Anti-Sensationalism with Mujo

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Mujo is one in the plethora of beat producers who hide within the international scope of the instrumental movement. Not much is known about his lifestyle or the styles of choice that influences his music. Perhaps not even much of his physical presence has been witnessed or seen by his listeners. The only important attribute to his online presence is solely his music.

Many producers like him are living in similar fashion. Behind closed doors and shut entrances are the minds of needed serenity. They live ambiguous lives among the herd of people around them. They lead themselves ordinary lifestyles. Living in the corporate realm or leading the role of the creative, either or is unnecessary to know.

All that is asked for from these producers are their tastes in sound and their hand in the melody. There may be no other genre more suitable for this purpose than Jazz music. With smooth, Bebop-era Jazz music, there isn’t much boisterous play or added exaggeration within their constructed pattern.

Add that with beat snares and cool drums, and the end result is a short-lived procession that does more to add texture to the picture, rather than construct the outline of it.

All that is known about Mujo is that he is a Japanese, or possibly Hungarian, Hip-Hop producer that continues to display his material consistently on his Bandcamp and SoundCloud page.

I’ve first discovered his material back in 2014, and even through all his ambiguity, he still seems to be accruing more beats season after season, year after year. His beats are simple in nature but effective as a result.

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He manages to follow the same formula for each of his beats. He’ll use nearly-forgotten Jazz samples and masquerade their slower emotive quality with cooler lo-fi-influenced instrumentation and standard MPC snares and drums.

Each of his projects consists of a crudely, put together project covers that typically displays a seasonal or natural foreshadowing of his music.

If he wants his projects to project the slower, crisper feeling of Autumn, he’ll encode a purple haziness over the landscape of the mountainside, adding an eye-popping image of a multi-layered and multicolored leaf.

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If he wants a cloudy, hazy projection from his project, he’ll layer the cover with light shades of turquoise, green, blue, and add oddly shaped renditions of clouds pasted in the middle.

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Although, the EP covers only display a smidgen of the overall projection that his work displays. All the tracks within his EP’s are mainly consistent with the overall feeling that he wants his listener to relate to.

In the case of his latest EP, Shogetsu, he has maximized his potential. With twenty tracks averaging under two minutes long, this project is an escape route from the added noise and muddled rhythms of today. All these tracks follow through in certain and similar vibrations but under an ambiguous theme.

The cover itself contains single, palleted colors that shine and contrast from one another, however petulant it may look. In the middle is a display of flower petals, which could indicate a Spring or Summer theme. Although, there are tracks here with the titles of Christmas Lights and Milkyway.

Starting off with the track Kind Shadows, the simplicity of the project is apparent within its sample of metal shingles and undulating chords, riding along with a one-two step pattern conducted by the MPC.

A few tracks after, the listener is introduced to the beat entitled Dream Island. There is no added filler to its simplistic formula. The samples and MPC are easily distinguished from one another. Hypnotic Gardenis blissful as it can get.

The track’s tranquility doesn’t come from any ostentatious display, but instead through the appreciation of its quietness.

The track appreciates the resonating beauty of slowly played, low-volume noise. Although the construction of the beat is skeletal, the feeling it displays is something that can’t be articulated in words.

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The same type of feeling occurs in the track Christmas Chill. There is a repeated sample of a piano, added with Mujo’s lo-fi snares, skipped, repeated, paused, then repeated again.

My favorite beat from this project has to be Milkyway. The beat has probably no more than three or four added musical notes that are concocted and repeated throughout its duration. Through the benign formula, there is an odd sensation that wholly amplifies it’s aesthetic. That is the feeling portrayed by all of these tracks.

Mujo understands the sensation completely, taking full advantage of his superstitious techniques. His beats may be lack of complexity but are arranged with such intricacy. Placing the snares and drums just in the right place within the right sample.

Amplifying his beats at such a pitch that with its simplicity, it manifests a new type of sound not yet perfected from previous beat makers. Mujo is just one of the many distinguishable instrumental beat crafters out there, all nearly anonymous.

Whatever person he is, there’s an extension of his personality that his listeners can see and understand. Due to that, his craftsmanship will never be forgotten, even when there isn’t a clear picture to remember to begin with.




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