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SUICIDEYEAR

Suicideyear

Hate Songs

    LuckyMe Records present acclaimed young producer Suicideyear. Six fresh tracks recorded in his new home of New Orleans that showcase his continued development at the forefront of futurist hip hop production. Each track glistens and evolves in its own way from the warmth of ‘Summer Hate’ through to the more club oriented ‘Mosh Mosh’ and ‘Spent Days Watching Horses Die’, everything remains within his unique outsider viewpoint on the city - in his own words, “Meant for listening to on the i-55 to New Orleans from Hammond.”

    Suicideyear AKA James Prudhomme hails from the home of No Limit records - Baton Rouge, Louisiana. His music is very much a product of his environment - the menacing sound of tuned 808 drums coupled with angst-ridden emotive synth work, inspired by listening to shoegaze and punk bands throughout his formative teenage years.

    First coming to attention via his split single with Kaytranada on ‘Bromance’ in 2013, it led him to releasing the highly praised ‘Remembrance’ EP on Oneohtrix Point Never’s Software label alongside a vinyl reissue of his 2013 beat tape ‘Japan’.

    LuckyMe first met him whilst on tour with S-Type in the South, leading to numerous collaborations including a stellar reworking of Jacques Greene’s ‘After Life After Party’ and joining the crew’s SXSW showcases and numerous other live events. 


    Suicideyear

    Remembrance

      'Remembrance' is the Software Recording Co. debut from Baton Rouge's Suicideyear (born James Prudhomme). Written and produced between Florida and Louisiana during the summer and fall of 2013, 'Remembrance' recalls those southern US landscapes and Prudhomme’s experiences across eight songs equally intimate, intoxicating and mercurial.

      We first fell in love with Suicideyear by way of his Japan mixtape, a remarkable convergence of ATL trap beats and mid-late century American minimalism that turned and twisted more than a few heads. Software's own label head Daniel Lopatin was privy to an eerily similar convergence at an All Tomorrow’s Parties festival one year earlier in which two performers, Big Boi and Terry Riley, converged at a nearby Burger King. When James revealed his childhood adoration for Speakerboxxx, we knew it was on.

      Prudhomme wrote 'Remembrance' while reflecting on themes of love and loss against the backdrop of the deep American south he calls home.

      James’ experiences of reflection and resolution led to the vivid, emotionally charged production that makes up 'Remembrance'. Alive with an idiosyncratic sense of melodic space, his repertoire eschews a topical palette for a personal aesthetic that offers a visceral love letter to abstraction. Prudhomme references both forms we know to exist and speculates on how they can be newly realised.


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