Flying Lotus Visits Japan!

Based in Los Angeles and traveling the globe, Flying Lotus, also known as Steven Ellison, is a beat conductor renowned for his avant-garde and deep sonic worlds. He is the nephew of jazz giants John Coltrane and Alice Coltrane, and has been exposed to a wide variety of music since childhood. Now praised by major artists like Radiohead and Massive Attack, Flying Lotus has embarked on his first solo tour of Japan, bringing his latest album "Cosmogramma." And this time, he took time out of his busy schedule to visit "TOKYO MOON." Please enjoy this special OPENERS edition, featuring an in-depth conversation covering his new work and musical philosophy, with interview translations not included in the broadcast.

Keep going and Keep gettin’better

MatsuuraThis is your third visit to Japan, and you've toured Tokyo, Osaka, and Kanazawa. How were the Japanese audiences? Have there been any changes compared to before?

StevenThe kids in Osaka and Kanazawa, in particular, were really into it. People often say Japanese audiences are reserved, but that wasn't the case at all at my shows; everyone seemed to be enjoying themselves happily. It felt like they had really listened to both my previous and current albums, and they reacted when I played parts from the albums. I felt that more strongly this time than before.


This includes the emotions conveyed through the sound, but it's very clear that your sensibility has become more refined with each album release. The texture of each sound is distinct; not in a "loud" way, but the delicate textures of the sounds clearly emerge. And the way they are arranged and placed within the space is superb. What are your thoughts on this observation?

StevenFirst and foremost, I'm very happy that people can hear my evolution and make discoveries like that. My biggest theme is that I don't want to make the same album twice—I don't want to repeat myself. If my next album were to be "Cosmogramma 2," I would feel there's no point in me making music anymore. That's why I always want to evolve and constantly strive not to repeat myself.

The Story of the Past Two Years in One Flow

MatsuuraCompared to your previous work, I feel more elements of fusion and rock in this album. Are there any specific influences that inspired you?

StevenAs always, I'd say it's typical of me, but this time I was quite inspired by Soft Machine, and also by my usual favorites like George Duke and Alice Coltrane, plus Weather Report.

MatsuuraRegarding the influences you just mentioned, would they correspond to tracks like M.8, M.9, and M.10 on the album? Personally, I feel a narrative progression from "Arkestry" and "Mmmhmm / ft. Thundercat," shifting from Max Roach to George Duke over time. It seems as if you're connecting scenes or using cut-ups and fade-ins/outs for each musical passage. Is this something you intended?


MatsuuraWhat inspired you to start your music career?

StevenMy cousin is a musician, and he was creating rock sounds using fairly avant-garde electronics for the time. When I was young, I used to visit his house and play with that equipment. That's how I got hooked, and he bought me a rhythm machine. Until then, I was just a kid who played video games all the time, but for the first time, I got my hands on an instrument that felt right, a "musical tool." From then on, I became obsessed with using that machine to create electronic beats. For me, it was like a Nintendo machine, like "I finally got an interesting toy." But even though I was making music passionately, I never imagined it would become my career. It was purely an extension of play, a pure "hobby," but somehow it turned into this...



MatsuuraBefore the three albums you mentioned, I believe you created something like a "beat collection" containing only beats. Was that a collection of works constructed with rhythm machines?

StevenFor a while, that's exactly what I was doing. I would give them to my school friends or DJs at clubs. I just wanted as many people as possible to hear the beats I made, so I burned CDs myself and distributed my beat collections to everyone every month. Of course, back then, there was no MySpace, so this was the only way to get my music out there. While I was pursuing my music this way, the main reason was simply that I wanted people to hear it, so I distributed them widely.

Los Angeles Undergoing Major Transformation

MatsuuraRecently, there's been a trend of musicians—including DJs and producers—gathering in Los Angeles. I've visited LA twice for DJ tours myself, and I feel the scene there has changed significantly over the past decade. As you are based in LA and active there, how do you perceive the changes over the last ten years?


Younger generations are increasingly joining this community, and I'm interested to see how they will carry this scene forward to the next generation. I feel very fortunate to be in LA and part of this community at this time, and I'm very excited about where we're heading. I consider myself to be in a very lucky position.


StevenI agree completely. My friends and collaborators also feel there's still a lot of potential, and we're exploring what else can be done. I believe this movement is pursuing something beyond just music or beats; it might be visual art or something else, but it seems to be extending to various things beyond sound. Perhaps this movement is aiming to create something far greater than we anticipate, extending beyond just sound.

No genre, No Limit

MatsuuraIt's fascinating that these movements are happening in contemporary America. When you travel the world, you encounter various cultures and music scenes, like UK dubstep or rock, experiencing "new feelings." Your ability to embrace these without barriers and absorb them is remarkable. What do you think is the source of this openness?



What hinders me is the detailed genre classification; for me, as long as it's "music," it's fine. I believe all music loves me, and I want to make all kinds of music. I don't care what it's called, but I see infinite possibilities in all genres of music, and I consider it all "music." That's what drives me. Ultimately, it all comes down to loving music.

MatsuuraSteven, you're 26, and I'm 43. The fact that there are young producers and DJs in their 20s with such conviction in the world makes me incredibly proud. Personally, I feel "Cosmogramma" hints at even greater things to come, and I sense you're already moving towards your next project. Could you give us a small glimpse of what the next album might be like?



StevenFor me, albums take time to create, so I'll state upfront that the next album won't be released until 2012 at the earliest. With that said, I envision the next album being more stripped-down compared to this one—less layered, with thinner sonic textures. I want it to feel more intimate, as if you're in the room with me while I'm creating the sound. I aim to create a simpler work that fosters a greater connection between the listener and myself.

MatsuuraOne of the concepts of this program is that music can profoundly influence our lives through chance encounters. For me, the song "APHRODESIA" by Kenny Dorham in my youth was what led me into this world. As my final question, if you could recommend just one song that has greatly influenced your life so far, what would it be?



I still listen to it occasionally, but when I was 10, I listened to it over and over again and was moved, and I still am. Perhaps saying "moved" sounds strange, but that album undoubtedly had a significant impact on me.

Matsuurathank you very much!

StevenArigato.