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grime, among them." He criticized the instrumentals for being "weirdly detached, uncanny-valley version" of these styles: " relationship to both these genres and the guest appearances brought into the fold is a top-down one rather than ground-level; no wonder these beats sound so pristinely lofty juxtaposed with their vocals." He also battered the quartet for using art school-level ideas to gain a huge amount of attention from the press, given that the LP's featured artists had been receiving far less popularity: " This is both telling with regards to issues of class and privilege, and also an immense shame. Future Brown has failed to recognise their collaborators as innovators of long standing in their own right." Garvey wrote that "itâs about everything and nothing, partying and post-postmodernism, global street music and the New York art world, commodity fetishism and basketball," but these concepts were unidentifiable when listening to the music itself, and the songs are actually "weirdly unremarkable."
1178:, on the other hand, stated that while the modern art associations with Future Brown were "unavoidable," an album "should be judged on its own merits and underpinnings, not past or peripheral ones." Wilson stated Future Brown were not entirely to blame for their appropriated representations of other styles, nor for the lack of success of the featured artists: "The collective have previously revealed that the project comes with no manifesto and all of the collaborations were conducted in a studio. It doesnât appear that the collective remained anonymous, lofty outsiders to those involved Macpherson and Garvey should look to critiquing the prejudices of their colleagues before firing barbs at young bands."
982:'s dynamic and unique production. He wrote that it contained "strange, new sounds" that "challenge what perceptions you may have had of the vocalists," and each instrumental is "constantly evolving, swelling and shrinking, to complement the vocalistsâ acoustics. Not only do they know that less is more, they know when to execute it." He also complemented how diverse the set of featured vocalists were, noting that they gave the album the feel of "a personal mixtape that four friends put together for your own enjoyment."
1120:-level concepts behind it and criticized the album based on that. While Garvey acknowledged that Future Brown claimed themselves to be "a free-form, vibes-based passion project, steered by the unrestricted contributions of the featured collaborators as much as the producersâ whims," both reviews used the album's promotional material (particularly the music video for "Vernuculo"), the group members' previous experiences in the modern art community, and the fact that
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originality, intellectual and commercial value, and a healthy predilection for the familiar." He noted that the record's wide range of stylings and sounds "easily coalesce, and the record feels expansive and worldly as a result." However, he also noted that a few of the tracks were "sterile and shallow" because they "reveal how thin Future Brownâs methodology actually is when the novel elements donât come together."
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writer Jordan
Sargent claimed it to be an example of issues that result from most music publications developing "coherent, identifiable taste, which becomes a problem when artists you once stumped for begin to suck." He reasoned that "artists are the ones who, theoretically, attract readers. So while
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for "highlight" the LP's featured artists of many different genres "rather than attempting to sand down everything to find common ground." Slingerland wrote that the album's musical variety "gives the record's impressive roster of vocalists plenty of space to work with, ranging from the smoothest of
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Macpherson suggested the band intended to make a record promoting "cultural hybridity, to make, so says their press release, âconnections between global street soundsâ," and that "articles about them tend to reel off the names of these global genres in an awed tone â footwork, cumbia, reggaeton and
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formats on
November 3. Future Brown wanted to sign with Warp because of the album's big production budget. Imanian-Friedman said in an interview, "Warp were very experienced: they understood what we were trying to do and weren't trying to alter our vision in the slightest, which is really just what
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post, reasoning that they were "proliferating theories and false notions of a malicious nature that have no factual bearing." She summarized the following: "Writers who see fit to assert a theory or thesis on behalf of an artist when there isnât one, or posit a privilege or claim of appropriation
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Fatima Al Qadiri and Asma Maroof were the first to notice that they, Daniel Pineda, and Jamie
Imanian-Friedman (J-Cush) had all been working together on various solo projects. Qadiri and Maroof had thought about working together in person for a year after meeting on the internet, "and me and Jamie
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as having a "transcultural discord," where it "toys with an unconscious web of associations, partly generated by our casual consumption of cross-continental music." Fitzgerald described the musical content as "the manifestation of our post-modern obsession with a universal social uplink, a record
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asked questions about sources stating the album was appropriating foreign musical styles. J-Cush said that he was frustrated by the responses, reasoning that the group simply wanted to "bring people together on a record and make something special." He also had a reason for the album's accidental
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described as "raucous club rhythms, graceful melodies, icy synths, and enchanting percussive licks" that "call out to different corners of the planet." The LP contains many signature aspects of the works of Qadiri and
Nguzunguzu, including "hushed synthesizers, tropical percussion inflated with
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most editors and writers would love to write as bluntly as possible about the music they cover, the truth is that the health of every magazine and website depends, to varying degrees, on which artistsâand PR firms and labelsâfeel comfortable enough with your coverage to continue to play ball."
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sided with the reviewers in this conflict, reasoning that " seems correct in assertion that Future Brown, not the critical community, are the ones who affixed high-concept baggage to their music via Art Basel exploits and loaded graphic design." The source also stated, "musicians donât get to
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superior to most records that are heavy on collaborations in that "the group take the time to understand and mold to the artists they're working with." Colin
Fitzgerald stated in his review of the album, "Unlike most supergroups of years past, Future Brown fulfill all the criteria for success:
29:
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claimed that the featured artists "display an intensity and character that is absent from the music," summarizing, "Every track on Future Brown is expertly constructed and polished, but rather than an exhilarating modern collaboration, it sounds like a curated exhibition."
594:, which lasted from December 4 to December 5, 2014, and then released online on December 17, 2014. Described by the museum's official website as an "exercise in capitalist surrealism," the video "appropriate" methods of advertising used by companies such as
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opined that while "certain tracks on the album illustrate the kind of promise youâd expect from four of the worldâs most eclectic production entities," the album suffered from a lack of "direction" and occasionally being "so derivative itâs infuriating."
400:. 90% of the songs were done by the group together in person, Qadiri explaining that "only minor editing has been done over the internet or remotely." Only roughly half of the album's featured guests recorded in the studio. These included American rapper
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appropriation: "When you're making music and thinking about who you want to spit on the tune, that affects what comes out. If you wanna have somebody like Riko or Rapid or Skepta come do a tune, you should think about how they're gonna fit on it."
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had just hatched the idea to start working together, so we just had a very quick conversation about why is this happening, and that we should all work together," explained Qadiri. Future Brown started sketching songs in early 2013 in a studio in
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and accents such as
American, British, and Jamaican. The record's set of collaborators include reggaeton acts and rappers mostly from Chicago and London. This has led multiple reviews to mislabel the LP as a pro-cultural-diversity album (see
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Because Red Bull Music
Academy had a long previous history of promoting members from Future Brown, the publication had to remove Macpherson's review from the website by having the link for it redirect to a positive interview with the group.
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described it as "an album full of smart ideas, genre hopscotching and next- level brainstorming. The constant ducking and diving between hip-hop, dancehall, grime, rânâb and electronica results in an imaginative rush of sound."
1014:: "Future Brown unabashedly push the needle forward on stark "post-Timberland" production values by ceding the floor to a worldwide underground of vocalists whose hooks, melodies and attitude give the music a familiar shape."
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review by Bryan Hahn analyzed the music having a "cold, metallic vibe" where "most of the sounds used would be nearly impossible to recreate with acoustic instruments, giving you a feeling of distant familiarity at best."
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without access, proof or knowledge, create a hostile environment for artists and readers who demand credible journalism, filled with genuine criticism and facts, good or bad." In a 2015 interview with Future Brown,
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Ryce wrote that the "group's individual backgrounds blend together like watercolour paints, creating a consistent, adaptable style that works well across such a wide spectrum of sounds." He also found
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claimed the record challenges the existence of "English being the predominant language of popular music" and the amount of white male electronic music producers. Journalist Jazz Monroe analyzed
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also deals with serious subject matter. "Asbestos" is a song about racism, where grime rapper Dirty Danger says that because his "jeans low and my face too black," he's unable to appear on
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album fusing together genres from a variety of different cultures and backgrounds. It features several rappers and musicians also associated with from a diverse set of music scenes such as
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404:, who appears on two tracks on the album, "Room 302" and "Wanna Party," and had vocals for both of the tracks be tracked in Future Brown's studio all in around two hours.
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described it as "a collection with the thinnest of underlying threads to keep things from falling apart, each track standing completely apart from the rest."
375:. However, the LP's critical reception also garnered controversy, as Future Brown lambasted some reviewers for suggesting that the group intended to have
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prophetic of a global future where world cultures converge and evolve as one, thereby representing the progressive ideals of contemporary life."
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dictate how their music is perceived, and human beings in general arenât always aware of how they might strike other people." Tim Wilson of
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never once feels overwhelming, making the trip through these sounds from a futuristic dance floor satisfying throughout." Irish critic
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titled "Is Future Brownâs Shtick 4Real?," which was published on
February 17, 2015. Both Macpherson's review and an article for
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was also promoted with two other pre-album track releases, "Talkin Bandz" on
December 4, 2014, and "Room 302" January 8, 2015.
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Labeled by Colin
Fitzgerald as "richly textured and cleanly mixed," the record has what some critics described as a futuristic
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Writer Alex Macpherson, however, opined the album actually appropriated musical styles in a negative review of
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magazine premiered Future Brown's first single, "Wanna Party," which landed at number 26 on a list by
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reverb and a sense of space that leaves the spotlight on the guest artists," wrote Andrew Ryce. As
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leader Charles Damga was responsible for investing both a studio pace and vocal features for
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1887:"Exclusive Interview: Future Brown â âAt the end of the day this is kind of a fan project."
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1353:. Co-production on "Wanna Party" by Mike Q. Additional writers and vocal mixers are noted.
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fusion of multiple genres from a variety of nations and cultural backgrounds, including
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garnered negative attention from members of Future Brown as well as several readers,
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2083:"Controversy Over Future Brown Criticism More Interesting Than Future Brownâs Album"
1780:"Future Brown: Future Brown review â global R&B/hip-hop cool doesnât quite bite"
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on February 15, 2018 before Warp released it to other formats on February 23, 2015.
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was responsible for the cover art as evidence the LP was something more than that.
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sound that is "counterpoint" by its lyrical content about partying, Killian Fox of
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2232:"Future Brown ready Warp debut, enlist rapper 3D NaâTee for âWanna Partyâ remix"
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arrangements were the most similar to those on Qadiri's debut full-length album
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in terms of language, where she rhymes the Spanish word culo with vernĂĄculo.
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302:, J-Cush, and members of the duo Nguzunguzu (Asma Maroof and Daniel Pineda).
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claimed that, despite encompassing a wide variety of guest acts and genres,
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as a way to commentate on fake standards set by beauty product commercials.
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claiming that they "rippled fast and divisive through the caverns of music
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2175:"Future Brown interview: "When things are definable, itâs less exciting.""
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based on a high-level thesis. Al Qadiri called the reviews "attacks" in a
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soul singers to the sharpest emcees," also writing that "the diversity of
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In addition to lyrics about sex and getting drunk usual for party music,
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wrote. Critic Calum Slingerland wrote that the record's clean sounds and
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magazine of the best tracks of 2013. A remix of "Wanna Party" featuring
2619:"What Happens When a Soft Drink Brand Is Scared By Its Own Journalism?"
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2488:"Review: Future Brown Go For Broke on Guest-Stuffed Self-Titled Debut"
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2005:"Future Brown: Future Brown review â party vibes with a sci-fi sheen"
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475:. "No Apology" deals with female empowerment, while on "VernĂĄculo,"
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2599:"View From The Side: Never Assume â The Future Brown Debacle"
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1938:"Future Brown Makes Music For The World We Actually Live In"
1539:"Killing Time" (featuring Johnny May Cash, King Rell and YB)
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The video for "VernĂĄculo" was first presented at the 2014
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and landed on the year-end lists of publications such as
1349:, and mastered by Dave Kutch at The Mastering Palace in
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2326:"Future Brown Announce Debut LP, Share âTalkin Bandzâ"
2151:. Red Bull Music Academy. Retrieved March 11, 2018.
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2696:. January 3, 2016. p. 4. Retrieved March 10, 2018.
2654:"Exclaim!'s Top 10 Electronic Albums Best of 2015"
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291:is the self-titled debut studio album by American
2290:"Future Brown â âVernĂĄculoâ (Feat. Maluca) Video"
342:members Dirty Danger, Prince Rapid, and Roachee.
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2309:"Five things you should know about Future Brown"
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1870:"Future Brown, the underground dance supergroup"
1086:described it as a pro-cultural-diversity album.
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2680:. December 17, 2015. Retrieved March 10, 2018.
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2252:"Boundary-Free Work: Future Brown Interviewed"
2222:. December 16, 2013. Retrieved March 11, 2018.
2196:"Premiere: Future Brown f/ Tink "Wanna Party""
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1151:." The band claimed that they weren't making
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1403:"Talkin Bandz" (featuring DJ Victorious and
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570:, was distributed on September 16, 2014 via
2388:Official Website. Retrieved March 10, 2018.
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2729:. June 16, 2015. Retrieved March 10, 2018.
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2273:"Future Brown: VernĂĄculo featuring Maluca"
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1065:was "stilted and clinical." A critic for
2343:"Future Brown And Tink Enter âRoom 302â"
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2025:Slingerland, Calum (February 24, 2015).
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978:Hahn placed a majority of the praise on
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2324:Fitzmaurice, Larry (December 4, 2014).
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1604:Dirty Danger, Prince Rapid, and Roachee
1240:Best of 2015: Top 10 Electronic Albums
2859:
2608:
2398:"Future Brown by Future Brown reviews"
2363:"Review: Future Brown, 'Future Brown'"
2147:Macpherson, Alex (February 17, 2015).
1631:
1598:
1497:"Dangerzone" (featuring Ian Isiah and
2739:
2617:Sargent, Jordan (February 28, 2015).
2524:Lyons, Patrick (February 19, 2015).
2486:Carley, Brennan (February 26, 2015).
2443:Garvey, Meaghan (February 26, 2015).
2361:Battaglia, Andy (February 15, 2015).
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1006:) for its combination of elements of
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16:2015 studio album by Future Brown
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2505:Ritchie, Kevin (February 18, 2015).
2477:
2081:DeVille, Chris (February 27, 2015).
1903:
1816:Fitzgerald, Colin (April 26, 2015).
1778:MacInnes, Paul (February 26, 2015).
2288:Rettig, James (December 17, 2014).
1137:Garvey and Macpherson's reviews of
1112:by writer Meaghan Garvey suggested
685:
566:, Future Brown's first release for
13:
2634:Jones, Daisy (December 16, 2015).
2464:Hermes, Will (February 24, 2015).
2307:Cliff, Aimee (February 16, 2015).
2173:Monroe, Jazz (February 26, 2015).
2003:Fox, Killian (February 22, 2015).
1936:Saxelby, Ruth (December 4, 2014).
1868:Saxelby, Ruth (February 7, 2014).
1661:
1459:"No Apology" (featuring Timberlee)
1433:"Big Homie" (featuring Sicko Mobb)
1325:All songs written and produced by
811:
550:On August 2, 2013, the website of
479:raps about resistance against the
379:-level concepts behind the album.
14:
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2705:Finley, Adam (December 7, 2015).
2570:Reed, Austin (January 29, 2015).
2419:"Critic Reviews for Future Brown"
2250:Eede, Christian (March 4, 2015).
2149:"Is Future Brownâs Shtick 4Real?"
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2341:Golden, Zara (January 8, 2015).
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2723:"45 Best Albums of 2015 So Far"
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2194:Ortiz, Edwin (August 2, 2013).
1885:Brydon, Grant (February 2015).
1329:, recorded at The Space Pit in
1973:
1960:Ryce, Andrew (March 5, 2015).
1879:
1862:
1635:"Wanna Party" (featuring Tink)
1360:
1309:45 Best Albums of 2015 So Far
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407:
1:
2572:"Future Brown â Future Brown"
2526:"Future Brown â Future Brown"
2214:"The 100 Best Tracks of 2013"
2115:"Future Brown â Future Brown"
2053:"Future Brown â Future Brown"
2051:Hahn, Bryan (March 2, 2015).
1962:"Future Brown â Future Brown"
1733:
486:The music follows a European
382:
2690:"The 80 Best Albums of 2015"
2553:"Future Brown: Future Brown"
2539:. Retrieved March 14, 2018.
2466:"Future Brown: Future Brown"
1818:"Future Brown: Future Brown"
1442:Maurice Larry (Lil Cenotaph)
1337:, and Nguzunguzu Studios in
1190:
988:magazine favorably compared
353:received generally positive
298:Future Brown, consisting of
7:
2713:. Retrieved March 10, 2018.
2672:"The Top 50 Albums of 2015"
2662:. Retrieved March 10, 2018.
2644:. Retrieved March 10, 2018.
2636:"The Top 20 Albums of 2015"
2625:. Retrieved March 11, 2018.
2605:. Retrieved March 13, 2018.
2585:. Retrieved March 14, 2018.
2561:. Retrieved March 14, 2018.
2515:. Retrieved March 14, 2018.
2369:. Retrieved March 10, 2018.
2349:. Retrieved March 10, 2018.
2332:. Retrieved March 10, 2018.
2315:. Retrieved March 11, 2018.
2298:. Retrieved March 11, 2018.
2279:. Retrieved March 11, 2018.
2260:. Retrieved March 15, 2018.
2238:. Retrieved March 11, 2018.
2204:. Retrieved March 11, 2018.
2182:. Retrieved March 11, 2018.
2091:. Retrieved March 11, 2018.
2061:. Retrieved March 13, 2018.
2035:. Retrieved March 13, 2018.
2027:"Future Brown Future Brown"
1989:. Retrieved March 13, 2018.
1981:"Future Brown Album Review"
1944:. Retrieved March 10, 2018.
1900:. Retrieved March 15, 2018.
1876:. Retrieved March 15, 2018.
1859:. Retrieved March 15, 2018.
1321:Track listing and personnel
1278:The 80 Best Albums of 2015
10:
2908:
2877:Warp (record label) albums
2707:"The Best Hip-Hop of 2015"
2496:. Retrieved March 9, 2018.
2474:. Retrieved March 9, 2018.
2455:. Retrieved March 9, 2018.
2425:. Retrieved March 9, 2018.
2121:. Retrieved March 9, 2018.
2013:. Retrieved March 9, 2018.
1970:. Retrieved March 9, 2018.
1826:. Retrieved March 9, 2018.
1788:. Retrieved March 9, 2018.
1259:The Top 50 Albums of 2015
1221:The Top 20 Albums of 2015
263:Released: December 4, 2014
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1290:The Best Hip-Hop of 2015
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272:Released: January 8, 2015
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2814:Genre-Specific Xperience
2404:Retrieved March 9, 2018.
1439:Delon Sneed (Lil Travis)
254:Released: August 2, 2013
1476:"VernĂĄculo" (featuring
1448:Michael "Oncore" Gougis
1345:at Red Bull Studios in
208:Future Brown Mix Vol. 1
2313:Red Bull Music Academy
2277:PĂ©rez Art Museum Miami
1602:"Asbestos" (featuring
1382:"Room 302" (featuring
1104:Red Bull Music Academy
1002:(who also features on
592:PĂ©rez Art Museum Miami
583:we were looking for."
89:The Mastering Palace,
1333:, Shelter Studios in
588:Art Basel Miami Beach
546:Release and promotion
1615:Prince Owusu-Agyekum
627:Professional ratings
79:Nguzunguzu Studios,
2872:Future Brown albums
2583:Pretty Much Amazing
1849:(October 2, 2014).
1518:"Speng" (featuring
1067:Pretty Much Amazing
628:
131:alternative R&B
2882:Grime music albums
2774:Solo studio albums
2577:2018-03-16 at the
2531:2016-04-02 at the
1979:Harrison, Duncan.
1892:2018-03-16 at the
1701:February 23, 2015
1686:February 15, 2015
626:
622:Critical reception
349:in February 2015,
84:Red Bull Studios,
2867:2015 debut albums
2854:
2853:
2551:(March 7, 2015).
1847:Sherburne, Philip
1731:
1730:
1658:
1657:
1483:Natalie Ann Yepez
1462:Timber-Lee Heaven
1318:
1317:
976:
975:
535:regional dialects
284:
283:
226:
225:
74:Shelter Studios,
61:February 15, 2015
2899:
2887:Dancehall albums
2767:Fatima Al Qadiri
2760:
2753:
2746:
2737:
2736:
2730:
2720:
2714:
2703:
2697:
2687:
2681:
2669:
2663:
2651:
2645:
2632:
2626:
2615:
2606:
2595:
2586:
2568:
2562:
2546:
2540:
2522:
2516:
2503:
2497:
2484:
2475:
2462:
2456:
2441:
2426:
2416:
2405:
2395:
2389:
2379:
2370:
2359:
2350:
2339:
2333:
2322:
2316:
2305:
2299:
2286:
2280:
2270:
2261:
2248:
2239:
2229:
2223:
2211:
2205:
2192:
2183:
2171:
2152:
2145:
2122:
2111:
2092:
2079:
2062:
2049:
2036:
2023:
2014:
2001:
1990:
1977:
1971:
1967:Resident Advisor
1958:
1945:
1934:
1901:
1883:
1877:
1866:
1860:
1844:
1827:
1814:
1789:
1776:
1763:
1749:
1713:digital download
1666:
1665:
1651:
1486:Alana Da Fonseca
1362:
1357:
1356:
1209:
1195:
1194:
948:
947:
946:
942:
941:
937:
936:
932:
931:
927:
926:
905:Resident Advisor
898:
897:
896:
892:
891:
887:
886:
882:
881:
877:
876:
860:
859:
858:
854:
853:
849:
848:
844:
843:
839:
838:
834:
833:
829:
828:
824:
823:
819:
818:
814:
813:
785:
784:
783:
779:
778:
774:
773:
769:
768:
764:
763:
747:
746:
745:
741:
740:
736:
735:
731:
730:
726:
725:
709:
708:
707:
703:
702:
698:
697:
693:
692:
688:
687:
632:Aggregate scores
629:
625:
355:critical reviews
300:Fatima Al Qadiri
293:electronic music
273:
270:
264:
261:
255:
252:
204:
203:
166:
165:
161:
31:
19:
18:
2907:
2906:
2902:
2901:
2900:
2898:
2897:
2896:
2857:
2856:
2855:
2850:
2833:
2794:
2769:
2764:
2734:
2733:
2721:
2717:
2704:
2700:
2688:
2684:
2670:
2666:
2652:
2648:
2633:
2629:
2616:
2609:
2603:The Ransom Note
2596:
2589:
2579:Wayback Machine
2569:
2565:
2558:The Irish Times
2547:
2543:
2533:Wayback Machine
2523:
2519:
2504:
2500:
2485:
2478:
2463:
2459:
2445:"Future Brown:
2442:
2429:
2417:
2408:
2402:AnyDecentMusic?
2396:
2392:
2380:
2373:
2360:
2353:
2340:
2336:
2323:
2319:
2306:
2302:
2287:
2283:
2271:
2264:
2249:
2242:
2230:
2226:
2212:
2208:
2193:
2186:
2172:
2155:
2146:
2125:
2113:Kellman, Andy.
2112:
2095:
2080:
2065:
2050:
2039:
2024:
2017:
2002:
1993:
1978:
1974:
1959:
1948:
1935:
1904:
1894:Wayback Machine
1884:
1880:
1867:
1863:
1845:
1830:
1815:
1792:
1777:
1766:
1750:
1741:
1736:
1722:
1664:
1662:Release history
1659:
1649:
1621:
1588:
1554:
1545:Darrell Redmond
1445:
1419:
1323:
1295:
1283:
1264:
1245:
1226:
1193:
1176:The Ransom Note
1076:
992:to the mixtape
944:
939:
934:
929:
894:
889:
884:
879:
856:
851:
846:
841:
836:
831:
826:
821:
816:
781:
776:
771:
766:
743:
738:
733:
728:
705:
700:
695:
690:
646:AnyDecentMusic?
624:
548:
437:science fiction
410:
385:
276:
271:
268:
267:
262:
259:
258:
253:
250:
249:
219:
210:
163:
159:
158:
150:
88:
83:
78:
73:
69:The Space Pit,
53:
40:
39:and D.V. Caputo
17:
12:
11:
5:
2905:
2895:
2894:
2892:UK bass albums
2889:
2884:
2879:
2874:
2869:
2852:
2851:
2844:
2842:
2835:
2834:
2832:
2831:
2824:
2817:
2810:
2802:
2800:
2799:Extended plays
2796:
2795:
2793:
2792:
2785:
2777:
2775:
2771:
2770:
2763:
2762:
2755:
2748:
2740:
2732:
2731:
2715:
2698:
2682:
2664:
2646:
2627:
2607:
2587:
2563:
2541:
2517:
2507:"Future Brown"
2498:
2476:
2457:
2427:
2406:
2390:
2382:"Future Brown"
2371:
2351:
2334:
2317:
2300:
2281:
2262:
2240:
2224:
2206:
2184:
2153:
2123:
2093:
2063:
2037:
2015:
1991:
1986:Crack Magazine
1972:
1946:
1902:
1878:
1861:
1851:"Future Brown"
1828:
1790:
1764:
1738:
1737:
1735:
1732:
1729:
1728:
1723:
1721:
1720:
1715:
1710:
1704:
1702:
1698:
1697:
1692:
1687:
1684:
1680:
1679:
1676:
1673:
1670:
1663:
1660:
1656:
1655:
1652:
1646:
1645:
1642:
1639:
1636:
1633:
1629:
1628:
1625:
1622:
1620:
1619:
1616:
1613:
1609:
1607:
1600:
1596:
1595:
1592:
1589:
1587:
1586:
1583:
1582:Samantha James
1579:
1577:
1566:
1562:
1561:
1558:
1555:
1553:
1552:
1551:Tyrone Pittman
1549:
1546:
1542:
1540:
1537:
1533:
1532:
1529:
1526:
1523:
1516:
1512:
1511:
1508:
1505:
1502:
1495:
1491:
1490:
1487:
1484:
1481:
1474:
1470:
1469:
1466:
1463:
1460:
1457:
1453:
1452:
1449:
1446:
1444:
1443:
1440:
1436:
1434:
1431:
1427:
1426:
1423:
1420:
1418:
1417:
1414:
1410:
1408:
1401:
1397:
1396:
1393:
1390:
1387:
1380:
1376:
1375:
1372:
1369:
1366:
1363:
1355:
1322:
1319:
1316:
1315:
1313:
1310:
1307:
1299:
1298:
1296:
1293:
1291:
1287:
1286:
1284:
1281:
1279:
1276:
1268:
1267:
1265:
1262:
1260:
1257:
1249:
1248:
1246:
1243:
1241:
1238:
1230:
1229:
1227:
1224:
1222:
1219:
1211:
1210:
1205:
1202:
1199:
1192:
1189:
1075:
1072:
974:
973:
970:
962:
961:
958:
950:
949:
920:
912:
911:
908:
900:
899:
870:
862:
861:
807:
799:
798:
795:
787:
786:
757:
749:
748:
719:
711:
710:
681:
675:
674:
671:
667:
666:
662:
661:
658:
652:
651:
648:
642:
641:
638:
634:
633:
623:
620:
590:event held by
574:and issued to
547:
544:
425:Crack Magazine
409:
406:
394:Uno Recordings
384:
381:
282:
281:
278:
277:
275:
274:
265:
260:"Talkin Bandz"
256:
246:
243:
242:
232:
231:
228:
227:
224:
223:
221:
212:
200:
199:
192:
191:
186:
180:
179:
174:
168:
167:
156:
152:
151:
149:
148:
143:
138:
133:
128:
123:
118:
113:
108:
102:
100:
94:
93:
67:
63:
62:
59:
55:
54:
49:
42:
41:
32:
24:
23:
15:
9:
6:
4:
3:
2:
2904:
2893:
2890:
2888:
2885:
2883:
2880:
2878:
2875:
2873:
2870:
2868:
2865:
2864:
2862:
2849:
2848:
2843:
2841:
2836:
2830:
2829:
2825:
2823:
2822:
2821:Desert Strike
2818:
2816:
2815:
2811:
2809:
2808:
2804:
2803:
2801:
2797:
2791:
2790:
2786:
2784:
2783:
2779:
2778:
2776:
2772:
2768:
2761:
2756:
2754:
2749:
2747:
2742:
2741:
2738:
2728:
2727:Rolling Stone
2724:
2719:
2712:
2708:
2702:
2695:
2691:
2686:
2679:
2678:
2673:
2668:
2661:
2660:
2655:
2650:
2643:
2642:
2637:
2631:
2624:
2620:
2614:
2612:
2604:
2600:
2597:Wilson, Tim.
2594:
2592:
2584:
2580:
2576:
2573:
2567:
2560:
2559:
2554:
2550:
2545:
2538:
2534:
2530:
2527:
2521:
2514:
2513:
2508:
2502:
2495:
2494:
2489:
2483:
2481:
2473:
2472:
2471:Rolling Stone
2467:
2461:
2454:
2450:
2448:
2440:
2438:
2436:
2434:
2432:
2424:
2420:
2415:
2413:
2411:
2403:
2399:
2394:
2387:
2383:
2378:
2376:
2368:
2364:
2358:
2356:
2348:
2344:
2338:
2331:
2327:
2321:
2314:
2310:
2304:
2297:
2296:
2291:
2285:
2278:
2274:
2269:
2267:
2259:
2258:
2253:
2247:
2245:
2237:
2233:
2228:
2221:
2220:
2215:
2210:
2203:
2202:
2197:
2191:
2189:
2181:
2180:
2176:
2170:
2168:
2166:
2164:
2162:
2160:
2158:
2150:
2144:
2142:
2140:
2138:
2136:
2134:
2132:
2130:
2128:
2120:
2116:
2110:
2108:
2106:
2104:
2102:
2100:
2098:
2090:
2089:
2084:
2078:
2076:
2074:
2072:
2070:
2068:
2060:
2059:
2054:
2048:
2046:
2044:
2042:
2034:
2033:
2028:
2022:
2020:
2012:
2011:
2006:
2000:
1998:
1996:
1988:
1987:
1982:
1976:
1969:
1968:
1963:
1957:
1955:
1953:
1951:
1943:
1939:
1933:
1931:
1929:
1927:
1925:
1923:
1921:
1919:
1917:
1915:
1913:
1911:
1909:
1907:
1899:
1895:
1891:
1888:
1882:
1875:
1871:
1865:
1858:
1857:
1852:
1848:
1843:
1841:
1839:
1837:
1835:
1833:
1825:
1824:
1819:
1813:
1811:
1809:
1807:
1805:
1803:
1801:
1799:
1797:
1795:
1787:
1786:
1781:
1775:
1773:
1771:
1769:
1761:
1757:
1753:
1748:
1746:
1744:
1739:
1727:
1724:
1719:
1716:
1714:
1711:
1709:
1706:
1705:
1703:
1700:
1699:
1696:
1693:
1691:
1688:
1685:
1681:
1667:
1653:
1650:Total length:
1647:
1643:
1640:
1637:
1634:
1630:
1626:
1623:
1617:
1614:
1612:David Nkrumah
1611:
1610:
1608:
1605:
1601:
1597:
1593:
1590:
1585:Timothy Hodge
1584:
1581:
1580:
1578:
1575:
1571:
1567:
1563:
1559:
1557:Chris Barnett
1556:
1550:
1547:
1544:
1543:
1541:
1538:
1534:
1530:
1527:
1525:Zane Williams
1524:
1521:
1517:
1513:
1509:
1506:
1503:
1500:
1496:
1492:
1488:
1485:
1482:
1479:
1475:
1471:
1467:
1464:
1461:
1458:
1454:
1450:
1447:
1441:
1438:
1437:
1435:
1432:
1428:
1424:
1421:
1416:Rashawnna Guy
1415:
1413:DeAndre Woods
1412:
1411:
1409:
1406:
1402:
1398:
1394:
1391:
1388:
1385:
1381:
1377:
1358:
1354:
1352:
1348:
1347:New York City
1344:
1340:
1336:
1332:
1328:
1314:
1308:
1306:
1305:
1304:Rolling Stone
1300:
1297:
1292:
1289:
1288:
1285:
1280:
1277:
1275:
1274:
1269:
1266:
1261:
1258:
1256:
1255:
1250:
1247:
1242:
1239:
1237:
1236:
1231:
1228:
1223:
1220:
1218:
1217:
1212:
1206:
1203:
1200:
1197:
1196:
1188:
1185:
1179:
1177:
1172:
1171:
1166:
1163:
1158:
1154:
1150:
1146:
1145:
1140:
1135:
1131:
1129:
1128:
1124:art magazine
1123:
1119:
1115:
1111:
1110:
1105:
1101:
1096:
1093:
1089:
1085:
1081:
1071:
1068:
1064:
1060:
1055:
1054:
1049:
1046:
1041:
1039:
1038:
1032:
1028:
1023:
1019:
1015:
1013:
1009:
1005:
1001:
997:
996:
991:
987:
986:
981:
971:
969:
968:
964:
963:
959:
957:
956:
952:
951:
921:
919:
918:
917:Rolling Stone
914:
913:
909:
907:
906:
902:
901:
871:
869:
868:
864:
863:
808:
806:
805:
801:
800:
796:
794:
793:
789:
788:
758:
756:
755:
751:
750:
720:
718:
717:
713:
712:
682:
680:
677:
676:
668:
665:Review scores
663:
659:
657:
654:
653:
649:
647:
644:
643:
635:
630:
619:
617:
613:
609:
605:
601:
597:
593:
589:
584:
581:
577:
573:
569:
565:
561:
560:
555:
554:
543:
541:
536:
532:
528:
524:
521:
517:
513:
509:
505:
501:
497:
493:
489:
484:
482:
478:
474:
473:
468:
463:
460:
459:
454:
453:
448:
444:
443:
438:
433:
431:
427:
426:
420:
419:
415:employs what
414:
405:
403:
399:
395:
391:
390:New York City
380:
378:
374:
373:
368:
367:
362:
361:
356:
352:
348:
343:
341:
337:
333:
329:
325:
321:
317:
313:
309:
305:
301:
297:
294:
290:
289:
279:
266:
257:
251:"Wanna Party"
248:
247:
244:
241:
240:Future Brown
237:
233:
229:
222:
218:
217:
213:
209:
206:
205:
201:
197:
193:
190:
187:
185:
181:
178:
175:
173:
169:
157:
153:
147:
144:
142:
139:
137:
134:
132:
129:
127:
124:
122:
119:
117:
114:
112:
109:
107:
104:
103:
101:
99:
95:
92:
87:
86:New York City
82:
77:
72:
68:
64:
60:
56:
52:
47:
43:
38:
37:
33:Cover art by
30:
25:
20:
2847:Future Brown
2846:
2845:
2840:Future Brown
2826:
2819:
2812:
2805:
2787:
2780:
2726:
2718:
2710:
2701:
2693:
2685:
2675:
2667:
2657:
2649:
2639:
2630:
2602:
2582:
2566:
2556:
2549:Carroll, Jim
2544:
2536:
2520:
2510:
2501:
2491:
2469:
2460:
2452:
2447:Future Brown
2446:
2393:
2386:Warp Records
2346:
2337:
2329:
2320:
2303:
2293:
2284:
2255:
2235:
2227:
2217:
2209:
2199:
2177:
2086:
2056:
2030:
2010:The Observer
2008:
1984:
1975:
1965:
1941:
1897:
1881:
1874:The Guardian
1873:
1864:
1854:
1821:
1785:The Guardian
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1760:Warp Records
1756:Future Brown
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