Hudson Mohawke’s third album, ‘Cry Sugar’,deepens his practice of producing motivationalmusic for club goers – uplifting the debauchery andinspiring many through his own brand of anthemicmaximalism.

Trading in his lineage in dark UK back alleys filledwith Glaswegian antipathy for studio sessions withblazed Pavarotti-inspired tenors and drunk stringquartets, Mohawke has dialled in an ongoingfascination with melding high and low culture. Afterall, he is indeed the architect for the high peaks ofhigh-definition trap production that becameembellished in the 2010s – a style that has beenappropriated in everything from beer can-litteredcollege parties to Arby’s commercials.

American decadence, then, becomes a stage forhis music to thrive – where the DJ booth becomesa composer’s podium for him to conduct the tensedrama between debauchery and apocalypse, the‘mise-en-scene’ of club culture in 2022.