photo: kolby ari · cc by-sa 4.0 ↗Steven Ellison built his early beats from a bedroom in Los Angeles before founding the Brainfeeder label in 2008, turning a loose scene of beatmakers, singers and jazz players — Thundercat foremost among them — into one of the 2010s' most influential musical hubs. His own albums, especially 2010's Cosmogramma, fuse chopped hip-hop rhythm, free-jazz harmony and glitching electronics into dense, emotionally raw suites, a sound shaped directly by the death of both his mother and his great-aunt, jazz harpist and spiritual teacher Alice Coltrane. Also a filmmaker and the rapper Captain Murphy, Ellison has spent two decades blurring the line between beat music, jazz and the avant-garde.
Ellison is the great-nephew of Alice Coltrane, and has called her the single biggest influence on his music; when she died in 2007 he was listening to a recording of her speaking about the 'cosmic drama' of death, misheard it as 'cosmogramma,' and built his breakthrough 2010 album of that name partly as a tribute, sampling her harp directly on 'Drips//Auntie's Harp.'
listen forPlay Alice Coltrane's rippling, meditative harp feature 'Blue Nile' next to Flying Lotus's 'Drips//Auntie's Harp,' which threads a sample of that very recording through skittering drums and synth glitches — a grandnephew literally weaving his great-aunt's instrument into his own sound.
Ellison interned at the Stones Throw label in the mid-2000s, where he crossed paths with J Dilla shortly before Dilla's death; early critics reflexively filed Ellison's first beat tapes as working in the 'shadow' of Dilla, Madlib and Dabrye before Los Angeles (2008) broke him free of the comparison.
listen forPlay Dilla's woozy, off-the-grid chop-up 'Time: The Donut of the Heart' next to Flying Lotus's sample-collaged 'GNG BNG' — both build a whole track out of soul fragments that never quite lock into a rigid grid, letting the drums breathe instead of snapping to it.
DJ Shadow's entirely sample-built Endtroducing..... circulated as foundational listening in the underground beat scene — LA's Low End Theory night among its clubhouses — that Ellison came up through, establishing that an instrumental record assembled from other people's records could carry the emotional weight of a full album.
listen forCompare the moody, orchestral-sample sweep of Shadow's 'Midnight in a Perfect World' with Flying Lotus's collaged, mood-shifting 'Zodiac Shit' — both let cinematic, half-buried samples do the emotional work a live band normally would.