Berlin-based producer Adam Longman Parker announces Colored, his first full-length LP as Afriqua for R&S Records. The album is a celebration of the unifying power of Black culture through the prism of electronic music.
After releasing successful singles “Soul Correction,” and “Chronic Cool,” and the back-to-back Aleph and Vice/ Principle EPs, a full-length album was the ideal format for Parker to expand on the sounds typified in his dancefloor productions. Colored is a natural culmination of Parker’s stylistic spectrum, spanning from house and techno to experimental and abstract electronica.
His heightened attention to production quality was inspired by seminal records in the canon of Black music, including work by Quincy Jones, Roy Ayers, and Weldon Irvine (who also hailed from Hampton, Parker’s hometown in Virginia). Colored, however, is a distinctly “un-nostalgic” album and these classics served more as archetypes of musical achievement than bases for imitation. “To the extent that it hearkens back, it does so in the sense of the sequencing and arrangement, in the pursuit of sonic accomplishment across the record," says Parker.
Growing up in Virginia, Parker was exposed to a niche of local electronic music pioneers including The Neptunes, Timbaland, and Missy Elliot, artists whose early-2000s contributions to the movement are often overshadowed by their pop leanings. “The Virginia sound,” Parker says, is far more intrinsic to his process than the oft-replicated models of American house and techno: “Black electronic music doesn’t have to be from the Midwest—this isn’t from Detroit, this isn’t from Chicago. It’s from Virginia.”
From the ritual chants on “Shout,” to Motown’s African roots on “Upstream,” and the George Clinton-era psyfunk of “Space Dookie,” Colored ’s diverse musical influences read like a lesson in Black music history. This panoramic approach extends to the album’s collaborators as well—lyrical wizard and J.Cole collaborator Salomon Faye, Belgian Afro-pop vocalist Zap Mama, LCD Soundsystem bassist Tyler Pope, and Parker’s brother, producer and songwriter Ruven. Colored was recorded at a number of studios across Europe and the U.S., including Octagon in London, moon in Brooklyn, Funkhaus/Saal 3 in Berlin, and ICP in Brussels. The bespoke album artwork was created by Atlanta artist Eric Mack.
Parker spent two years composing and assembling Colored, which thematically bridges the past and present milestones of Black music from their Southern roots to their most modern incarnations. “The overarching theme,” he says, “was reconciling this branch of the Black musical tree with its origins. It's not divisive, it's about celebrating the rightful origins of the music we all enjoy.”
released October 4, 2019
Produced by Adam Longman Parker between 2017 and 2019 at Octagon, London, Saal 3, Berlin, Moon Studios, New York, and ICP Studios, Brussels.
Mixed by Antonio Pulli at Saal 3, Berlin. Mastered by Matt Colton at Metropolis Mastering, London.
All tracks written by A.L. Parker, with additional writing on Upstream by Marie Daulne (AKA Zap Mama), Brian Parker, and Stephanie Moran, on Go Tell it by Salomon Faye and Lane Banning, and on Space Dookie by Brian Parker.
Vocals by Brian Parker on Tema, Upstream, and Space Dookie.
Lead vocals by Marie Daulne on Upstream.
Lead vocals by Salomon Faye on Go Tell It, with additional vocals by Xiolynn.
Bass by Tyler Pope on Tema, Upstream, and Space Dookie.
Guitar by Brian Parker on Turner, and Space Dookie.
Additional synthesiser by Olsi Rama on Turner.
All other parts performed by A.L. Parker.
Zenith, and Noir recorded by Antonio Pulli at Saal 3, Berlin.
Go Tell It recorded by Lane Banning at Moon Studios, New York.
Upstream recorded by Jules Fradet at ICP Studios, Brussels.
Dope, Upstream, Native Sun, and Space Dookie recorded by Olsi Rama at Octagon, London.
Design by Thorbjørn Gudnason.
Original cover artwork by Eric Mack.
Endless Love & Gratitude to: Mom, Dad, Brian, Brandon, Joel, Grandpa, Grandma Lyla, Nanna, Steph, Shep, T, Renaat & Sabine.
How blessed I feel to have practically stumbled upon this album by accident. I was drawn to the unabashedly painterly artwork, assuming this would be a more "interesting" than memorable experimental record, how wrong I was. Ben Harris
Crush is in some ways the ant-Elaenia. Elaenia was warm, flowing, and is top 20 all-time for me along with Wires and ARP3. Crush has a lot of beauty with strings and keys like on the incredible Sea-Watch, but the listener cannot relax for long. Crush is at times angry and unhinged, but purposely so. It is a gorgeous contradiction...as are we, as is our planet. Sam said the world and its chaos helped shape the music on this album. Perhaps on his next LP, its his music that will shape the world. Edward