Every week, after services finished, Boothe would have access to a treasure trove of instruments with which he could experiment. That discipline is an outgrowth of Boothe’s younger years, growing up in the church in central New Jersey. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to track “I’m blessed enough that people love it, so I treat it as a regular job.” “Music is my job for myself,” says Boothe. His second album for Stones Throw, the soothing 1988, pulses with gentle loops and warm, entrancing drums. Each track takes him “a few minutes” to assemble the longest he’s gone without recording a song is “probably not more than a day.” But despite his staggering discography- over 100 projects deep, and counting-there’s nothing slapdash about Boothe’s music. He estimates that, on an average week, his desktop will fill up with “a few hundred joints,” many of them following the blueprint for which he’s become well-known: layered, deftly-sourced soul loops over hypnotic, lo-fi drum patterns. The beatmaker, born Glen Boothe, is describing the process by which he releases an unfathomable amount of music every month. Then, I clear it off on Sundays,” says 32-year-old hip-hop producer Knxwledge from his home in Los Angeles. “I’ve got a really big screen in front of me and I try to fill the desktop with songs throughout the week.

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