Cork producer 1000 Beasts runs on a simple concept, collaborate as much as possible with the goal of creating music greater than the sum of its parts. Turning his hand to indie, soul and electronic music, 1000 Beasts arrives at the intersection of warm and infectious composition. 2022’s ‘Naruda’ was an expansive work with features from the likes of FeliSpeaks, Célia Tiab, LENII, Arthur Valentine, April and Orla Gartland, with the project establishing 1000 Beasts as an artist on the rise
After a string of teaser singles that built feverish anticipation around the project, 1000 Beasts has now released his sophomore album ‘Burning Flower’. Expanding on the ideas that came before it, the artist evolved his sound into gorgeous and radiant soundscapes. With features from the likes of Malaki, Paco Versailles, Rachel Mae Hannon and Toucan, as well as Tomike on hit single ‘Cherry Delight’, the production is a sleek as ever, bringing out the best in the guest performers.
The producer explains, ”The Burning Flower album came together immediately after the release of Naruda. Honestly, I was so immersed in the crafting process of Naruda that I just kept making music without pause. It wasn't a conscious effort; one day, I turned around and realised I had another album's worth of material ready to go, and that's how I ended up here.
The lockdown changed the way music could be made. Much of the 1000 Beasts process is now collaborative and remote. I can create a beat and send it to an artist whom I think it might suit, even if I've never met them before. We can then exchange ideas back and forth over email, and something beautiful can be born. It's a very liberating and fun process.
I have to thank my collaborators; without them, none of these tracks would be half of what they are. It's the most inspiring part of the process when you send an instrumental to someone, and they come back with a topline that I couldn't have imagined in my wildest dreams.
The focus track for the album is an instrumental called "They Called Her Something." It might just be the oldest track on the album; I made it as part of the Naruda process. I was trying to find the right vocal for it for ages, but eventually, I realised that the instrumental itself is so strong that a vocal doesn't really fit over it. It's probably my favourite track on the record, and even though it's a little different, they always say make music you like, not what you think people will like..”
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