- TNGHT: one half Hudson Mohawke, one half Lunice, all-together, completely unstoppable. The combination of the powers of these two doyens of odd-ball dance just begs for cheesy epithets like the above. Lurking underneath the delightful silliness that HudMo besmirches everything he does wtih is something new... and it is dominating. That is the quality the pair infuse in the beats on this self-titled, debut EP. Quite a lot of aussie folks would know Scottish producer Hudson Mohawke and how - despite all his crazy shennanigans - hard he can rock a dance floor. I'm not sure how many peeps around here would be familiar with Montreal's Lunice, but on that side of the Atlantic, and well, on the other too, he bangs pretty hard himself, bringing shuddering bass music and extremely syncopated trebles. Never quite as wickedly silly as HudMo, what he brings, to my mind, is a bit of discipline to this joint. Having said that, the pair have been of one mind in creating the direction of these five, tightly focused tracks. That direction, coming from and going to, is hip hop. Let me get this straight, we don't need another genre, but, assuming the ever fluxing and trending world of dance micro-genres doesn't collapse under the weight of its own puffed-up self-importance, it may be about to give us one; that being trap music. What it is, very simply, is big, fast hip hop, with cavernous bass and speeding snares. Have you been listening to Lex Luger, Juicy J or Waka Flocka Flame? You probably heard some trap music going on in there. Taking that sort of thing as their inspiration, HudMo and Lunice just go to town, whacking down huge bass and speeding, crazy trebles and welding them together with absolutely nothing in-between. It pumps so fast, it's often easy not to think of it as hip hop, but hip hop it is and the pair are genuinely putting the EP out there as a kind of showreel. Not to no avail, either, with the likes of Kanye sniffing around. As Lunice said to Pitchfork recently: 'We're bringing this straight to the rap game'. In fact, just about every track here has already been lent, elsewhere to at least one MC for their rapping pleasure. Fortunately, for our purposes, they sound pretty good, as is. The moody, chopped up and highly processed vocal sample of Top Floor sits over itchy snares and bouncing bass, and makes for a tense intro, like a boxer going through his paces, getting psyched for the fight. Goooo does exactly what it says and over suitably enormous bass, builds up a rocketing synth rhythm that is quite glorious to behold; like Axel Foley on speed. Higher Ground takes another choppily deployed vocal sample and lays it over a brassy sounding and ominous synth bass and crashes forward like an uncontrollable monster overunning Tokyo. Bugg'n is about the closest you'll come to anything laid-back, here-abouts. A cheesily oriental synth melody shuffles along awkwardly over the stupidly huge, undulating bass, which is really the focus here. There's a baby gargling every now and then, too; strange. Easy Easy takes being last place in line quite seriously and does its best to convince anyone not yet converted by going stupider than anything that came before. A weaving, tipsy, treble synth is accompanied by gunshots, shattering glass and extremely altered oohs and ahs. I didn't need any further convincing, but I think by trying so hard, it may have become my favourite thing here. That's a big ask because, although Tnght doesn't give you much - only sixteen minutes - what there is, is as I said to start out with: dominating.
- Chris Cobcroft.