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Úvodní stránka » RECORDS » Pretty Lights — A Color Map of the Sun [Deluxe Edition]
Pretty Lights — A Color Map of the Sun [Deluxe Edition] (2013)

 Pretty Lights — A Color Map of the Sun [Deluxe Edition] (2013)

Pretty Lights — A Color Map of the Sun [Deluxe Edition]
Ξ   Indisputably his most ambitious work to date...
Ξ   “I would be a fucking scientist. I'd be on some crazy deep space zero-point energy shit. Powerless wire systems, water engines… I'd be taking down the oil industry. I'd be re-inventing the energy infrastructure of the world.” — Pretty Lights
Location: Colorado, USA
Album release: July 2, 2013
Record Label: 8 Minutes 20 Seconds
Duration:     86:17+43:14=>129:31 
Tracks:
CD1 A Color Map of the Sun
01. Color of my Soul     6:09
02. Press Pause     4:49
03. Let’s Get Busy     3:52
04. Around The Block (Feat. Talib Kweli)   4:14
05. Yellow Bird     5:40
06. Go Down Sunshine     5:05
07. So Bright     5:51
08. Vibe Vendetta     5:24
09. Done Wrong     6:35
10. Prophet     5:57
11. One Day They’ll Know     6:59
12. Always All Ways     5:32
13. My Only Hope     4:52
14. Where I’m Trying To Go (Bonus Track)     5:50
15. All I’ve Ever Known (Bonus Track)     3:54
16. Sweet Long Life (Bonus Track)     5:34
CD2 Live Studio Sessions from A Color Map of the Sun
01. Reel 15 Break 5
02. Reel 5 Break 3
03. Reel 9 Break 6
04. Reel 11 Break 2
05. Reel 6 Break 4
06. Reel 8 Break 2
07. Reel 18 Session 1
08. Reel 17 Break 4
09. Reel 4 Break 3
10. Reel 12 Break 2
11. Reel 6 Break 5
12. Reel 3 Break 3
13. Reel 7 Break 1
¤  All songs by Derek Vincent Smith
CREDITS:
♣ Mario Abney  Trumpet
♣ Jeff Albert  Trombone
♣ Wes Anderson  Trombone
♣ Glen David Andrews  Vocals
♣ Andrew Baham  Trumpet
♣ Lionel Batiste  Vocals
♣ Adam Beitch  Drums, Percussion
♣ Alexis Berthelot  Assistant Engineer
♣ Krystle Blackburn  Art Direction, Photography
♣ Matthias Bossi  Percussion, Piano
♣ Francisco Botero  Assistant Engineer
♣ Detroit Brooks  Guitar (Electric)
♣ Stu Brooks  Bass (Electric)
♣ Big Al Carson  Vocals
♣ C.I.  MC
♣ Thais Clark  Vocals
♣ Brian Coogan  Fender Rhodes, Hammond B3, Piano, Toy Piano, Wurlitzer
♣ Jason Crosby  Viola
♣ Adam Deitch  Drums
♣ Mike Deller  Keyboards
♣ Eligh  Featured Artist, MC
♣ Wesley Fontenot  Engineer
♣ Brian Gardner  Mastering
♣ The Grouch  MC
♣ Yolanda Hagins  Vocals
♣ Nigel Hall  Hammond B3, Piano, Vocals, Wurlitzer
♣ Joel Hamilton  Drums, Engineer, Mixing, Waterphone
♣ Scott Hansen  Art Direction, Back Cover, Cover Art
♣ Rod Hodges  Electric Slide Guitar
♣ Benjamin Jaffe  Bass (Upright), Tuba
♣ Mike Jinno  Assistant Engineer
♣ Shakira Jones  Vocals
♣ Carla Kihlstedt  Nyckelharpa, Trumpet Violin, Violin, Vocals
♣ Eric Krasno  Bass (Electric), Guitar (Electric)
♣ Talib Kweli  Featured Artist, MC
♣ Matt Labozza  Assistant Engineer
♣ Carl LeBlanc  Guitar (Electric)
♣ Simon Lott  Drums
♣ Lyrics Born  MC
♣ Joe McGinty  Hammond B3, Wurlitzer
♣ Jordan McLean  Trumpet
♣ Jedediah Parish  Vocals
♣ Connie Petruk  Vocals
♣ Phil Salvaggio  Guitar (Acoustic), Guitar (Electric), Wurlitzer
♣ Earl Scioneaux III  Assistant Engineer, Hammond B3, Wurlitzer
♣ Philip Sheppard  Cello, Orchestration, Strings, Viol, Violin
♣ Thomas Singleton  Vocals
♣ Ches Gordon Smith  Vibraphone
♣ Dave Smoota Smith  Trombone
♣ Derek Vincent Smith  Arranger, Bass (Electric), Composer, Engineer, Fender Rhodes, Flute, Harmonium, Lyricist, Marxophone, Mixing, Music Box, Music Direction, Piano, Producer, Reconstruction, Sampling, Toy Piano, Writer, Wurlitzer
♣ Garth Stevenson  Bass (Upright)
♣ XOQ  Mastering, Mixing
Website: http://www.prettylightsmusic.com/
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ClashMusic / Reviews/ 27 · 06 · 2013
Words: Hannah Lanfear  (Editor rating: 8/10
¤  His first album of entirely original arrangements, ‘A Color Map Of The Sun’ is indisputably Colorado artist Derek Vincent Smith's most ambitious work as Pretty Lights to date.
¤  Deluxe Edition features the main album with 3 bonus tracks plus a second 13 song CD of live studio sessions recordings.
¤  His first album of entirely original arrangements, A Color Map of the Sun is indisputably Colorado artist Derek Vincent Smith’s most ambitious work as Pretty Lights to date.
¤  Ordinarily a crate digger-cum-producer on the prowl for rare samples to cut, this time Smith flipped the process on its head, and spent a year learning the craft of analogue recording in order to make his own samples. He assembled a team of dazzlingly talented musicians and began creating original material.
¤  On completion, Smith went and extended ‘A Color Map…’ into a double LP, gifting the listener the reels of analogue material as a disc two, a postscript to the album proper. Both ‘sides’ are utterly beautiful. Record one is a lavish hip-hop work that swelters with soul, one that calls you back with alluring bass lines and electro-charged breaks; record two, a selection of devastatingly cool instrumentals. Each is so good, it’s a toss up between which incarnation you’ll end up liking most.
Smith ordinarily puts his albums up for free download, but this time around he has sent out a missive for the listener to engage with a physical format – not out of a plea for a pay cheque, but more because this is an album that’s worth celebrating that way.
¤  True to form, ‘A Color Map…’ is available gratis, too. But given the quality of its contents, it’s a worthy investment. A cursory listen will have you peeling the notes off sharpish to get that shit on double wax, just like you should.
Fortaken: http://www.clashmusic.com/
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Biography by Andy Kellman
¤  The output of Colorado-based musician Pretty Lights (Derek Vincent Smith) flitted between moody downtempo and upbeat, densely layered material geared more for clubs. His tracks often apply vintage samples to hard-hitting abstract hip-hop beats and layers of bold synthesizer patterns. Remarkably productive, Smith has released several albums and EPs across the span of a few years, including the full-lengths Taking Up Your Precious Time (2006), Filling Up the City Skies (two fully stuffed CDs worth of material, 2008), and Passing by Behind Your Eyes (2009). He has since taken his work on the road with assistance from fellow musicians like Cory Eberhard and Adam Deitch, and performed at the Coachella and Movement festivals in 2010. Smith also operates Pretty Lights Music, a label that releases his albums, as well as those from Paper Diamond, Break Science, and Michal Menert.
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INTERVIEW
Sarah Polonsky Posted July 2, 2013
¤  Pretty Lights is a like a mad scientist, a perfectionist at making music sound non-perfect. But talking to Derek Smith in a corner of the Trump Hotel in Soho is like chilling with your buddy. He asks "What's up?" to the bellhops and talks music, he smokes bogies and laughs at himself. You'd never realize the 31-year-old from Colorado draws over 45,000 fans at festivals or that he's just dropped the highly-buzzed and craved album, A Color Map of the Sun, today (July 2). Smith just might be one of the chillest dudes in the EDM game…or perhaps the “modern hip-hop/soul/electronica game.” But that doesn't mean Smith won't speak his mind about Daft Punk and Mos Def, or the way he wants his music to be. - https://twitter.com/SarahPolonsky
VIBE: Everyone says your new album, Color Map of the Sun, is your first sample-free album.
Pretty Lights: ¤  Is that what people are saying? That's not how I would put it. I'd say it’s a completely sample-based record. I just made all the samples. A lot of people compared it to the Daft Punk record…how an electronic artist(s) used musicians, but that's not what I did. I literally made wax to sound like it was 60-years-old so it did sound like a sample. It’s sample-free in that sense. I don't have to hire a 'sample lawyer' and go clear a bunch of shit.
Do you like the new Daft Punk?
¤  Personally, objectively or subjectively? I mean it's not my stuff. I don't put it on repeat in the ride or anything. But it grew on me a little bit.
Like a fungus? What do you put on repeat in your ride?
¤  I listen to old weird shit, like old soul and soundtracks. Scores and stuff like that. And gangster rap! Of course, ‘90's gangster rap and Chicago soul.
You've said this was the most-labor intensive album you’ve ever made. For someone who isn't familiar with you and isn't familiar with how labor intensive it is, can you break that down simply? What does it take to create the most labor-intensive album?
¤  When it comes down to it, the fact that it's the most labor-intensive album doesn't really mean anything. You know what I mean? Like, who gives a shit? At the end of the day it's about good music, right? I kind of realized that, I'd always realized that, but since I was putting so much into the process of it, I talked about that so much to people when they asked about it.
¤  I would research microphones from the period of time I was trying to emulate, like 1940's French soundtrack music, and we used that gear. And we'd record at low budget studios. I did everything like it would have been done 50 years ago. I told them I wanted to record the tape, came in there and the studio had this 1970 high-tech tape machine ready for me, the multi-track. I said 'no not like that, I want your old school shitty tape machine and I want to do it as low-fi as possible because I want it to sound gritty.’
What instruments do you play?
¤  On the record...I can't even think of them. Bass, flute, guitar, keys, marxophone, Hawaiian art violin, xylophone, harmonium, marimba, I don't know all kinds of crazy shit. I'm not like a shredder on anything, but I can play whatever good enough to make a nice melody, to chop it up, and make it sound hot.
Why did you choose a phrase from Isaac Newton as album’s title? What does it say about the album?
¤  I'm actually really into brilliant inventors, scientists, and astronomers. Like Isaac Newton, Nikola Tesla, the freak.
¤  I was thinking drops, like Isaac Newton's apple...
¤  Yeah he knew all about droppin' it. No, but I was just thinking so long about the title and I feel like so many people name records on a whim. You know, the records done what should I name it? Uhhh…this. You know it's named 'Daydream' or 'Atmospheric Wonderland,' I don't know.
¤  I like names that are poetic and beautiful. Ambiguous, deep and relatable. It's literally talking about the spectrum of color and plus I wanted to have a title that was a very subtle throwback to one of my favorite records of all time, Dark Side of the Moon. When he [Newton] wrote the essay that phrase was in, he was playing with prisms and light and things like that. So A Color Map of the Sun is what he wrote to describe the way light disassembles itself in a prism and becomes every color we see. I just thought it was extremely beautiful, it related to the album on a lyrical level, on a musical level, on just the meaning of my project level, it worked. It was just the perfect name for what I was looking for.
There's a lot of shit talk about EDM and the laziness of bedroom producers become mainstream DJs and open format DJs become producers. How do you combat this, and stay unique and keep it fresh and soulful?
¤  Because I was from Colorado, I started getting shows opening up for these jam bands and kids would hear my sound and freak out over it. And it eventually moved into that [EDM] space, but my music was rooted in hip-hop. It's always been about hip-hop production. Not club hip-hop, but like real hip-hop. So it's trying to make bangers, tracks that could move a crowd, like actually kinetically move people. Get their hands in the sky, get them actually jumping and shit like that, and that was difficult. The idea of a hip-hop producer being able to play headline shows of 20,000 people would have been insane to anyone in the hip-hop game even two years ago.
You've got Talib Kweli featured, and let's talk about that. What was that like, did you guys get up in the studio?
¤  He's definitely one of the MC's I respect the most. He's very conscious and dope, and just on the level. He was actually supposed to be at a Blackstar show, which is one of the illest hip-hop records of all time, Mos Def and Talib Kweli. But 90 percent of the Mos Def shows I've tried to see, he doesn't show up. So I hit Kweli up through my homie, sent him a version of my beat and told him we should connect on this. He loved the beat, he came over, we kicked it before the show and I told him, ‘I'm not gonna put your whole verse on the track, because I'm not making a hip-hop record like that. I'll make you a beat you can use for your record, and do whatever you want with it for free. But I want you to write a verse that I can do whatever I want with.’ I took it and I chopped it up. I liked the verse so much I used a big part of it, eight bars of it. I usually don't do that.
Is there a current rapper out there that you want on the next Pretty Light's track? Or even on stage with you?
¤  Slug. He's the most poignant, brilliant lyricist (as it connects to me) that I've ever heard. And I grew up on that shit, Atmosphere. And I've been working it slowly, we're homies on Twitter.
If you weren't in this profession what would you do?
¤  I would be a fucking scientist. I'd be on some crazy deep space zero-point energy shit. Powerless wire systems, water engines… I'd be taking down the oil industry. I'd be re-inventing the energy infrastructure of the world. And all that will still happen.
Fortaken: http://www.vibe.com/
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Pretty Lights — A Color Map of the Sun [Deluxe Edition] (2013)

 


 

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