Logjam Presents

Flying Lotus in 3D

Brandon Coleman Spacetalker

Salami Rose Joe Louis


The Wilma

Missoula, MT
Add to Calendar 08/14/2019 20:00 08/15/2019 01:00 America/Boise Flying Lotus in 3D

Logjam Presents is excited to welcome Flying Lotus in 3D for a live concert performance at The Wilma on August 14, 2019. Tickets go on sale Friday, May 3rd at 10AM at The Top Hat, online or by phone at 1 (800) 514-3849. All tickets are general admission standing room only. All ages are welcome. Additional ticketing and venue information… Continue Reading

Logjam Presents - Missoula, Montana false MM/DD/YYYY
7:00PM (door) 8:00PM (show)
$29.50 (Adv.) $32.50 (DOS) + applicable fees
All Ages
Tickets Event Info

Logjam Presents is excited to welcome Flying Lotus in 3D for a live concert performance at The Wilma on August 14, 2019.

Tickets go on sale Friday, May 3rd at 10AM at The Top Hatonline or by phone at 1 (800) 514-3849. All tickets are general admission standing room only. All ages are welcome.

Additional ticketing and venue information can be found here.

About Flying Lotus

You see, no one likes talking about death.

But Flying Lotus has never been one to lead the people on a simple journey.

With You’re Dead! he has managed to create a shamanic pilgrimage into the psychedelic unknown of the infinite afterlife. At once reflective, restless, heart wrenching and joyous, this is a melodic ode to those who have died young, suddenly and unexpectedly — those who have passed away into another realm completely — while also existing as a comfort to those mourning the loss of a loved one, those left behind in our here and now. You’re Dead! serves as an exploration, a eulogy and a portal between these parallel domains.

“My perspective comes from having lost a lot of people. A lot of my family members passed, but a lot of my colleagues passed away too soon,” says Flying Lotus. “I felt like in my own experiences, I wanted them to have this same sense of self.”

Musically, the album treats death as a transition from one experience to another, from one dimension of sound to another. Masterfully, Flying Lotus bathes death in the sensitive, affectionate light of a storyteller.

Flying Lotus takes listeners on a consciousness-fracturing journey as they follow those who’ve passed away as they embark on their tender new existences “on the other side.” This life in the new dimension is rife with excitement, adjustments and reconciliation for some who are struggling to make sense of how they got to the other side in the first place.

“The album isn’t about the end,” says Flying Lotus. “It’s really the beginning. It’s the beginning of a new experience,” he says. “It’s not hey you’re dead,” he says somberly. “It’s hey you’re dead!” he says with an uptick of enthusiasm. “To me it’s a celebration of the next experience. Also, it’s the transition and the confusion,” he adds. You’re Dead! is a hefty undertaking, but Flying Lotus aptly creates an engaging sonic delight, part spiritual carnival, part melancholic symphony, all the while coaxing listeners out of their fears of the unknown — and sometimes indulging those same fears. This aural procession through the afterlife does not trade on our clichéd catalog of pop-culture references to extinction. You won’t find grim reaper-referencing rote drama, or the pallid somber palette of reverential muzak. This is a sonic, visual and metaphysical fusion of technological innovation and technical virtuosity that amounts to a transcendent, mind-expanding plasm that could only exists between our world and another.

Land of History & Future

Always existing simultaneously as an insider and outsider in the great lineage of jazz, here Flying Lotus has taken up the mantle of a generation. “I really wanted to do something that came from the jazz spirit instead of a beat record,” he says.

In thus in the spirit of the great fusion collectives of the 1960s and 70s, so has Flying Lotus’ universe of supporting cast expanded and evolved to encompass incredible musicians, visual artists and personalities, young and old. “I recorded every instrument individually. There was never a set band,” he says. “I can’t write sheet music, so it’s better for me to work with each person and perfect each part.”

“I had so much fun making it because I got to try different techniques. I got into all kinds of techniques; I tried to bring in techniques from old jazz records and psychedelic rock records into how I mixed things and arrange things.” Flying Lotus credits his work with Thundercat on previous work for opening him beyond the more solo work of the beat producer to collaborative work with musicians. “I’ve never been so open to the process as I was with this album,” he says. Thundercat co-produced several songs and wrote the eerie “Descent into Madness.”

The gravity of this musical utopia has been growing ever stronger over time, and so it attracts very powerful travelers. Here, this includes Kendrick Lamar and Snoop Dogg. These living legends provide a recognizable lifeline from the hallucinatory turmoil of the afterlife back to present-day Los Angeles. In fact, when Snoop, Kendrick and the cunning Captain Murphy are present you’re privy to an evolutionary triptych of the history and future of Los Angeles hip-hop mould-breaking.

Speaking of history and future, the pairing of jazz legend Herbie Hancock and Flying Lotus is a supreme highlight of You’re Dead!. Playing the Fender Rhodes, the iconic electric piano that Hancock himself popularized over myriad essential recordings, the meeting of two generations of jazz fusion innovators is a historic occasion.

It was the coolest,” says Flying Lotus of working with Hancock. “In the middle of a take he’ll tell you a story about Miles Davis for 20 minutes. I was really flattered that he wanted to be a part of my music.”

The twosome challenged themselves. “We were trying to figure out how to make a jazz record that feels new. We said, what if Miles came and they showed him all the jazz records made today. We wanted to have a jazz record that would fuck him up.”

Eternity Trip

The album’s opening piece is a pure sonic manifestation of the moment of ending. This wrenching into a new and unfamiliar setting quickly ushers in “Tesla,” a searching for equilibrium in new and impossible surroundings. “Cold Dead” finds metaphysical eternity and futuristic fusion jazz locked in an acid-fried shredding match for the prizes of minds and souls. “Never Catch Me” is a sprint through a netherworld as Kendrick Lamar flaunts death with equal parts world-beating confidence and introspective conviction. “Life and death is no mystery and I’ve won against it,” raps Lamar.

“Dead Man’s Tetris” plays with the pogo stick harmonics of the nostalgia-inducing video game and features Snoop Dogg and Captain Murphy trading verses about flirting with death and those musical legends who now reside in the hereafter, in which they find themselves upon the mic.

“Stirring” maintains this sense of vertigo as it slips into “Coronus, The Terminator.” This screwed soul dirge drags itself past the ghosts of ATLiens and Soulquarians while splicing the DNA of the classic sci-fi film with the saga of You’re Dead!. “Siren Song” sees Angel Deradoorian lead a wordless incantation over a chiming mystical backdrop, seamlessly morphing into the fourth-world tumble of “Turtles” and onto “Ready Err Not” a creeping radiophonic transmission which marks the mounting curiosity of the journeyer around the idea of death.

“Descent into Madness” features Thundercat and highlights the heavier side of this exploration with a heavy dose of kaleidoscopic soul operatics, while on “The Boys Who Died in Their Sleep” Captain Murphy scours prescription meds for the right cocktail to “take the pain away.” Slipping into the album final suite of songs there is much resolution and yet much that is left to the listener to internalize, questions to be answered by looking inside.

You see, no one likes talking about death.

But Flying Lotus has never been one to lead the people on a simple journey.

Brandon Coleman Spacetalker

Brainfeeder is proud to present “Resistance” – a 2018 Funk odyssey by keyboard maestro, vocalist, composer, producer, arranger and astral traveler Brandon Coleman. A regular fixture in the scene with Donald Glover and Kamasi Washington’s band, wylin’ out on the keys or wielding his keytar, he is introduced onstage at gigs as “Professor Boogie” by his longtime friends and collaborators. “Resistance” – released September 14th, 2018 via Brainfeeder – represents a new chapter in the Funk dynasty that spans George Clinton / Parliament Funkadelic and Zapp through to Dr. Dre, DJ Quik and Dam-Funk as the Los Angeles resident salutes his musical heroes – Herbie Hancock, Peter Frampton, Roger Troutman – and honors their ethos of freedom and experimentation in his search for Funk’s future.

Lead track ‘Giant Feelings’ features contributions from Kamasi and the close-knit band of musicians with whom he has toured since releasing “The Epic”, and it has been a regular fixture in their setlists. “I wrote ‘Giant Feelings’ for the band… for Kamasi, Miles [Mosley], Ronald [Bruner], Stephen [Bruner]… all those guys. I wrote it for us to play,” he explains. Diving into a slumped-out synth funk groove at the outset before building to its soaring orchestral apex, the track features lead vocals from Patrice Quinn. “I’ve been waiting to work with a voice like Patrice for my whole career,” says Brandon. “Her voice is as timeless as Ella Fitzgerald or Billie Holliday, it just radiates love.”

Salami Rose Joe Louis

Salami Rose Joe Louis (real name Lindsay Olsen) – the Bay Area based musician, composer, and producer – will release her new album “Zdenka 2080” via Brainfeeder on 30 August 2019. It follows a busy start to the year in which she joined Toro Y Moi’s “Outer Peace Tour” in the US and supported The Cinematic Orchestra on their European tour.

Olsen hails from Crockett in Northern California. “It’s a tiny, very strange and sleepy little town. There is a giant sugar factory and the whole town often smells like marshmallows and caramel, which is ideal,” she says. She lives in the basement of her friend’s house which is the perfect place “to get very weird”. In 2017, in the wake of the release of her album “Zlaty Sauce Nephew”, Olsen sustained a wrist injury in a car accident that forced her to miss a fortnight of her regular job at an asbestos lab in Berkeley. Serendipitously, this coincided with one of her tracks unexpectedly being licensed for a TV commercial and Olsen decided to take the plunge. “I felt like it was a sign from the galaxies to take the leap to concentrating on music full time,” she smiles.

Drawing inspiration from film, literature, art, and music, “Zdenka 2080” was heavily influenced in particular by a series of apocalyptic sci-fi novels by Octavia Butler and Gene Wolf. “They inspired me to explore the realms of fantasy as a means of illuminating concepts and truths about our own society and humanity,” she says. “I also was very inspired by the movies Tekkonkinkreet and Embrace of the Serpent – a beautiful exploration of capitalism, colonialism and greed.”

Musically, Olsen references fellow members of Oakland record label/musical family Hot Record Societe: Cheflee, Mejiwahn, Asonic Garcia and Pacific Yew as ever present influences, alongside musical giants Shuggie Otis and Herbie Hancock, composer, bandleader and all-round visionary Raymond Scott, plus the likes of Stereolab and Flying Lotus.

“Sometimes my songs can be very silly and whimsical,” Olsen explains – with new single ‘Cumulous Potion (For the Clouds to Sing)’ being a case in point. “Sometimes they are more serious and emotional. I was looking for a way to weave all of my styles into a cohesive narrative, and I found a lot of inspiration in the way often movies and shows in the animé tradition seamlessly connect the whimsical, silly, serious, and meaningful.”

Olsen’s music is highly conceptual and “Zdenka 2080” describes a future dystopian Earth in the year 2080 that has been mis-managed by unethical governments and corporations. An initiative by greedy big business to capture solar energy to power a super-sized spaceship, results in a rapidly cooling Earth, and the elite escape via the spaceship to colonize another distant planet. The earthlings left behind find themselves fading with the cooling sun. The first half of the album follows the journey of a young earthling left behind. She discovers an octagonal room with eight paintings, each one leading to a new dimension, and travels through the dimensions in search of a way to save her planet. Her journey eventually leads her to a window where we discover that the octagonal room is the brain of the Earth and the paintings and coinciding dimensions are the thoughts of the Earth creature. The imagery of the paintings affect the thoughts of the Earth creature. Zdenka is the name of the artist who creates the paintings inside the octagonal room. Thus, she can influence the thoughts and actions of the Earth creature and humans on Earth based on what she paints. In this story, Zdenka is lost and confused and she paints very dark imagery. The young earthling begins a quest to find and convince her to paint more positive imagery.

Olsen says that her moods are often very connected to whether or not she is feeling creatively inspired and productive. “I have noticed creative blocks for me can be dark spirals into ego-centric, self loathing, isolating, and selfish tendencies,” she explains. “In this story, I wanted to explore the ways in which art can easily take dark and careless turns, but how important it is to remember the effects art has on others. I am not advocating for optimistic art only – I just wanted to write this story as a reminder to myself to strive to be intentional in the art I create.”



PBDY is the alias of Paul Preston, an LA-based DJ, producer of Brainfeeder, and founder of TAR, a rising label and artist collective. Discovering a love for music in his early years in Phoenix, PBDY began his first musical experiments after purchasing an MPC and some turntables, and no sooner was he DJing around town as much as possible. The next step was a move to Los Angeles, inspired by Flying Lotus, who, too, was just starting his career, and suggested via Myspace that PBDY take the jump. By July 2011, PBDY was settled on the West Coast, keen to immerse himself in LA’s beat scene “I had no-one out here, but it felt like home right away,”

Together with Jeremiah Jae, PBDY began blending his own sounds with Jeremiah’s raps, the results of which have arrived via a Brainfeeder mixtape in 2016  under the alias JP Moregun.

PBDY’s solo material remains a work in progress—although it has surfaced only to be deleted soon thereafter. He is now working on his debut solo record for Brainfeeder. As a DJ, he’s supported both Thundercat, The Cinematic Orchestra and Flying Lotus on world tours.