L'Ecstasy

Tiga, Hudson Mohawke

explicit

Erschienen am 01.12.23 bei Love Minus Communications
Künstler: Tiga Hudson Mohawke
Genre: Electronic

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Love Minus Zero is the superstar duo of Hudson Mohawke—the Scottish wonky pioneer who has, over the past decade, expanded his work from hip-hop (Drake, Kanye West) to experimentalists like Anohni and Banks—and Tiga, the Canadian remix master beloved by a cool dance-rock subset that includes LCD Soundsystem, Depeche Mode and Justice. Put simply, the studio guy and the rave guy sound ecstatic, and energized, to be combining forces. Songs like "TR Smooth"—blessed by a quick-tap Caribbean rhythm influence and a light, meandering whistle melody—are uplifting and just sound like freedom. Rapper Channel Tres channels happiness by charmingly drawling "just love your fucking self" over the caffeine-perky burbles and clicks of "Feel the Rush." "Love Minus Zero" is like a rallying cry of joy: pure festival fun, light as a breeze, as electric-light synth is warped and manipulated until it's a metallic reflection bouncing all around you. Super-elasticized "Duro" is absolutely gleeful.

Sometimes, it’s hard to take the giddiness seriously, like on the sweaty workout of "Night Is Not," which is so unrelentingly futuristic like a cheesy Knight Rider or Six-Million Dollar Man chase scene. Likewise, "BUYBUYSELL" is some glitched-out Max Headroom fever dream, its parts seemingly assembled from a room of circa-1985 office technology; but if it's a joke, it's a good one. "VSOD (Velvet Sky of Dreams)" tries out robo-funk, while "Silence of Love"—juiced on honey-smooth vocals from Jesse Boykins III—plays it classic with deep house and a few thrilling drops.

There are surprises, too. "Exit Warehouse at Dawn" is almost Eno-like in its ambient study of the morning after: minimalist, xylophone-like beats; a synth mood that washes in and out like a weather system; and the lingering sense memory of squelching whistle and drumline rhythm. The high-strung nervous energy of "Ascending Into the Clouds" is set on fire by a feature from garage legend Elisabeth Troy, a single syllable from her turned into a juddering drill. After the 4-minute mark, the whole thing turns into a swarm that does just what the title told you it would. And closer "In Order 2" is a stunner: goth dungeon shadows, fuzzed-out drum stomp and trolling jingle bells, a mesmerizing/maddening chant ("I need you" x 1,000) and then, wow, out of nowhere, deliriously, deliciously moody saxophone. Visual artist Wolfgang Tillmans loved it so much he lent the chilling beach image of the album’s cover, remarking that the song strikes like "a Herznote," a German word for a call to the heart. © Shelly Ridenour/Qobuz

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L'Ecstasy

Tiga

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Exit Warehouse At Dawn