Photo by Martin Blondet

Manhattan’s Webster Hall swelled with anticipation last Wednesday as Hudson Mohawke stealthily approached the DJ booth, soaked in fog and purple lighting, accompanied by thin layer of watery synths. With this night being one of the last of Red Bull Music Academy’s month-long string of events in New York City, expectations were high, and the question of who the “friends” the headliner was supposed to bring out had rumors buzzing.

After an energetic performance from NY-based rapper and producer Le1f, HudMo’s calm was a counter-intuitively exhilarating change of pace. Rather than going for a sucker-punch high-energy opener, HudMo caught the crowd’s curiosity with his slow-building, majestic remix of Bjork‘s “Virus.” Many shouted anxiously for a “drop.” Others, trusting in HudMo’s subtlety, let themselves take the bait, listening intently for his next move. All were pleased to hear the Glaswegian producer’s more melodic sensitivities be followed by his dark side, transitioning into the menacing “100HM,” originally conceived as a Rick Ross instrumental. Hudson Mohawke’s versatility doesn’t only make for a unique live performance: in the past few years, it has established him as a key player in both the electronic music scene and, most recently, in the world of hip-hop.

Hudson Mohawke is currently in an artistic Goldilocks zone that most producers could only dream of. His first taste of recognition came with his collaborative project with Montreal producer, Lunice (TNGHT). Their self-titled EP, released in 2012, was two steps ahead of the game, being one of the first instances–and certainly one of the best–in which the Southern trap sound was fused with electronic music. It was this project in particular that caught Kanye West‘s attention, who signed HudMo to G.O.O.D. Music’s production wing early last year. HudMo has consistently brought his precise and hard-hitting style to G.O.O.D. Music’s table, receiving production credits on the Cruel Summer compilation and on West’s last album, Yeezus. Though HudMo refrains from labeling his music, his use of 808s, fat synths, and distorted vocal samples made for a deadly combination that greatly popularized the trap sound within the EDM community. It’s safe to say, however, that few producers who adopted the sound have managed to do it as creatively as Hudson Mohawke. Of course, the Webster Hall crowd was well-aware of this as they bounced to TNGHT-bangers like “Goooo” and “Higher Ground.”

As HudMo rocked out with his signature slightly-off-beat head bob to one of his own 808-heavy tracks “Chimes,” a familiar voice suddenly began crooning over the blasting horns. Houston rapper and fellow G.O.O.D. Music signee Travi$ Scott rushed the stage, stomping wildly, dapping up fans and singing a hypnotic tune: “She in love with the party…” After allowing a moment of silence for the audience to soak it all in, Scott baptized the crowd with a water bottle and growled furiously into the mic as the opening to his titanic single “Upper Echelon” blasted. Remaining on stage for a few extra minutes to continue hyping up the crowd, stage-diving and giving his t-shirt away to one lucky female, Travi$ Scott’s electric performance proved to be tough act to follow for HudMo’s second guest, Bodega Bamz. The Harlem MC performed unreleased material with great enthusiasm and charisma, but was somewhat lost in Travi$ Scott’s dust cloud.

After expertly leveling the slight dip in energy, teasing the crowd with a snippet of his latest collab with Yeezy, “God Level,” HudMo was joined on stage by Antony Hegarty, front man of chamber pop band Antony and the Johnsons, in the form of a ghostly silhouette haunting the back of the stage. Hegarty swayed gently as she sang an eery melodic number, later revealed to be an unreleased song produced by HudMo. While being by far the oddest choice of guest performer, those who’d learned from the intro knew that this was only a quiet before the storm. Making sure to finish on a high note, HudMo threw down three classics in a row, “Cbat,” “Thunder Bay,” and “Fuse,” which he then topped off with his cheerful, clubby remix of Duck Sauce‘s “NRG.”

Tongue firmly in cheek, HudMo walked a few feet away from the booth, pointing at his watch apologetically, knowing full well that he had us in the palm of his hand. Murmurs of “Kanye” and “Bjork” could be heard throughout the crowd, but he would not save his encore song for something that wasn’t all the way him, and rightfully so. Few artists are bold enough to finish a set with something that will challenge rather than appease their fans. The unreleased song’s pounding buildup resembled a punk beat played on drums forged by the gods. The “drop” (if you can call it that) was awe-inspiring. With no signature HudMo style rapid-fire snares to be heard, a sublime tidal wave of harmonic synths washed over the crowd, crashing and fading, with HudMo disappearing into it. While some remained milling around, clinging to hope that Kanye would make an appearance, most left contently knowing that the silence was only yet another set up for the many things Hudson Mohawke still has in store for us down the line.

The post Concert Review: Hudson Mohawke Is Full of Surprises appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Don’t look at this as a “best of” list. This is simply an impromptu assembly of dope beats, as experienced by people who think of instrumentals as more than blank, dead canvasses for rhymes. Instrumentals are alive. Read some accounts below.

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“I’m In It” – Kanye West. Produced by Kanye West, Evian Christ, Dom Solo, Noah Goldstein, Arca and Mike Dean.

The alternating piercing moans coupled with deep, vibrating synths create one of the most unconventional beats out there, and the thumping vocals of Assassin complement everything for an electrifying, jarring track. There’s no telling how many babies will be made to this song. Or how many abortions will occur to it.

“Suicide” – Pusha-T. Produced by Pharrell Williams.

Pharrell‘s beat sounds like something out of a video game, a mishmash of dissonant tones and otherworldly drums, not to mention the occasional single syllable uttered from an unrecognizable vocal sample.It’s a true exercise in sonic A.D.D. We know that Pusha plus Skateboard P has always been a solid combination, but this genuinely sounds like “something the world has never felt before.” [Editor’s note – Props to you if you get that reference. S.K.]

“Where He Get It” – Chief Keef. Produced by Sonny Digital, Southside and MetroBoomin.

This track is one of the most finely-tuned clusterfucks ever made. With more space, we could get into its nuances, its subtleties, its overwhelming atmosphere, and the seamless presence Keef finds within those elements, but for now we’ll just say that it’s basically the most fearless instrumental of this year. It’s heavy-handed in its inclusion of so many competing leading sounds and daring in its execution. There’s no telling how so many sounds can be made to actually work together, but it happened.

“MC ILLIN” by MondreMAN. Produced by Al Jieh.

Jieh creates a watery strength for Mondre on this track. Hints of G-Funk with contemporary technicality, Jieh‘s work ripples to its own propulsions. #bubbly

“Run The Jewels” – Run the Jewels. Produced by El-P.

This shit can knock down buildings. Don’t be surprised if this song starts to replace wrecking balls.

“Tom Ford” – Jay-Z. Produced by Timbaland and J-Roc.

Fuck Yeezus, this is what hip-hop from the future will really sound like. Every single component in this robo-gymnastic beat sounds hand-picked, unique, bananas. Timbaland‘s hard drive should be a national treasure.

“King Push” – Pusha-T. Produced by Kanye West and Sebastian Sartor.

Perhaps it was the rumor that Joaquin Phoenix produced “King Push” that made its initial unveiling feel like a unicorn sighting, but the fervor the beat creates is solely a byproduct of its megalomaniacal feel – like capturing bravado in a bottle. Produced by Yeezy and an unknown beatmaker named Sebastian Sartor, “King Push” is proof that you don’t need a big name behind the boards to create a certified banger. And that squeaky noise at the beginning is critical.

“Blood On The Leaves” – Kanye West. Produced by Kanye West, Hudson Mohawke, Lunice, Carlos Broady, 88-Keys, Arca and Mike Dean.

When you integrate a sample of Nina Simone‘s rendition of “Strange Fruit” with TNGHT‘s “R U Ready” you get a supernatural experience that induces a pure sonic euphoria. When you chop the aforementioned elements into an interpolation of C-Murder‘s “Down 4 My Niggas,” you get something else entirely – something completely and utterly existential. “Blood On The Leaves” is a hodgepodge of rare and strange ingredients unified to create one of the finer reinterpretations of sound in recent memory. Truly.

“Pound Cake” – Drake. Produced by Boi-1da and Jordan Evans.

The beat literally gives you goosebumps every time you hear it. You can play it a thousand times, and it feels like the first time you heard it. The Wu Tang sample is genius, and adds to the smoothness of the beat even more. Have Canadians always been this good at music?

“Palm Trees” – Flatbush Zombies. Produced by Erick Arc Elliott.

Flatbush Zombies architect, Erick, constructs a hypnotic, eerie, and incredibly catchy instrumental that is both laid back and energetic. Palm Trees is the perfect groove for Meechy and Juice to explore and the perfect replacement addition to your parent’s reggae playlist.

“My Yout” – Joey Bada$$. Produced by Chuck Strangers.

This instrumental is a prime example of West Indies meets Brooklyn. Or better yet the West Indies influence that is already infused within Brooklyn hip-hop. It’s reggae-dub with a hip-hop twang and serves as a testament to Joey Bada$$‘s Caribbean roots. Melodic and intricate, it’s a top record on the generally impressive Summer Knights mixtape.

“Flip Ya” – Action Bronson. Produced by Party Supplies.

The sample of Junior Walker’s rendition of “Wishing On A Star” is what sets this instrumental off so nicely. The wailing saxophone, heavy bassline and faint background singing are the perfect compliment to the vivid rhymes by Bronson and Retchy P. In all honesty it should’ve been a longer song. As is, it just isn’t enough. We need more backflips!

“Portlyn” – The Stuyvesants. Produced by The Stuyvesants

The beat is just so damn smooth. It almost seems like it was made for cruising the streets on a warm summer night — just riding without a care in the world. A real 70s, blaxploitation feel to it. Good shit.

“Work” – A$AP Ferg. Produced by Chinza and Fly Beats.

No matter if you hate the song at this point or still go hard for it, the instrumentals is supremely powerful and that bass will always knock. Plus, Ferg‘s chanting at the beginning of the song could probably wake the dead. And yes, that chant should be considered apart of the instrumental.

“Black Skinheads” – Kanye West. Produced by Kanye West, Daft Punk, Gesaffelstein, Brodinski, Mike Dean, Lupe Fiasco, No ID, Jack Donoghue and Noah Goldstein.

When Kanye first performed the track on Saturday Night Live, it felt like a moment. We’d heard ‘New Slaves’, and as impressive as that song is in itself, ‘Skinhead’ is a beast all in it’s own. Kanye‘s lyrics – attacking and revolting – are still overshadowed by the power of the track behind them. Again, watching Kanye perform ‘Black Skinhead’ on SNL felt like a moment, but the beat was eternal. That militant percussion genuinely makes it sound like Kanye has an army behind him.

“Contemporary Man” – Action Bronson. Produced by Party Supplies.

Rumor has it that this is the first song Action Bronson and Party Supplies ever recorded together. If the legend is true, then it was a brilliant look into the crystal ball. Bronson‘s at his best when his spitting his cartoon-lifestyle-bars over Party Supplies‘ ever-sampling beats, and hearing the self-proclaimed “young Tom Selleck” go in over an assortment of 80’s hits feels like soul mates finding their better half. This was a match-made in hip-hop heaven, and we’re so, so glad they found each other.

“Orange Juice” – Vic Mensa. Produced by Cam.

It’s hard to see a song named “Orange Soda” and not immediately think of Kel from Kenan & Kel. Like the memorable TV show, “Orange Soda” is bright and bubbly. Synths rise like the heat on a summer day while the bass moves fluidly and freely like a nice breeze. It’s a near-flawless setup for the upbeat and vibrant delivery of Vic Mensa: the rap game’s Kel. Who loves “Orange Soda”? I love “Orange Soda.” I do, I do, I do–ooo!

“Go All Night” – Kelela. Produced by Morri$.

It’s an unspoken fact: any song that includes a sampled crowd “Hey,” is bound to be great–especially if it’s an R&B/soul/whatever-exactly-it’s-supposed-to-be  song. It’s as if Morri$ knew what this song was destined to be: an after hours banger where you’re huddled up close to someone you just met at the club. Will you leave with them when the lights turn on? Will you at least get their number? Maybe, maybe not. You’re more concerned about the twilight synths leaving your knees weak, and those 808s ringing in your ears.

“Gas Pedal” – Sage the Gemini. Produced by Iamsu.

No words are needed. Hell, are words even possible? This beat is groundbreaking.

“Fuck That Nigga” – DJ Mustard. Produced by DJ Mustard.

Let’s keep it 100: Mustard soundtracked 2013. People say that he makes the same song over and over again, yet rappers keep calling him for beats. Explain that.

“Torture” – Danny Brown. Produced by Oh No.

On “Torture” Danny Brown takes some time out from being on Adderall goofball order a grim picture of his past life. Oh No provides a beat that seems more suited for Ghostface than Danny, but the Detroit spitter delivers his most in-pocket performance ever as he details a life plagued with horrors. The beat here alone is enough to give you coke-fiend nightmares.

“Hoarse” – Earl Sweatshirt. Produced by BadBadNotGood.

The beat feels like a tornado mixed with a black hole, growing in intensity, consuming everything, yet somehow pushing me away. That feeling, plus the Wild West sound effects give the song an acute loneliness that truly haunts. But it’s weird because it feels you’re haunted by an absence rather than a presence.

“Enemy” – Kelela. Produced by Nguzunguzu.

Nguzunguzu really put some work into that beat. It’s reminiscent of Portishead‘s “Machine Gun” in terms of how it demands your attention. It’s very militant and forceful, especially with the random pauses. It feels like someone’s marching toward you with a knife. Beyond how it makes you feel though, it’s amazing how so many of the elements of the instrumental are just plain unpredictable. How in the world did Kelela write lyrics to this?

The post RESPECT. Roundtable: Our Favorite Instrumentals of 2013 appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo by Laura June Kirsch

On “Where My Money,” Royce da 5’9 asks a provocative question: “Now who gives a fuck about who bars the hardest/When the DJs think they’re bigger stars than the artists?” There is no clear answer to this question, but its premises are useful. Royce thinks that DJs are stepping out of line and becoming too self-important. That might be true, but given the reception of TNGHT’s recent performance at Webster Hall, the recent growing popularity of DJs seems to be less of a collective shift in DJs’ egoism and more of a collective shift in what fans actually want to hear (and do) at concerts.

“Fans of what?” you may ask. This is precisely where TNGHT gets tricky. Though the duo is signed to Warp Records, the members – Lunice and Hudson Mohawke – have affiliations with LuckyMe, Night Slugs and G.O.O.D. Music. They also have roots in the underground scenes of Montreal and Glasglow, their respective cities of origin. Finally, making things even more complicated is their role in popularizing the revival of trap, the formerly waning and currently vibrant musical aesthetic of early 2000s Southern hip-hop. Because they sit at this peculiar intersection of disparate scenes and sounds, the only way to genuinely answer who their fans are is tautological:  fans of TNGHT are fans of TNGHT.

A woman next to me asked, “Is this hip-hop?” Yes, but it’s also something else. Lunice formerly claimed that the aim of TNGHT is to dive “straight into mainstream rap music,” but there’s no way to comfortably call what they’re doing just hip-hop. The fact that the question is even posed speaks volumes.

Their music speaks volumes as well. Many volumes, in fact. Their set is characterized purely by peaks and troughs. Dancing to their music is like interval training on a stationary bike. “ACRYLICS,” their latest single, embodies this mark most vividly. The song oscillates between dreamy twinkles and explosive synths and bass. “Explosive” is the key word here because there is no real build-up: the peaks just happen. The only thing that sustains you in between these highs and lows is pure anticipation. It’s interesting to see this play out live. Anticipating the highs, people stopped dancing and longingly stared at Lunice and Hudmo for direction. They really didn’t know what to do! Other people complained: they wanted to dance non-stop. (Translation: they wanted to hear what they wanted to hear)

Their complaints weren’t unheard. TNGHT loves to play with the audience’s expectations, but they were not authoritarian. If anything, they were fairly obliging. Although the songs they make embody the disparate traditions that they skillfully patch together – “Higher Ground” is the example par excellence –  they were willing to please their constituents one demographic at a time. While Lunice’s “Panera Bread” pleased the hip-hoppers at the expense of everyone else, it was balanced by a later nod to the EDMers, with “Treat Me Right” by Keys N Krates.

While the music spoke and the audience spoke back, the stars of the show were rather mute. Sure, Lunice occasionally got up from his swivel chair – yes, he had a chair – and madly directed the crowd like some sort of crazed classical conductor, but there was no further communication; Hudmo was behind his computer the entire time. They probably didn’t even have microphones. Still, they were the main attraction. This kind of self-effacement stands in direct opposition to the DJs that Royce mentions and perhaps that’s why TNGHT is so damn likeable: at the end of the day they’re all about the music. There were no audio watermarks saying, “TNGHT made it” or some other quickly annoying phrase. Their trademark is simply the music itself. And that’s precisely why TNGHT has made it.

The post Concert Review: TNGHT Perfects DJing at Webster Hall appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Anytime we get new music from the insane duo TNGHT, it’s a good day, but what about when old material surfaces? “R U Ready” may seem like new awesomeness to us, but it’s actually the first ever TNGHT track, according to Hudson Mohawke via his Twitter page. Either way it’s pretty dope and features a collection of kick ass horns and drums. The sheer genius of these two is amazing. You may not be ready for what you are about to hear, but enjoy it either way.

The post New Music: TNGHT – “R U Ready” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

As always Haze is impeccable, her cadence filled with rhymes that move in rapid succession. Add Lunice‘s menacing production into the mix and you have a two minute and 36 second track, that bands from beginning to end.

Check out the song below and view a behind the scenes video of the two making “Gimme That,” here.

Angel Haze & Lunice “Gimme That” (Songs from Scratch Session) from Yours Truly on Vimeo.

The post ANGEL HAZE – “GIMME THAT” (PROD. BY LUNICE) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

It’s been said that Lunice dresses like the lost member of Odd Future. Considering that description, it’s wholly appropriate that the Canadian producer has now collaborated with The Goods Kids to create a clothing line. Designed to showcase “the progression of music and style in Montréal,” this new line is fresh and minimal, an interesting juxtaposition considering the outrageous dynamism of Lunice’s music. Watch this juxtaposition come to life in the video below.

For more glimpses at the clothing line, click here.

The post Fashion: Lunice Collaborates With the Good Kids appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

TNGHT just released a 28 song, hour long mix featuring tracks from their self titled EP and many more. This is a sick mix, but then again do you expect anything less?

Tracklist:

1 John Carpenter – “Back to the pod” (version 2)
2 SpaceGhostPurrp – “Get Yah Head Bust”
3 Dj Zirk – “Lock Em In Da Trunk” (Chopped & Screwed Tommy Kruise Remix)
4 Lil Ugly Mane feat. Denzel Curry – “Twistin”
5 Jackie Chain feat. Bun B & Big K.R.I.T. – “Parked Outside”
6 Lady Bee – “Hard Like A Criminal”
7 Dj Squeeky & Tha Family – “Death To You Playa Hata”
8 Snoop Dogg feat. Master P – “Snoop World”
9 Lunice – “Youngin” (Paper) (forthcoming LuckyMe)
10 TNGHT – “Bugg’N” (forthcoming Warp X LuckyMe)
11 2Chainz feat. Drake – “No Lie”
12 Lunice – “Believe Dat” (forthcoming LuckyMe)
13 TNGHT – “Ridin Up”
14 Chief Keef feat. Kanye West, Pusha T, Big Sean & Jadakiss – “I Don’t Like (Remix)”
15 TNGHT – “Goooo” (forthcoming Warp X LuckyMe)
16 GOOD Music – “Mercy x Furnace”
17 Hudson Mo – “Chimes”
18 Sasha Go Hard – “I’m Hotta”
19 Zebra Katz x Boyfriend – “Winter Titty”
20 Decibel – “GAP”
21 TNGHT – “Bounce Hitum”
22 Waka Flocka Flame – “Rooster in my Rari (TNGHT official remix)”
23 TNGHT – “Higher Ground” (forthcoming Warp X LuckyMe)
24 Stabber – “Torsion Force”
25 S-Type – “Billboard” (forthcoming LuckyMe)
26 TNGHT – “Go Get Busy” (forthcoming Warp X LuckyMe)
27 Zodiac – “Girlgirlgirl”
28 John Carpenter – “Over the Wall”

The post New Music: TNGHT — <em>The Full Uncensored Mix</em> appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.