The term 'chapines fogazo' might sound a bit like a culinary delight or perhaps a whimsical dance, but when you dig a little deeper, it points to something far more intricate: the evolving landscape of electronic music and its visual counterpart. It’s a nod to how artists are weaving together sound and sight, creating immersive experiences that go beyond just a beat.
Think back to the early days of the LA beat scene. It was all about the music, pure and simple. Figures like Daddy Kev, Ras G, and later Flying Lotus and Daedalus were pushing boundaries with their sonic recombinations, blending hip-hop, jazz, and electronic elements. Visuals? Not really on the radar for most musicians back then. It was a world of DJ decks and laptops, where the focus was squarely on the audio.
But as the scene gained international traction around 2009, something shifted. Artists started to realize the power of a strong visual identity. Flying Lotus began directing his own cinematic music videos and exploring holographic 3D live visuals. The Glitch Mob built their futuristic stage environment, 'The Blade.' And Daedalus? Well, he practically defined performing in flamboyant, dandy fashion.
This is where the 'fogazo' – the flash, the spark – really ignites. Take Nosaj Thing, for instance. Even on his 2009 debut album, 'Drift,' Jason Chung (Nosaj Thing) was already thinking about dynamic visuals for his live shows. He’d grown up with DJ battles, but his original path was graphic design. It was a natural gravitation towards the intersection of sound and vision.
Chung himself has spoken about how his entire career has been a study in making electronic music a live visual experience. He understands that many up-and-coming producers want to perform with visuals but don't know where to start. It's not just about making something look interesting; it's about creating a whole new world. You can play with light, projections, even scents. The key, he emphasizes, is the concept and the direction.
After 'Drift' dropped, the buzz was undeniable. Venues worldwide wanted Nosaj Thing and his peers. Chung, having toured and remixed The xx, felt it was time for his own show. He dove into researching light installations and video projections, even looking at YouTube videos to get a grasp on live visuals.
He collaborated with his then-roommate, Adam Guzman, who was studying media design. Their first foray might have been at a movie theater in downtown LA, with Chung performing in silhouette against the screen, reminiscent of Disney's 'Fantasia.' It was a powerful moment, especially for a bedroom producer not accustomed to the spotlight. The silhouette, the body movements – it all held a certain magic.
Inspired by 'Fantasia' and the performance art of the Talking Heads' 'Stop Making Sense,' Chung and Guzman began crafting projected animated visuals. For each song, they’d pick a color and use simple animations to bring the performance to life. Guzman would trigger these clips using Modul8 software. It was a fusion of Chung's musical vision and Guzman's design expertise, a perfect blend of their shared interests.
This drive to integrate visuals continued. After the 'Drift' tour, Chung moved into production work for artists like Kid Cudi and Kendrick Lamar, but the collaborative impulse, especially with visuals, never faded. It’s this continuous exploration, this 'chapines fogazo,' that keeps the electronic music scene vibrant and engaging, proving that a live show can be a multisensory journey.
