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▓▒ Dirty_Projectors-Flight_Tower-WEB-2020-ENTiTLED ▒▓
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░ artist........ | Dirty Projectors ░
title......... | Flight Tower
label......... | Domino Recording Co Ltd
genre......... | Rock
rip date...... | 2020-06-25
retail date... | 2020-06-25
runtime....... | 10:35
tracks........ | 4
size.......... | 24.57MB
quality....... | CBR 320kbps 44.1kHz Stereo
░ codec......... | MP3 (MPEG-1 Audio Layer 3) ░
▒░ encoder....... | LAME ░▒
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█ 01 > Inner World < 02:22 █
█ 02 > Lose Your Love < 02:48 █
█ 03 > Self Design < 03:06 █
█ 04 > Empty Vessel < 02:19 █
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THE NEW SELF-TITLED ALBUM does everything wewant and expect from Dirty
Projectors -- but in a waythat we never could have imagined or
anticipated. Ina career of surprising conceptual gambits,
unexpectedstylistic shifts, and continually changing lineups --
thisis, as DJ Khaled says, "ANOTHER ONE" !A PROTEAN, SHAPE-SHIFTING
CHAMELEON,Dave Longstreth, the founding member and sole
constantProjector, goes where the music is: he builds his bandand
arrangements around the songs he's writing in thatmoment.Dirty
Projectors is a BREAKUP ALBUM. These songs,coming out of a place of
heartbreak & depression, beganas private gestures of catharsis &
healing. DL couldn'tsee any future for Dirty Projectors, much less
imaginethese as Dirty Projectors songs, until he went to LA,where Rick
Rubin urged him that this is exactly whatthey are.The ABSENCE OF
FEMALE VOICES -- notably that ofthe beloved Amber Coffman -- becomes
both the subjectof the album and the engine of its most inspired
leaps:allowing DL to branch out as a producer & arranger,encouraging
him to hone his songcraft, and forcing himto focus on his own voice,
to revelatory result.Perhaps the greatest surprise is that
Longstreth'sVOICE -- one of the most iconic & divisive in music
today-- has gone from being a sometime-liability to his
music'sgreatest and most expressive asset. The CHOPPING,LAYERING,
SPEEDING UP & SLOWING DOWN of thevoice is processing both literal and
metaphoric: DL worksthrough the new absence on a course of self-
examination,interrogation, reflection. But his natural voice is
thegreat reveal: out of the black hole of loss comes a quantumspark of
CONFIDENCE & PURE FEELING.From the baritone lament of Keep Your Name
to thecrooning pathos of Little Bubble and the breathless
falsettoleaps of Winner Take Nothing, these songs establishDL as one
of music's most VERSATILE, ORIGINALSINGERs.The album flexes DL's
tremendous GROWTH &STRENGTH AS A PRODUCER. Classic
Projectorstrademarks are here -- guitar, hocketing, powerfulthree-part
vocal harmony -- as a foundation for anew world of insanely fresh drum
patterns, Rhodes,Wurlitzer, brass choir, string quartet, piano,
modularsynth, Kontakt and Arturia patches, all tied togetherin
dizzying next-level arrangements. DL is at the top ofhis game as one
of 2017's most original producers in anygenre.DL himself remains
agnostic about genre and ecumenicalin his inspiration. In some ways,
the album answers thequestion Dirty Projectors posed way back in 2009
-- beforethe waves of nu-r&b and Beyonce quoting the YeahYeah Yeahs --
with STILLNESS IS THE MOVE: whatwould a post-genre collision of r&b,
indie rock and othermusic sound like? From the SUBTWEET BOP of
KeepYour Name to the DIGITAL BENEDICTION that is I SeeYou, this is
truly GENRELESS MUSIC that pushes atand expands the edges of what
we're used to hearing.DL cites Karl Ove Knausgard, Joni Mitchell, and
Drakeas his most passionately explored writers of the last fewyears,
and there's a new DEPTH & LYRICISM in thissuite of richly complex
songs. Self-reflection and fantasyhelix together in DETAILED LAYERS OF
STORY:rife in ambiguity, raging with doubt and
ambivalence,labyrinthine in their self-contradiction. Considering
thisrange, the NARRATIVE UNITY of the album is astounding.Dirty
Projectors is known for concept albums --from the collaboration with
Bjork, Mount WittenbergOrca (2010), to the glitch opera The Getty
Address (2005),to the Black-Flag-reimagined opus Rise Above (2007).And
now Dirty Projectors is the most TAUT, UNIFIED,CONTINUOUS ARC of
storytelling yet -- beginning withthe anger and self-recrimination of
Keep Your Name andending with the forgiveness and reconciliation of I
SeeYou.DL has made a breakup album before: his first album,the rare
and out-of-print Graceful Fallen Mango, from2001. Fifteen years later,
Dirty Projectors is arrivingwhere you began and knowing the place for
the firsttime. The significance of it being a self-titled record
isclear: Dirty Projectors is both A HOMECOMING AND AREDISCOVERY. Time
is a spiral, and this is an astounding,vivid, immersive piece of music
-- YOU JUSTGOTTA HEAR IT!The story begins backstage after Dirty
Projectors' headliningshow at Carnegie Hall on the Swing Lo
Magellantour in 2013. Lifetime achievement, playing CarnegieHall --
but for the lead Projector Dave Longstreth it feltlike pyrrhic victory
& hollow anticlimax. His relationshipwas falling apart. People find
solace in music, butnow DL found only anxiety and sadness in
performing.He spiraled lower as touring dragged on through the
nextmonths. When it finally ended, he couldn't seem to writeanything
new. "I was pretty torn up," he says of thattime, "pretty effing
depressed."Sliding into 2014 with a triple crown of heartbreak,
writer'sblock and crisis of confidence, and with his band'sapparent
future dark, DL began to work for other musiciansas a utility player.
In that capacity, he managed to:: write the bridge -- melody, harmony
& words --of the Rihanna/Kanye West/Paul McCartney
hitFourFiveSeconds:: produce the rhythm section -- beats, basslines
&chords -- of five tracks from Solange's opus A Seat AtThe Table,
including highlights Mad and FUBU:: score the 70-piece orchestral
arrangement for TimeAs A Symptom, closing track of Joanna Newsom's
epicDivers:: produce Azel, the third LP of the inimitable Tuaregguitar
shredder BombinoWorking for others, Longstreth honed his craft,
seeinghis strengths & myriad weaknesses from a series of
differentperspectives. "I got to collaborate with all theseheroes of
mine," DL enthused recently, "and getting towork together that way --
just them telling me what theywanted, me trying to make them happy
with what I couldcome up with -- was fun and actually sorta
therapeutic."Plus," he joked, "I figured since Rih sang my melodyand
Wayne went on a beat I made, I was ready to die."Nonetheless, on a
visit with Rick Rubin -- who DL hadbegun to check in with when he was
in LA -- Longstrethfirst considered the idea that Dirty Projectors
mightlive again. Playing some rough demos and odds & ends,agonizing
over his creative impasse, DL heard Rubin tellhim, basically, 'keep
your name.'On a commuter train between NYC and Hudson, wherehe was now
living, DL pushed samples around in the Editwindow of ProTools,
returning to a style of beatmakinghe had experimented with while
making The GettyAddress in 2005. A fan of the paintings of Agnes
Martin,DL said something finally clicked: "Rhythm is a grid,and a grid
is a crutch when you need one. It's meditative.Making those patterns
is a geometric feeling. With theriver to my left, and the drum pattern
for Work Togetherin front of me, I felt a flash of a new
beginning."Down in Brooklyn, he shared a practice space wallwith an
old friend from his earliest NYC days: TyondaiBraxton, the celebrated
multi-instrumentalist & composer,was in the middle of his own
reinvention. DL recalls:"In Battles, Ty took the guitar-voice-loop-
pedal thing toa place that no one else did, and then just turned
aroundand quit, and taught himself how to orchestrate likeRavel and
Varese. And now he was in there ten hours aday learning modular
synths!" Braxton's constant curiosityand fearless evolution was
fiercely inspiring to DL.It wouldn't be long before they were
shoulder-to-shouldertweaking new sounds.With an idea for a new
iteration of Dirty Projectors --which has been the vehicle for
Longstreth's music acrossseven LPs and three EPs since 2002 -- DL
walkedaround his one-room house outside Hudson, NY,
freestylingmelodies and developing song ideas for hours andsometimes
days on end.Slowly lyrics and rough contours coalesced. In 2015,after
spending months in LA on various projects, DLtook the decision to move
there full-time. Exodus fromBrooklyn complete, he built a studio on
LA's East Side ina former cabinet factory and named it Ivo Shandor,
afterthe insane architect from Ghostbusters. At Ivo Shandor,the
finished recordings of Dirty Projectors came together:DL laid down his
vocal parts, his Rhodes, Wurlitzer, piano,Juno, soft synth and guitar
parts too. Mike Johnsonand Mauro Refosco built on the beats he made in
Hudsonand Brooklyn with Braxton.In late 2016 -- with the horns parts
down and the lasttouches of mixing complete -- the most epic
DirtyProjectors album yet was finished. The ineluctable paththat began
in heartbreak and despair had delivered DLback to himself, back to
Dirty Projectors, and back to thefuture.
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▓▒ https://play.google.com/store/music/album?id=B47xuo4ef4vpgx7lvza5ihkmqgu ▒▓
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█ · ·< GREETINGS >· · █
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