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. “Remembrance deals with letting go,” Prudhomme explains. “The name stems from my attempt to accept the loss and difficulty of the past year without dwelling, instead trying to move on.”
James’ experiences of reflection and resolution led to the vivid, emotionally charged production that makes upRemembrance. 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 (“Caroline”, “U S” and “When You Sleep”) and speculates on how they can be newly realized (“I Don’t Care About Death Because I Smoke” and “Hope Building A”).
Remembrance proves a mature turn for Prudhomme without discounting his wisdom – and experience – already beyond his years. His obsessive focus on construction, attention to detail and elusive self-reflection is embodied in a music devoid of language. That it speaks so clearly tells us its the real thing.