If there's one name to mention - if not for the first time here on the web - riding aboard the 2012 hype train, it would most certainly be Hudson Mohawke's anticipated collaboration with fellow electronic producer, Lusine. The TNGHT name was one of the most talked-about identities in listening circles' voices last year. The duo's debut self-titled EP certainly made a strong case to point out the hype was not without its foundation. Combining the recent surge in wonky electronics, bass and experimental intakes of hip-hop, like fellow newcomers Rustie, Zomby & Strakey, the UK-based, Glasgow-Montreal duo are proving electronic music in 2013 is as much the high-paced hard-hitting intensity as it is the slower, organic unveiling UK garage and techno have been specializing in for the past few years. So regardless if you're a lover, a hater, or someone caught in-between unsure how to react, it's no long-stretch that you're bound to discover new material dropping from these two. And as Warp has clearly highlighted for the past week, ACRYLICS stands as TNGHT's first official release of music in 2013.
From the opening seconds, you'd be forgiven for thinking this was the club's take on ambient music, be it dark and quite the haunting lick of ambiance via thickly piano keys and blurred expanse of space. But any surmise that this is going for a laid-back approach, are blown right out of the water, and quickly. If it isn't the earth-shattering bass percussion that finds its way into your ear canals, then for certain it'll be the raving of synthesizers that lead on and jagger their way to the forefront. Hand-claps, toy pianos and looping shrouds of audience cries alike, the track descends once more into the mass hysteric of darkly-tinted dance music. And while not as hip-hop or as wonky as their EP had been leaning towards, the music without question the same - if not more - drive to engage and muster its true physique. It's a shame that for a four minute listen, the track feels repeated and comprised of filler for a large portion of its second half. Admittedly, there's a distinct lack of development here to the point where the progression and indeed the intensity begins to lose its appeal near its end. But if there's one benefit because of it, like most electronic music of this sub-genre and of this same enticing for energy, the sounds don't overdo their stay.
Make of this scenario of sound what you will, but there's at least a beneficial as much as there is a hindered outcome to this new sound from the duo. While I'm still as hooked on the TNGHT's disdain from holding back - here, elements of early rave and current dubstep meshing (or rather colliding) into one uniformity - I'm still left questioning how this will all pan out in the near future. As much as there self-titled was a pack of wonky beats, synth hooks and underground homage, ACRYLICS is a divergent mix of new ideas and new risks the duo unfortunately let run for too long. Will the two learn to balance the old and new? Will they learn from these precendented warning? Regardless, I'm intrigued and more than ever, I'm excited by what I've heard. By the time we see a full LP drop, we just might have gotten the answers to those burning questions. ACRYLICS is out now on Warp.