Trial and Error
by Hugo Monster
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Three stickers
Trial and Error Cassette
Trial and Error CD
Bandcamp Digital Copy
Includes unlimited streaming of Trial and Error via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 3 days6 remaining$20 USD or more
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1. |
Viral
03:46
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2. |
Push
03:50
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3. |
Halfway Woke
03:32
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4. |
Ill Intentions
03:04
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5. |
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6. |
Lessons
04:38
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7. |
Point Blank
03:26
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8. |
Nothing More
04:00
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9. |
No Looking Back
03:49
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10. |
The Tongue
04:24
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about
Purchase Physical copies at www.hugomonster.com/taepp
I like to describe this album, Trial and Error, as fun. It has been a long time since I have enjoyed recording music. Not that it's a drag to make music, but this feels new and different. It may have a lot to do with the fact that I'm making music with my brother in rhyme, Paavo. We've been homies since elementary. I hate to admit he knows the real Hugo. It's not something I brag about. Paavo has always been an ill emcee, but in the last 4 to 5 years, he has gotten into production— mastering, mixing, and beat-making. He's produced two of his albums, "D.R.I.P." and "Death is the Best Keeper of Secret." Super dope. I recommend you check it out. Now he's got another notch on his belt, producing an entire album for another artist.
This a new territory for both of us.
So why is this album different? Is it how and where I recorded? Is it the constant banter amongst long-time friends?
With my previous joints, I would either send my vocals to a studio or book time and record in person. Going to the studio was a fun experience, but I always felt something was missing. Also, it's hard to feel relaxed due to studio time always being in the back of my head. Time is constantly on my mind. That's why I never write in the studio. My mindset is to come prepared to rap and record. Nothing more, nothing less. I was always in and out.
I mostly still recorded for this album at home and sent vocals back to Paavo to mix. Paavo would give me a skeleton version of the beat. I would record, and he would add more to the song in post. One thing I remember the most is him telling me to do many takes of a verse. He told me he'd use it to layer the song and make it sound complete. Paavo wanted to experiment with recording. He showed me a few tricks. Have you ever rapped a dope take of a verse only to mess up the last few bars? He showed me how to punch in, but not right at the spot where the bars fall off—always learning. This is what I think I was missing at the studio. Having friends willing to give you constructive feedback is a must. You got to have those go-to homies you have a rapport with and trust.
One of my favorite songs on the album is Push. Not because it's fire (damn, your boy is vain), but I remember having fun during recording. I have not had that much fun recording a song in years. That is the only beat on the record Paavo sent me, as is that he did not change the sequence in post-production. I remember doing many takes, meshing certain parts, and piecing together the song like a puzzle. I was painting using my words and using the multitrack as the canvas. That is the only way I could describe the process. That was a moment for me.
I hope you enjoy the album—ten dope produce tracks by Paavo, dope-ass raps, and an ill feature from Mr. Celestial Clockwork, Illogic.
Best,
Hugo Monster
I like to describe this album, Trial and Error, as fun. It has been a long time since I have enjoyed recording music. Not that it's a drag to make music, but this feels new and different. It may have a lot to do with the fact that I'm making music with my brother in rhyme, Paavo. We've been homies since elementary. I hate to admit he knows the real Hugo. It's not something I brag about. Paavo has always been an ill emcee, but in the last 4 to 5 years, he has gotten into production— mastering, mixing, and beat-making. He's produced two of his albums, "D.R.I.P." and "Death is the Best Keeper of Secret." Super dope. I recommend you check it out. Now he's got another notch on his belt, producing an entire album for another artist.
This a new territory for both of us.
So why is this album different? Is it how and where I recorded? Is it the constant banter amongst long-time friends?
With my previous joints, I would either send my vocals to a studio or book time and record in person. Going to the studio was a fun experience, but I always felt something was missing. Also, it's hard to feel relaxed due to studio time always being in the back of my head. Time is constantly on my mind. That's why I never write in the studio. My mindset is to come prepared to rap and record. Nothing more, nothing less. I was always in and out.
I mostly still recorded for this album at home and sent vocals back to Paavo to mix. Paavo would give me a skeleton version of the beat. I would record, and he would add more to the song in post. One thing I remember the most is him telling me to do many takes of a verse. He told me he'd use it to layer the song and make it sound complete. Paavo wanted to experiment with recording. He showed me a few tricks. Have you ever rapped a dope take of a verse only to mess up the last few bars? He showed me how to punch in, but not right at the spot where the bars fall off—always learning. This is what I think I was missing at the studio. Having friends willing to give you constructive feedback is a must. You got to have those go-to homies you have a rapport with and trust.
One of my favorite songs on the album is Push. Not because it's fire (damn, your boy is vain), but I remember having fun during recording. I have not had that much fun recording a song in years. That is the only beat on the record Paavo sent me, as is that he did not change the sequence in post-production. I remember doing many takes, meshing certain parts, and piecing together the song like a puzzle. I was painting using my words and using the multitrack as the canvas. That is the only way I could describe the process. That was a moment for me.
I hope you enjoy the album—ten dope produce tracks by Paavo, dope-ass raps, and an ill feature from Mr. Celestial Clockwork, Illogic.
Best,
Hugo Monster
credits
released March 31, 2023
Producer: Paavo
Producer: Paavo
license
all rights reserved
tags
about
Hugo Monster Richmond, California
Like the 808 bass of a West Coast rap song, Richmond rapper HugoMonster comes stomping down your street and into your living room, shattering windows and egos. Raised in the San Francisco Bay Area, HugoMonster grew up focused on the success of school, work, and love only to discover a life’s worth of obstacles boxing him in. ... more
discography
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Mar 2023 -
Dec 2020 -
Apr 2019 -
Dec 2018 -
Jan 2018 -
Jan 2015 -
Mar 2013 -
Apr 2010 -
Mar 2006
contact / help
Hugo Monster recommends:
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Beer, Beats and Dope Ass Rap. My partner in rhyme has put out a lot of dope shit in the last decade. Had the honer of being his hypeman and doing one off the top.. EnjoyDaOutterSpaceFunkSlappingSound
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He makes my beats
go to album
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"i aint no fool like showing up to work with no tools!" Come prepared or don't come at all. My favorite track off this project. Mike and Paavo wat a dope duo.
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