exile by Aloe Blacc[5], Blu released his debut album Below the Heavens in August of 2007. New York weekly newspaper The Village Voice called the album "one of the most thoughtful indie-rap releases in some time"[7]. Following the album's success and Blu being named as Rookie of the Year by HipHopDX[8], the rapper began working with Detroit rapper-producer Ta'Raach, releasing the collaborative album The Piece Talks under Tres Records in April 2008. In September of that same year, the company released Blu's collaborative album Johnson&Jonson with producer Mainframe [9]. In an interview with HipHopDX, Blu talked about his work in the underground scene and what motivated him to continue writing:
"The game in 2008 is not perfect and people complain and complain about how wack music is, but there's so much dope shit out there if you just turn the radio and TV off. I find ill shit all the fucking time and I'm like there's way too much music out there"[2].
Following the reception of Johnson&Jonson, Blu and Mainframe formed their joint company New World Color. In celebration of the move, the two released their EP E.Q.E.P.; featuring rappers such as Gonjasufi and Dirty Paper[10]. Aside from these commercial projects, Blu also released his second solo project (So)ul Amazing.
2009-10
In 2009, Blu released his third solo album entitled HerFavoriteColo(u)r. Although the album was originally released as a free mixtape, the tape was re-released as in album in conjunction with Nature Sounds in 2011[11]. The album is known for its jazz, neo soul feel as well its samples of artists such as Billie Holiday and Jimi Hendrix and Curtis Mayfield. During this year, Blu also released his mixtape (So)ul Amazing II with DJ Heat. The tape features a wide variety of artists including Talib Kweli, Will.i.am, Kid Cudi, Evidence, The Alchemist, and Co$$.
In 2009, hip hop magazine XXL named Blu as one of their Top 10 Freshmen of 09'[12]. That same year, Blu also began experimenting with production, releasing his 8 track instrumental NoSleepForADay. The year also found Blu signed to major label Warner Bros.[13].
The following year, Blu released his lyrical/instrumental full length LP theGodleeBarnes[3].
[edit]2011 and Warner Bros.
2011 has been one of the biggest years for Blu thus far in terms of music production. In January, Blu released And If You See The E Drop Em, a title taken from a line on his first track on Below the Heavens [3]:
Blu has proliferated highly in terms of commercial releases this year, producing three albums titled Jesus, NoYork!, and Open with Nature Sounds; the latter of which features a variety of artists with tracks all produced by the emcee. While the album Jesus was released independently under New World Color in July, NoYork!, a project that was supposed to be Blu's major label debut, was not. Initially planned for release under Warner, Blu later dropped from the label in October[14], deciding to release it for free over the internet instead.
Current Projects

In an interview with Above Ground Magazine, Blu expressed his future intentions with music, specifically on his notion of retiring from rap.
“I’ve never seen myself rapping after 30,... I’ve always seen myself doing film. I have like three films I would love to shoot. But I would need a budget for it.”[14]
The rapper is currently working on several projects, one of which includes another link up with producer Exile on Memoirs, which was later released as Give Me My Flowers While I Can Smell Them, a record which was released at the end of 2011. Ucla is another tape in the works, set to be a collaborative album produced by critically acclaimed LA producer Madlib.
Discography

Mixtapes
(So)ul Amazing (2008)
E.Q.E.P. (with Mainframe as Johnson&Jonson) (2008)
(So)ul Amazing II (2009)
Powders & Oils (2009)
Untaped (2010)
ParieArtNommee (2010)
And If You See the E Drop ‘Em (2011)
Heavy(LightYearsBehind) (TBA)
[edit]Instrumental Tapes
Open (theInstrumentalLP) (2009)
NoSleepForADay (2009)
The Norman Rockwell Beat Tape (2011)
EPs
Bruise Brothers (with Jack Spade) (2003)
Lifted (2006)
The Narrow Path (2006)
BeSene (with Sene as Patch Adams) (2008)
IntoBlu EP (2010)
Amnesia (2011)
ar r ie mx a ll pink r ep (2011)
Independent Albums
Below the Heavens (with Exile) (2007)
The Piece Talks (with Ta'Raach as C.R.A.C. Knuckles) (2008)
Johnson&Jonson (with Mainframe as Johnson&Jonson) (2008)
theGODleeBarnes(lp) (2010)
HerFavoriteColo(u)r (2009)
j e s u s (2011)
NoYork! (2011)
Give Me My Flowers While I Can Smell Them (with Exile) (2011)
ucla (with Madlib) (TBA)
TBA (with MED) (TBA)
[edit]Produced Albums
ADayLate&ADollarShort by Sene (2009)
Open (2011)
Guest appearances

Year	Album Artist	Album	Song
2007	Move.Meant	The Scope Of Things	Git It Now (also featuring Trek Life)
2008	Shingo Suzuki	The Abstract Truth	Hi(gh) Music
Evidence	The Layover EP	For Whom The Bell Tolls (also featuring Phonte & will.i.am)
Presto	State of the Art	Pour Another Glass
DJ Cadik	Basic	Hard Times
Freddie Joachim	In With Time	Mars (Remix)
2009	Bembe Segue & Mark de Clive-Lowe	The Politik	Moonlight
J.Period & Q-Tip	The [Abstract] Best	Jazz (Tribute Remix)
Dela	Changes of Atmosphere	Vibrate
Atmosphere Airlines Vol. 2	Mars
Sepalot	Red Handed	Surrender
Blame One	Days Chasing Days	Wonder Why
The Grouch & Eligh	Say G&E!	Old Souls (also featuring Flying Lotus)
Keelay & Zaire	Ridin High	The Times
J Dilla	Jay Stay Paid	Smoke
Waxolutionists	We Paint Colors	Steel Remains
Tanya Morgan	Brooklynati	Morgan Blu
Fashawn	Boy Meets World	Samsonite Man
The Alchemist	Chemical Warfare	Therapy (also featuring Evidence, Talib Kweli & Kid Cudi)
Andy Allo	Unfresh	DreamLand
2010	All City Chess Club		I'm Beamin' (Remix)
TiRon	MSTRD	The Richers (also featuring Asher Roth)
The Roots	How I Got Over	Radio Daze (featuring P.O.R.N. & Dice Raw)
The Day (featuring Phonte & Patty Crash)
Mumbles	Transformations/Illuminations	Never Ending
2011	Dela	Translation Lost	Lucy's&looseleafs
Dela	Translation Lost	Whatuwanna
Co$$	Before I Awoke	Born Again (featuring Sene)

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.

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

New album ‘By Default’ is out now: https://BoS.lnk.to/ByDefaultSo

Tour dates: www.bandofskulls.com/tour


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