Sequels often don’t live up to the originals, but Dutch producer Kai Hugo—who recently relaunched himself as Palmbomen II—is an exception. His first LP under this new moniker is a weird, nostalgic masterpiece, with each track named for an X-Files character and accompanied by an eerie short film series that mimics the lost world of ‘80s public service announcements.
Hugo, whom fashion kids may remember for the Kitsuné-featured track “Moon Children,” had us hooked with 2013’s LP Night Flight Europa. Naturally, we were eager to inquire what inspired his metamorphosis from Palmbomen to Palmbomen II. The new soundscape suggests laid-back ‘70s porn, a comic book read on the beach (“palmbomen” means "palm trees" in Dutch), or a DIY venue on Saturn’s equator. Compared to Palmbomen, it’s also distinctly more House and drips out like the build of a wacky retro film score. Think the last scene of Scarface with no violence and good vibes.
Hugo’s rebranding brings him both exciting new relevance and analogue nostalgia. We sat down with him in the Austin Convention Center amidst SXSW’s swarming tribe of musicians and filmmakers to talk Chicago House, the X-Files, and LA malls.
WILLIAM NIXON: Tell us about your transition from Palmbomen to Palmbomen II and what that signifies.
KAI HUGO: I played Palmbomen where I mixed my band side [with] my electronic side—playing drums and guitar with friends plus synthesizers and drum machines. It’s nice to do it in the studio when you’re free, but playing it live was always a bitch. We toured all year with the setup but it was really complicated—we couldn’t fly with it. It was too big, too messy. So I decided I’m going to split it up: my band side is going to be Palmbomen where I only play with a band—drums, guitar, bass, traditional setup, keyboards—and my other side (which I’m doing now) is Palmbomen II. I want to have no bullshit around it—just my setup where I make my songs and can recreate them.
Are you directly referencing any influences with your new stuff?
I’m influenced visually, always. For me a movie is perfect to just look at. That is my atmosphere. The setup, which [includes] my limitations, is more influenced by the way people in the ‘80s used to work. It was a pre-computer era where people recorded straight to tape with everything live. There was nothing in between, [which] made it really spontaneous. The whole early Chicago scene did it, from Mr. Fingers to DJ International. Those influences are really rough and quick. So I limited myself: I [forced myself] to start a song and finish it in one day. That’s it. [The rule is] it has to be live and rough and that’s how it’s recorded. I have to be able to play it live exactly the same way.
The whole new album is of songs each created in one day?
Just one day. And I have to record it directly to tape. I can’t change anything [after]. It’s just done. It feels really fresh because you’re not tweaking endlessly.
Tell me about the awesome video series that has been coming out with the new LP.
I binge-watched X-Files but it’s WAY MORE than just X-Files. For me, movies are the most important thing for getting an atmospher
Hugo, whom fashion kids may remember for the Kitsuné-featured track “Moon Children,” had us hooked with 2013’s LP Night Flight Europa. Naturally, we were eager to inquire what inspired his metamorphosis from Palmbomen to Palmbomen II. The new soundscape suggests laid-back ‘70s porn, a comic book read on the beach (“palmbomen” means "palm trees" in Dutch), or a DIY venue on Saturn’s equator. Compared to Palmbomen, it’s also distinctly more House and drips out like the build of a wacky retro film score. Think the last scene of Scarface with no violence and good vibes.
Hugo’s rebranding brings him both exciting new relevance and analogue nostalgia. We sat down with him in the Austin Convention Center amidst SXSW’s swarming tribe of musicians and filmmakers to talk Chicago House, the X-Files, and LA malls.
WILLIAM NIXON: Tell us about your transition from Palmbomen to Palmbomen II and what that signifies.
KAI HUGO: I played Palmbomen where I mixed my band side [with] my electronic side—playing drums and guitar with friends plus synthesizers and drum machines. It’s nice to do it in the studio when you’re free, but playing it live was always a bitch. We toured all year with the setup but it was really complicated—we couldn’t fly with it. It was too big, too messy. So I decided I’m going to split it up: my band side is going to be Palmbomen where I only play with a band—drums, guitar, bass, traditional setup, keyboards—and my other side (which I’m doing now) is Palmbomen II. I want to have no bullshit around it—just my setup where I make my songs and can recreate them.
Are you directly referencing any influences with your new stuff?
I’m influenced visually, always. For me a movie is perfect to just look at. That is my atmosphere. The setup, which [includes] my limitations, is more influenced by the way people in the ‘80s used to work. It was a pre-computer era where people recorded straight to tape with everything live. There was nothing in between, [which] made it really spontaneous. The whole early Chicago scene did it, from Mr. Fingers to DJ International. Those influences are really rough and quick. So I limited myself: I [forced myself] to start a song and finish it in one day. That’s it. [The rule is] it has to be live and rough and that’s how it’s recorded. I have to be able to play it live exactly the same way.
The whole new album is of songs each created in one day?
Just one day. And I have to record it directly to tape. I can’t change anything [after]. It’s just done. It feels really fresh because you’re not tweaking endlessly.
Tell me about the awesome video series that has been coming out with the new LP.
I binge-watched X-Files but it’s WAY MORE than just X-Files. For me, movies are the most important thing for getting an atmospher