I absolutely love the texture of your songs

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I Wanna Know If It's Good To You (Take 2) - FunksTruMentaL/LoopADelic Rehearsal 06-04-12 Disc 1. This is the second take from a live rehearsal for FunksTruMentaL/LoopADelic featuring Michael "Kidd Funkadelic" Hampton on lead guitar. The bottom tracks were done on 4-Track, Mike's guitar solo was added later and I played live drums over it for a rehearsal for my upcoming FunksTruMental / Loop-A-Delic project. The song was originally written by G. Clinton, B. Nelson, E. Hazel and C. Haskins. The photo was taken in 1996 by Andrea Brown (R.I.P.). 

I Wanna Know If It's Good To You? (Take 2) - FunksTruMentaL / Loop-A-Delic Rehearsal 06-04-12 Disc 1

Soulful track with PFunk inspirations from former Parliament Funkadelic singer - Songwriter Kendra Foster. Currently Kendra co-wrote 8 songs on Black Messiah, the critically acclaimed follow up album by D'Angleo, which debuted at #1

PROMISE TO STAY HERE / Kendra Foster

About Starlight
Julius Smack engages in a dialogue with a fictional AI assistant to create an album using the prompt, “Make an album that tells the story about the origins of Julius Smack.” Starlight emerges as the imagined response, envisioning a world where beauty and violence intertwine, and memories and dreams are excavated to craft stories.

In a near-future Earth, where artists are among the planet’s last inhabitants, a symbiotic relationship has formed between humans and AI—each relying on the other for nourishment and healing. At the sight of a shooting star, artists mine their memories and dreams with generative AI to produce art, which sustains them but generates toxins that must be expelled upon the next shooting star by creating more art.

To compose Starlight, Julius Smack drew inspiration from all facets of life, with the album’s “dataset” serving as a kind of diary. It weaves together old demos, bookmarked TikTok clips of AI-generated content (such as a deepfake of Biden and Trump singing in Mandarin alongside Kamala Harris’ laughter), 2000s dance music, and ‘90s cyberpunk anime, including Ghost in the Shell and Neon Genesis Evangelion. Everyday experiences also became part of the dataset: learning Yaqui in online classes with fellow diasporic Yaquis, riding the train, walking the dog, and dreaming. These disparate threads coalesce to question AI’s role in creative and labor economies, forming a counterfactual narrative where everything—and nothing—is art.

In 2025, Julius Smack will perform iterations of Starlight across the US, Europe, and Asia. Blending dance, music, theater, and video, the shows center around a painted toilet that acts as an intermediary between ingestion and expulsion.

About Julius Smack
Julius Smack is the musical alias of Peter Hernandez, a Los Angeles-based musician, performer, and director of Practical Records. His work explores intuitive and imaginative landscapes, envisioning new modes of perception and existence. Drawing inspiration from vogue, postmodern dance, Japanese environmental music, and contemporary dance music, he synthesizes these influences into a singular artistic vision rooted in queer and indigenous heritage. With releases on labels such as Leaving Records, Noumenal Loom, Practical Records, and now Constellation Tatsu, Julius Smack’s music resonates across diverse audiences. He has performed at prestigious venues including MOCA Geffen and The Getty Museum in Los Angeles, Stavanger Kunsthall in Norway, and Aunt Charlie’s Lounge in San Francisco.

Credits
Written, produced, and mixed by Julius Smack between Los Angeles and New York, 2024. Additional vocals on “Waiting For The Daylight” and “Green River Water” by Josephine Shetty. AI assistant vocal performance by Anna Luisa Petrisko on “Waiting For The Daylight” and “Starlight”. Mastered by Salz Mastering. Artwork by Danny Espinoza. Layout by Peter Hernandez.

Julius Smack - Green River Water

Many

Former frontwoman of rock outfit Dum Dum Girls eschews the pseudonym with her new solo project, Kristin Kontrol. Newly relocated to LA, Kristin delivers a monthly mix of expansive and hypnotic sounds: one part Durutti Column to two parts Alice Coltrane.

 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/kristin-kontrol/episodes/kristin-kontrol-17th-february-2025

Kristin Kontrol Presents: Out of Vogue 170225

Last year Russian Funk band C.L.O.N.E and Danny Bedrosian did a track called Funky Tools.
Natasha, from the band, and I talked about making a remix of that, so we did.
I recently got permission to upload the track to here.

I hope You will enjoy

Funky Tools (MotherFunkin Remix) - MotherFunkin (2014)

BAHIA 2009

10 Ride On

Uptown Funk We Come To Jam MP3 Mashup

Pier & Loft

Wavy-patterned ice cream

B1 Wavy-patterned ice cream

The gentle people - Journey

Please check out my SLY STONE cover album on iTMS !!
http://itunes.apple.com/album/electro-voice-sings-sly-stone/id558484224
or Amazon
http://www.amazon.com/Electro-Voice-Sings-Sly-Stone/dp/B00BR2G2CU/ref=sr_shvl_album_1?ie=UTF8&qid=1366208829&sr=301-1

5 (Junie Morrison Cover)

Boards of Canada live. A lot of BOC's earlier work.

Boc - live at warp plus ten - 07 - unknown

‘PRSNT’ is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed untitled tracks, which are approximately 32 seconds long.	
 	
The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.  
 
Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno’s famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.
 
‘PRSNT’ acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or “if you can’t beat ‘em join ‘em” resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners’ busy lives, which are often spent tackling ever-increasing workloads.

Mastered by Rashad Becker

5 (Junie Morrison Cover)

SyunsukeOno

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