Hudson Mohawke – Butter (Review)

The pessimistic view of electronic music holds that it too often entails faceless pseudonyms crafting derivative, sterile “beats” with the assistance of prohibitively expensive software. Whether or not that ugly caricature holds completely true, there is certainly a kernel of truth in the repetitious nature of the legions of electronic music produced damn near everyday. And then there is the young, evasive, and unassuming Hudson Mohawke. Hudmo, as his fans refer reverently to him as, feeds his manic creativity through relatively simple software (Frootyloops) and somehow comes out with epic, densely layered, and glitch-ridden proclamations of pure digital joy. Butter, his debut album off the prestigious Warp Records  shows a startling evolution in the fabric of Hudmo’s music. So startling, in fact, that any attempt to review the album is dependent on isolating the three stylistic identities connected by an interweaving eccentricity Hudmo seems to embrace at varying points in the album. From the top:

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The Golden Child Disciple of J Dilla and Flying Lotus

Though his discography is rather thin, Hudmo’s status as the rising golden child of the UK Warp/LuckyMe/Wireblock community has long been established. He was Scottish DMC Champion and UK finalist at age fourteen, and the few EPs and compilations that have escaped his bedroom studio met with enormous critical acclaim. His Polyfolk Dance EP and his work with Mike Slott as Heralds of Change solidified his position as the heir apparent to Dilla’s legacy of chopped, distorted sample-based hip hop and Flying Lotus’ ongoing digital reconstruction of abstract hip hop production. At times listening to Butter, Hudmo seems to triumphantly achieve that “promised one” rhetoric, crafting furious, kinetic beats that tear forward through warped electronic melodies. Hudson bombards the tracks with layers of alternately polished and buzz saw synth lines, pushing them forward and gridding off their melodies with chopped vocal creations. Especially during the middle passage of “3.30,” “Trykk,” “Fruit Touch,” and “Zoooooom,” Hudmo seems to embrace and faithfully execute the dogma of turbo-charged glitch hop. At other times in the album, however, he seems bored by the limitations of the genre and transforms his vision into that of…

The R&B acid revisionist

At certain points throughout his career, Hudmo has expressed an infatuation with the potent pathos of contemporary R&B. His bootleg bass remix of Tweet’s jam “Ooops” is widely considered to be the song that directly preceded his signing to Warp. In interviews past, he has mentioned the looming possibility of joining Erykah Badu or Chris Brown in the studio someday soon. On Butter, his collaborations with vocalists Olivier Daysoul and Dam Funk stand in stark contrast to his other tracks; they operate under an entirely different aesthetic. Tracks like “Joy Fantastic,” “Tell Me What You Want From Me,” and the extraordinary break up song “I Just Decided” tweak the butter-smooth (no pun intended), nu-soul efforts of 80’s R&B classics like Belle Biv DeVoe by throwing their earnest hooks over enormously busy and glossy backing tracks. Hudmo’s effects work well enough with the flamboyance and vitality of his guest vocalists to give classic R&B a neon/day-glo facelift.  Olivier Daysoul in particular comes off like Slick Rick’s New Jack twin in his star turns on “Joy Fantastic” and “I Just Decided.” The eclecticism of Hudmo’s surreal subjection of R&B to his own eccentric means is eclipsed only by his turns as…

The Triumphant Abstraction

Two of the tracks off Butter that attracted the greatest prerelease buzz were the massive cuts “Fuse” and “Rising 5,” neither of which fit neatly into the artistic modes of Hudmo described above. These two are the true gems of the album. Both songs seem to incorporate elements of live instrumentation jammed through powerful electronic filters in ways that amplify digitally yet preserve entirely their   organic melody and vitality. They are too sprawling, too awe-inspiring to be considered hip hop; there is not an MC alive who could take on these massive constructions and make them his own. “Fuse” sounds as if some one took a triumphant yet tinny 8-bit synth line from an old Zelda game, remastered it a bajillion times and crafted a goddamn anthem out of it. Though Butter as an album is most likely stronger than the sum of its components, “Fuse” and “Rising 5” are its most exciting contributions. If these tracks are indicative of his newest assumed artistic identity, then we can expect exciting things in the future from Hudson Mohawke.

Though this cut isn't on the album Butter, it still ranks as one of Hudmo's most popular and innovative to date. Check out Hudson Mohawke's bass remix of Timbaland's beat for Tweet!

Hudson Mohawke - Ooops

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Q&A: Nosaj Thing

The  Red Bull Megahurtz event is just around the corner now and if you're as excited as we are about it than you are just counting down the hours (23) until the shit hits the fan. Musical modulator and charming innovator Nosaj Thing (a.k.a. Jason Cheung) hails from the City of Angels, just dropped his first full length LP, Drift, and is en-route to melt faces with the debut of his Sync Live AV set at Megahurtz. One of Lookout's own got the chance to ask Nosaj Thing some questions. Look below for the interview.


Lookout: Just to start off, the demo video for your new Synced Visual Show is absolutely mind blowing. What was the inspiration for bringing such innovation to the live show, how exactly do you manipulate visual features, and are you excited to debut the show at MegaHurtz?

Nosaj Thing: I got inspired to do a live visual show after seeing Cornelius play a couple years ago. It was the idea of creating an experience instead of the just having the typical visuals for the music. The whole show came together girlfriend, Julia Tsao and our friend Adam Guzman are currently in the media design program and Art Center College of Design. Julia has an interest in experience design and Adam is interested in tying his visual work with music. We just kept building ideas and created clips using Adobe After Effects. The show is controlled with Modul8 and M-Audio midi controllers. We are very excited that we are getting this amazing opportunity to makme this show come to life.

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Lookout: You recently dropped a new album, titled Drift, alongside some serious remixes for Flying Lotus and Daedelus. Is there an aspect of the production spectrum, original or remix, that you prefer to work with?

Nosaj Thing: It's fun to work on remixes because the challenge but I prefer to work on original music. Writing music is therapeutic for me and I feel most satisfied when starting with a blank canvas.

Lookout: There seems to be a lot of synergy within LA's creative community, as evidenced by your collaboration with LA institution Undefeated, which put out a limited edition shirt in honor of you album Drift. What has it really been like coming up and living in Los Angeles?

Nosaj Thing: I've been living here all my life and I've been exposed to music everywhere I go. I got into hip hop when I was in 4th grade! My school's bus driver always had the local hip hop radio station locked. This was when the Beat Junkies were the residents. Right now, the community is so rich with amazing artists and it's been very inspiring for everyone.

Lookout: You're coming off a big year, including a new album, seemingly nonstop tour dates, and the development of a whole take on the live show. What does the coming year hold for you?

Nosaj Thing: I started working on my next album and hope to do more live shows with the visual concept.

Interview by Liam O'Keef

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