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░░ ░ ░ ░ ░ ░ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ ▄▄▄▄▄▄▄▄▄▄▀▀▀▀▀▀▀▀ ▀▀▀▀▀▀▀▀▄▄▄▄▄▄▄▄▄▄ ▄█▀ ▄▀ ▀▄ ▀█▄ █▓▀▀ RELEASE INFORMATION for: ▀▀▓█ ▓▒ Dirty_Projectors-Flight_Tower-WEB-2020-ENTiTLED ▒▓ ▒░ ░▒ ░ 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 ░▒ ▓▒ ▒▓ █▓▄ ▄▓█ ▀█▄█ █▄█▀ ▀▀▀▀▀▀▀▀▀▀▄▄▄▄▄▄▄▄ ▄▄▄▄▄▄▄▄▀▀▀▀▀▀▀▀▀▀ ░▓▄ ▀ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ ▀ ▄▓░ ██ ██ ▄▀▀▀ ------------------------------------------- ▀▀▀▄ ▀▀█ · ·< t r a c k . l i s t >· · █▀▀ █▀▓ ------------------------------------------- ▓▀█ █▀ ▀█ ▀▄ ▄▀ █▀ ▀█ █ █ ▀ ▀ ▒ ▒ █ █ ▀ ▀ █ 01 > Inner World < 02:22 █ █ 02 > Lose Your Love < 02:48 █ █ 03 > Self Design < 03:06 █ █ 04 > Empty Vessel < 02:19 █ ▄ ▄ █ █ ▒ ▒ ▄ ▄ █ █ █▄ ▄█ ▄▀ ▀▄ █▄ ▄█ █▄▓ ▓▄█ ▄▄█ █▄▄ ▀▄▄▄ ▄▄▄▄▄▄▄▄▄▄▄ ▄▄▄▀ ██ ▄▄▀▀▀▀ ▄▄▄▄▄▄▄▄▄ ▀▀▀▀▄▄ ██ ░▓▀ ▄▄▄█▄█▄█▄▄▄▄▀▀▀ ▀▀▀▄▄▄▄█▄█▄█▄▄ ▄ ▀▓░ ▄▄▄▄▄▄▄▄▄▄▀▀▀▀▀▀▀▀ ▀ ▀ ▀ ▀ ▀▀▀▀▀▀▀▀▄▄▄▄▄▄▄▄▄▄ ▄█▀█ █▀█▄ █▓▀ · ·< RELEASE NOTES >· · ▀▓█ ▓▒ ▒▓ ▒░ ░▒ ░ ░ 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. ░ ░ ▒░ ░▒ ▓▒ https://play.google.com/store/music/album?id=B47xuo4ef4vpgx7lvza5ihkmqgu ▒▓ █▓▄ ▄▓█ ▀█▄█ █▄█▀ ▄ ▀▀▀▀▀▀▀▀▀▀▄▄▄▄▄▄▄▄ ▄▄▄▄▄▄▄▄▀▀▀▀▀▀▀▀▀▀ ▄ ██▓▀ ▀▀▀▀▀▀▀▀▀▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▀▀▀▀▀▀▀▀▀ ▀▓██ █▄▀ ▀▄█ █ · ·< GREETINGS >· · █ ▄% %▄ █▀ ▀█ ▄% %▄ █▀ Shout out to all of those who keep the dream of the scene alive. ▀█ ▄% %▄ █▀ Special thanks to those who have paved the way and parted. ▀█ ▄% %▄ █▀ We miss you! ▀█ ▄% %▄ █▀ ▀█ ▄% %▄ █▀ ▀█ ▄% %▄ █▀ ▄ ▀█ ▄% █ %▄ █▀ ▀▀▀█▀▀▀ ▀█ █% ▄▄▄▄▄▄▄▄▄▄▄ ▄%█ █▀▄▀▄ ▄▄▀▀▀▀ ▄▄▄▄▄▄▄▄▄ ▀▀▀▀▄▄ ▄▀▄▀█ ██▓▄ █▄▄▄▀▀▀▄▄▀ ▀ ▄▄█▄█▄█▄▄▄▄▀▀▀ ▄ ▀▀▀▄▄▄▄█▄█▄█▄▄▄ ▀ ▀▄▄▀▀▀▄▄▄█ ▄▓██ ▀ ▄▄▄▄▄▄▄▄▄▄▀▀▀▀▀▓▀ ▀▀█▀█▀█▀▀▀▀▄▄▄ ▀▀█▀▀ ▄▄▄▀▀▀▀█▀█▀█ ▀▀▓▀▀▀▀▀▄▄▄▄▄▄▄▄▄▄ ▀ ▄█▀█▄▄▄ ▀▀█▄█▀▀ █▄▄▄▄ ▀▀█ █ █▀▀ ▄▄▄▄██ ▀▀█▄█▀▀ ▄▄▄█▀█▄ █▓▀ ▀▀▀▄██▄ ▀ ▄▄██▀▀ ▀▀▀▀ █ ▀▀▀▀ ▀▀██▄▄ ▀ ▄██▄▀▀▀ ▀▓█ ▓▒ ▀▀██▄▄▄█▀▀▀ ░ ░ ▀█▀ ░ ░ ▀▀▀█▄▄▄██▀▀ ▒▓ ▒░ ▀▀ ▄▄ + ▒ ▒ ▄ ▒ ▒ + ▄▄ ▀▀ ░▒ ░ ▀▀▓██▀▀▀▀▄▄▄▓▀▓ o ▓▀▓▄▄▄▀▀▀▀██▓▀▀ ░ ▄▄▄▄▄▄▄▄ ████████▄▄▄ ▀▀▀▀▄▄▄▀▀▀▀▄▄▄▄▄▀▀▀▀▄▄▄▄▀▀▀▀ ▄▄▄████████ ▄▄▄▄▄▄▄▄ ▄▀▀▓██████ █████████████████▄░ ▀▀▀▄▄▄▄▄▄▄▀▀▀ ░▄▄█████████████████ ██████▓▀▀▄ ▄██████▓▓░ ░▒▄▄▄▄█▄ ▄█▄▄▄▄▒░ ░▓▓██████▄ ▀ ▀▀▀▀ ▀▀▀▀