I feel like there's something that Warp Records is looking for when they're signing a new artist. It's often said that the label's philosophy is to produce 'tomorrow's classics' (and enormous forward-sightedness is true of many of their artists), but 'futuristic' is a label that probably fails to do justice to the latest album by American hip-hop producer (and more) Steven Ellison, a.k.a. Flying Lotus. In the same way that Warp labelmates Boards of Canada or Squarepusher achieve in their music what could be described as a remix of history itself (often drawing influences from jazz, 50s ballroom music and even the corny synthy music of educational nature videos), Flying Lotus scans the vast global musical tapestry of the 20th century's and filters it through the lens of the 21st. The result is Los Angeles, Ellison's second album, and in my opinion a really fluid, dynamic and scintillating work.

Los Angeles is at once an album of contrasts: the opener, Brainfeeder, features a full bodied synth melody (so scifi you can practically see the spaceships spinning across the sky) against the scratchy vinyl interference of one of your grandad's old records, two completely incongruous elements which work impeccably well together. In fact, the pops and clicks of vinyl is a sound that continues across the entire album, an idea which, while could be criticised as an easy method of giving an album a certain vintage quality, never falls to the level of gimmickry. Ellison's use of this lo-fi aesthetic is instrumental in selling some of the album's best ideas, from the gorgeous atmospheric drum ceremony in Melt! to the swaggery chillout in Golden Diva.

Flying Lotus's talent also lies in his ability to reimagine and invigorate old sounds which have the danger of sounding kitsch to modern ears. Testament, with its impassioned vocals and deep cello plucks is a beat-driven track in the style of 90s trip-hop (arguably with the same cabaret flavour as Portishead). GNG BNG on the other hand is like a corrupted throwaway beat experiment from the 80s hip hop archives, what with its decadent use of sitars and xylophones; but then, when the hyperactive snares and peaking synth kick in,  transforms into the sort of electrorock Air might have been making circa Moon Safari. You might not feel like the sounds on Los Angeles  are alien to you, but there's no doubt that you'll hear them in a completely different way.

Aside from the retro stylings, this is an album where Ellison really showcases his talents as a music producer. His brand of slippery, syncopated beats don't lose their edge or run out of steam at any point on the album, and there's enough broadness in his musical scope to always keep your attention; the beats and sounds in a track like Camel sound incomparably different to that of the brooding Riot or uppity Sleeping Dinosaur, but they all match each other in idiosyncracy. Overall, Los Angeles matches fascinating ideas with inspired execution, and not only is there something new to discover with each listen, it's endlessly enjoyable to listen to.

A feast for the ears and the brain: 8.0