Influences

We may have reached a sort of peak America on August 20, 2016. After a fit of false starts and head fakes, Ocean revealed his masterpiece, Blonde, an album that, in many ways, embodied a greater idea of what America could be: inclusive and diverse, both culturally and aesthetically; adventurous and transparent, embracing experimentations in search of an emotional honesty; and, not least importantly, fun, and filled with an overarching optimism.Things may have gone downhill since then, but we still have Frank, and he’s been particularly productive in 2017, releasing a slew of more pop-oriented singles, and, maybe just as importantly, curating his own radio show, blonded, on Apple Music. Ocean has never been particularly forthcoming in interviews—on the few occasions he’s done them—but his taste in music offers a rare and deep glimpse into his creative processes and inspirations.For many, Ocean’s music is singular, and his talent and sound seem to have emerged from a vacuum, but there are specific antecedents to each component of his music. Like many music masterminds—from Prince to Radiohead—he’s interested in genre pastiche, extracting and recontextualizing broad and seemingly disparate forms of music. Listening to these broadcasts is like watching a master chef at work in their kitchen.We’ve combined and organized selections that Frank picked for blonded, as well as previous lists he’s provided over the years and the music that he’s sampled, dividing the playlists largely along genre lines in order to provide a key for how Frank thinks about music. The main playlist here represents a megamix of all the tracks featured in the segmented playlists below. (You can access the original blonded podcast by visiting Apple Music, or subscribing to our Spotify channel, where we’re collected them as Spotify playlists.)FRANK’S AMBIENT/ELECTRONIC/GLITCH ITCH

Frank Ocean’s video performance piece Endless was a teaser “album” of sorts, released just one day before Blonde. With the visuals’ stark, high-contrast lighting, and the tracks’ broken soundscapes and fractured melodies, it was an immersive and frequently confounding experience. There were certainly songs there—the Isley Brothers/Aaliyah cover “(At Your Best) You Are Love” remains one of the most haunting tracks Ocean has released—but for the most part, the piece was focused on generating a skeletal, unsettling, and haunting atmosphere. This vibe was carried over to the creeping sounds of Blonde tracks “Seigfried” and “Futura Free.”This focus on textures over tunes is the common denominator for most of the tracks on this playlist. A beautiful, gentle piano melody emerges from the skittering beats of Aphex Twin’s “Flim.” Todd Rundgren’s 1970 proto-ambient work “There Are No Words,” meanwhile, moves like fog—eerie, otherworldly, and all-encompassing. Rundgren’s other contribution to this playlist, his 1973 track “Flamingo”—sampled on Ocean’s track “Solo”—is comparatively less whispy, with chirping birth noises fluttering around a circular synth figure. It’s no surprise to see Arca here; the Venezuelan queer performance artist and Kanye/Björk producer has been mining the same space between operatic melodrama and jarring ambient noise as Ocean did on Endless and the last half of Blonde. The tracks here do occasionally gain momentum —with French maverick Sébastien Tellier’s reflective 3 a.m. anthem “La ritournelle” in particular—but, for the most part, the music here serves as a pensive, ambient mood board.Further Listening:Decoding Endless: Frank’s Wild YearsThe Best Ambient TechnoThe 50 Best Ambient Albums of All TimeAphex Twin’s Field DaySUNDAY-MORNING HEARTBREAK AND SOFT R&B JAMS

There’s a warmth and intimacy to many of Frank Ocean’s best tracks—think of the delicate dance of “Pink + White” from Blonde, or Channel Orange tracks like “Bad Religion,” the bouncy “Monks,” or the titantic “Thinkin’ About You.” The Rhodes-driven tracks reference, of course, the classic R&B of Stevie Wonder, but they also point towards another, more modern and gentle strand of R&B that descended from neo-soul forebearers such as Erykah Badu and D’Angelo. Esperanza Spalding (who Frank included on inaugural edition of blonded radio) is a great example of this, skirting the borders of jazz, funk, and soul and paying homage to each, but carving out a singular aesthetic that’s both modern and timeless.The best tracks here are those that negotiate traditional genre boundaries with a gentle grace. Yussef Kamaal’s “Yo Chavez” interweaves vibe-laced ‘70s jazz fusion with a shuffling broken beat over airy textures that points towards the looser, groovier parts of Channel Orange. The classic boom-bap funk fuzz of the OutKast/Erykah Badu collaboration “Humble Mumble,” or the loose, euphoric glow of Kehlani’s “Undercover,” also reflects the warmth of Ocean’s “Pink + White,” while Darando’s raggedy falsetto on the forgotten ‘70s classic “Didn’t I” (originally included on installment five of blonded radio) is endlessly fragile and haunting. These are deeply intimate love songs, but most of these capture a love interrupted, deferred, or forgotten—a confessional focus that Ocean has returned to time and time again throughout his career.This is perfect Sunday morning listening, but it’s pretty damn good for any day (or time) you want to push play.Further Listening:Raphael Saadiq Behind the ScenesWhy SZA’s CTRL Is the R&B Album of the SummerUnpacked: Solange’s A Seat at the TableFRANK’S RAP TRAX

In many ways, Frank Ocean is less invested in rap music than his R&B peers. When he listed out his favorite tracks for the Blonde magazine last year, hip-hop was absent save for an OutKast and, um, DRAM track. And while Ocean has provided guest turns on a number of tracks—and he actually raps on Earl Sweatshirt’s lazy, SoCal anthem “Sunday”—he’s not nearly as promiscuous as other singers, and, as frequently as not, he tilts the gravity of the track so that they become Frank Ocean songs. (Kanye, wisely realizing this, stripped his contribution from the end of The Life of Pablo’s “Wolves” and made it its own track, the appropriately entitled “Frank’s Track.”)Still, Frank is deeply invested in the genre, both through his Odd Future lineage and in rap’s culture, sound, and attitude. The hip-hop tracks that he’s included on blonded radio (episodes #4 and #6 focus on the genre) and beyond tend to be chart-driven singles, and remind us that Ocean is ultimately a pop artist. The hypnotic “Tunnel Vision” from Kodak Black has this year’s best use of the flute (and, really, that’s saying a lot) and matches the loopy, hall-of-mirrors vibe of many Ocean tracks. And while Frank famously called out the Grammys for giving Album of the Year to Taylor Swift over Kendrick—"hands down one of the most 'faulty’ TV moments I've seen"—that’s not the only thing linking Lamar and Ocean. Both endlessly distort and manipulate their voices: Kendrick changes registers, effects, and pitch with nearly every verse, while Ocean—on tracks like “Nikes”—uses vocal mutations to add both texture and narrative drama to his tracks. It wasn’t surprising that he included “LUST.” on installment #4 of blonded.But, more than any aesthetic linkage, these guys are his friends (A$AP Rocky), his collaborators (Future), and his idols (OutKast), and this playlist acknowledges those influences and associations.Further Listening:Kendrick Lamar’s DAMN., UnpackedFrank Ocean’s Best Guest SpotsSongs That Prove the Flute Was Always Hip-Hop’s Secret WeaponFRANK’S INDIE ROCK FIXATION

“Indie rock” is a bit of a misnomer. It always has been. It’s more of a philosophical approach or psychographic than it is an aesthetic designation, but, however you look at it, Frank Ocean has long been a rabid fan of this spectrum of music. The surf-rock guitar line that anchors “Ivy” wouldn’t have felt out of place on any number of ‘60s-revivalist rock records from the past decade, while the clamour and noise of “Pretty Sweet” sound a lot like the psych/lo-fi groups that populated the ’90s rock landscape (though, granted, the two-step/garage drum line at the end turns it into a Frank Ocean track), while the bouncy melodies and sullen vocal counterpoints owe more than a little to The Smiths.There’s been a long-standing tradition of indie-rock critics trying to project their own music onto R&B and hip-hop musicians, and that’s not what we’re trying to do here—but it’s also undeniable that Frank has focused a lot on this type of music (particularly on the fifth edition of blonded radio). Some of the selections here are exactly the songs you’d expect from someone who spends his summers headlining festivals—MGMT’s “Electric Feel,” The Flaming Lips’ “Yoshimi Battles the Pink Robots”—but others convey a deeper investment. Suicide’s “Frankie Teardrop” reflects Ocean’s own penchant for creating long-form, mise-en-scene narratives over noisy, clattering backdrops, even if Alan Vega’s tale of a down-and-out factory worker killing his family is a little more macabre than anything on Frank’s albums. The shimmering, ephemeral “Wild Thing Runs Free” from Baltimore noise-punk group Teen Suicide resembles the rambling interludes that dot Frank’s own albums. And it’s not surprising to see (Sandy) Alex G show up on the second edition of blonded—after all, he did contribute guitar work to both Endless and Blonde—and his track “Mis” is imbued with a certain shambolic majesty.We don’t want Frank to abandon custom luxury cars and glitter for stick-and-poke tattoos and dive bars, but this is a great, revealing, and fairly unexpected playlist.Further Listening:Ambient Dream Folk & Beyond Dreamy Noise Sounds: The Best of Kranky RecordsFierce and Fuzzy: The Lo-Fi Revolution

A$AP Mob has been having a productive summer. A$AP Twelvyy released his debut album 12, and A$AP Ferg dropped his Still Striving mixtape. The group’s sophomore studio album, Cozy Tapes Vol. 2: Too Cozy, is scheduled to be released on August 25.Although the collective is still going strong, they’ve been through a lot since they first rose to prominence earlier this decade. A$AP Yams, co-founder, music business guru, and de facto leader of the group, passed away in 2015. A$AP Rocky, the Mob’s biggest star, hasn’t released a new album since that year. As is the case with any popular group, their momentum has begun to slow.In 2012 and 2013, when the buzz behind A$AP Mob was just beginning to peak, Complex ran a series of features highlighting various members’ favorite albums. A$AP Rocky and A$AP Ferg both listed their top 25 albums, with A$AP Yams listing his top 42.This playlist consists of songs from the A$AP Mob members’ respective lists of albums, which vary widely in genre and sound. A$AP Rocky, whose choices account for the first 23 tracks on this playlist, lists rock groups like Nirvana, Colplay, Cold War Kids, Red Hot Chili Peppers and Jimi Hendrix among his favorites alongside rap legends like Rakim and Big Pun. A$AP Ferg likes Selena. A$AP Yams liked Stillmatic more than Illmatic. A$AP Rocky specifically mentioned he didn’t like College Dropout, only Late Registration. A$AP Ferg liked both, plus 808s and Heartbreak and Kid Cudi.Despite the differences, there are commonalities. Everyone in the A$AP Mob loves Cam’ron and Dipset, which is unsurprising considering both hail from Harlem and brought global attention to their New York neighborhood by utilizing the group format. All three also list DMX among their favorites. A$AP Rocky said he listened to DMX to remind him of home when he had to move to Harrisburg, Pennsylvania as a child.The A$AP Mob members reference the styles that influenced their sound, citing New York classics from the era in which they grew up as well as the Texan sounds of UGK and Scarface that A$AP Rocky notoriously incorporated into his music. Most of the songs on the playlist are recognizable singles or classic tracks, to underscore the fact that the group’s members have been inspired by music everyone likes. They’ve already produced work of their own that should stand the test of time, and hopefully their new music continues in that tradition.

Time to set aside popular jams like Merriweather Post Pavilion and Tomboy and instead wander into the outer limits of the Animal Collective galaxy. It’s there that you’ll find some of the foursome’s most innovative solo stabs, side projects, and remixes. A personal fave is Jane, Noah Lennox’s short-lived band with Scott Mou. The duo’s Berserker album, from 2005, is nothing less than a pot of slowly bubbling brain juice. Nearly as absorbing are the string of records Dave Portner and Black Dice’s Eric Copeland released under their Terrestrial Tones moniker. Not surprisingly, this playlist contains lengthy stretches of psychedelic drift-n-moan, though don’t be surprised by the occasional mutant dance groove or blast of static. Unpredictability has always been the name of the game for Panda Bear, Avey Tare, Deakin, and Geologist.

It’s been one of music’s longstanding dichotomies: the Beatles were formalistically experimental pop musicians disguised as zeitgeist-teasing idealist, while the Stones were barroom bluesman who fetishized apocalypse and Malboros. Never the twain shall meet, or so the narrative went. Which means that a certain type music critic -- the ones tilting towards counter-narratives -- have spent the past six decades explaining that, yeah, they’re not really that different -- it’s a narcissism of small differences, or a talisman against the idea of monoculture, take your pick. Consequence of Sound, as part of their video series that highlights the five best things of a given subject, weighs in on this with their five best Beatles tracks that sound like Rolling Stones songs. It’s not a great list. They stick to the hits -- “Helter Skelter,” “Come Together,” “Hey Jude,” etc -- it’s fun to imagine “Come Together” as a Stones song (though it’s hard to imagine Jagger singing “Hey Jude”), but that’s about it.

Donald Fagen and Walter Becker were already anachronisms when they met as jazz-obsessed teenagers in the late ‘60s and began to write the droll, harmonically complex songs that made Steely Dan one of the greatest and most unique bands of the ‘70s. So it’s not surprising that the duo who worked tirelessly to get the best performances out of skilled session players never had much interest in hip-hop and the art of sampling. They even made it difficult to clear samples; they negotiated for the entire songwriting credit and publishing for the Lord Tariq & Peter Gunz hit “Déjà Vu (Uptown Baby)” and only allowed a “Kid Charlemagne” sample on Kanye West’s “Champion” after West sent the duo a passionate handwritten letter. But even Steely Dan’s stingy attitude towards sample clearances hasn’t stopped dozens of artists from doing the necessary paperwork to obtain use of the band’s gloriously recorded jazz-rock grooves (though De La Soul may not have, which could be why one of the most famous Steely Dan samples, the “Peg” loop on “Eye Know,” isn’t available on streaming services). But while the Dan’s tightly syncopated grooves and densely detailed arrangements clearly attract crate-digging producers the most, Donald Fagen’s voice figures into a surprising number of samples, boasting “Yes, I’m gonna be a star” on Amiri’s “Star” or chanting “They don’t give a fuck about anybody else” on one of Super Furry Animals’ biggest UK chart hits. The Steely Dan songs that have been sampled by multiple artists offer a case study in how many options the band’s rich arrangements offer to beatmakers. Lord Tariq and Peter Gunz went for the obvious but irresistible opening bars of “Black Cow,” while MF Doom zeroed in on a lovely keyboard flourish that happens just once in the song’s bridge. And where Audio Bullys looped the hypnotic guitar lick from “Midnite Cruiser,” legendary Atlanta production team Organized Noize played the riff at three different speeds to create a whole new chord progression for Sleepy Brown’s solo track “Dress Up.” Becker, sadly, passed away on September 3, 2017. But his music lives on—and continues to find new audiences—through the many hip-hop, rock, and R&B tracks collected here.

Angel Olsens approach to rock—a little bit of folk, a little bit of fuzz, a whole lot of white-knuckle honesty—has made her one of its most exciting artists. But while the North Carolina-based crooners been at the vanguard of the indie since she first struck out on her own, the records that helped create her sound are the sorts of dusty albums that populate crate-diggers dreams. Her headiest songs are influenced by what she calls "blood harmonies," those chords that can only come from groups of vocalists who are somehow related, like The Everly Brothers, while her matter-of-fact poetry derives its influences from soul titans like Donny Hathaway and American bards like Bob Dylan.

Justin Vernon’s 2016 full-length as Bon Iver, 22, A Million, isn’t just a career-jarring reboot of his sound; it’s a radical revision of the singer-songwriter template. Instead of the guitar-based meditations of previous efforts, the musician erects alien constructions from cyborg falsetto, Auto-Tune-smeared soul, baroque electronica, and bass drops splitting the difference between post-dubstep and modern R&B. Man and machine, nervous system and motherboard — their differences fall by the wayside with each successive cut. In hopes of deepening listeners’ appreciation of this profoundly mutant offering, I’ve put together a mix of key inspirations (Kanye West, Arthur Russell), peers exploring similar ideas (Frank Ocean, James Blake), and illuminating examples of sampled source material (Mahalia Jackson, Sharon Van Etten). Hopefully, you’ll find our playlist to be as deliciously novel and immersive as 22, A Million itself.

When Florian Schneider and Ralf Hütter—two denizens of Germany’s musical underground—founded Kraftwerk in 1970, nobody could have imagined the impact they would have. But all these decades later, few corners of popular music are untouched by their influence. The sounds they crafted in the ’70s and ’80s with Karl Bartos and Wolfgang Flür resonated worldwide, influencing post-punk, synth-pop, New Wave, hip-hop, techno, and more.

Kraftwerk were among the first to use electronics as a tool for fashioning pop music. Even though their first few albums employed electronics in a more experimental way, they broke through internationally in 1974 with “Autobahn,” their mechanically paced hooks and android image positioning them as the Beach Boys of the robot revolution, pointing toward an entirely fresh musical future.

Before the ’70s were over, disciple David Bowie had released the Florian homage “V-2 Schneider” and incorporated Kraftwerk’s influence in his legendary “Berlin trilogy” of albums, and Gary Numan had channeled the band’s inspiration into the first flowering of synth-pop, which would continue to bear Kraftwerk’s mark in the ’80s.

From there, Kraftwerk’s electronic innovations went on to profoundly affect hip-hop and electro, starting with Afrika Bambaataa & The Soulsonic Force’s “Planet Rock” and continuing through countless samples. This fed into the band’s influence on Detroit techno (and subsequently the international IDM scene). By the 2000s, the band’s influence was doubling back on itself via the ’80s-retro electroclash movement.

Today the majority of pop and hip-hop is created with electronics, and even artists who have never heard a note of Kraftwerk in their lives owe some of their existence to them, whether they realize it or not. Schneider left the band in 2008 and Hütter continued to lead a new lineup in occasional tours, but when Schneider passed away on April 30, 2020, at the age of 73, even though he was no longer working with the band, it marked an epoch’s end. Gathered in the accompanying playlist is a tiny percentage of the countless artists indebted to Kraftwerk’s fearless vision.

Its a little hard to believe, but Kanye West has been producing hip-hop tracks now for 20 years. In terms of longevity, hes been more relevant for a longer period of time than any modern pop producer. And, in that period, hes undergone several stylistic shifts that have taken him from being a champion of very meat-and-potatoes trad hip-hop -- albeit with a chipmunk twist -- to being a pop conduit to the outré electronic and old school psych. This article by Third Bridge Creative does a nice job at capturing these shifts, and uses data supplied by Whosampled to back up the analysis. The associated playlist provides a more rote but still compelling look at some of the most recognizable samples, placing Kanye classics next to the originals.

Photograph: Misha Vladimirskiy/FilterlessAs one of the most unbridled voices in rap today, Danny Brown can come off as something of an attention-starved maniac to the uninitiated. But get past the gritty hood politics, blacked-out benders, and turbulent fuckfests, and Browns music reveals itself to be largely about the pained, confused loss of one’s innocence. His lyrics are as dotted with old-school street poetics as they are ridiculously turnt up hedonism, and Brown confronts the addictive, drug-fueled culture of his native Detroit upbringing with an attitude that is both relentlessly eager and utterly horrified at itself. For all his delirious energy, hes an incredibly sentimental artist, a rapper whose braggadocio-filled nights tend to end with a sad, self-loathing walk home. A genuine wildcard with a taste for heavy atmospherics (the man is a self-professed Radiohead fanboy), Brown draws inspiration from the party animals and outcasts who bear a solemn knowledge of the brutal side of life in the city, and who refuse to let that darkness interfere with their good time. -- Sam Goldner