A product of his technologically advanced generation, Jason Chung, better known as Nosaj Thing, has captured the attention and adoration of a wide array of people, and his November 11th show at the El Rey in Los Angeles was the visible culmination of this.  Simply labeled the “November Tour”, the show incorporated visual art and lights to appear in conjunction with the artist’s set, enhancing the performance and the audience’s perception of the acts.  Fellow acts included Jogger and Toro y Moi, but by the end of the night it was clear that Nosaj stole the show.

Dubbed an influential maestro in the “glitch-hop” genre, Nosaj Thing has been designated as “the best thing from Cerritos since Cerritos Auto Square”, securing the approval of his hometown, has played an active role in the Low End Theory community, and has created an identity for himself as an integral part of the new wave of technologically cultivated artists, fusing his knowledge of hip hop with his complex and mastered skill of mixing, creating innovative techniques of manipulating sound.

Presented by Fair Enough Productions, the US debut of the visual show established an artistic extraction of the performance, and formed an integral part of the concert.  The light show distinguished itself from the typically theatrical or pulsating rave lights staged in the background at the majority of concerts performed at the El Rey by subtly integrating itself into the performance.  The visual effects were not enough to create a sense of overwhelming excitement, but contributed the perfect amount of aesthetic pleasure, accentuating the performer, and delivered a subdued form of art the audience could appreciate alongside the performing acts.  Shifting shapes and shadows advanced across the screen, not necessarily to the beat of the melody, but in assimilation to the performer’s stage presence and to the overall mood of the song.  The concept of using light as a secondary performance and artistic aid was successful in enhancing the artist’s image as a performer, the style of which the lights maneuvered and were configured was most undoubtedly constructed specifically to fit Nosaj’s minimal, yet deeply resonant style, and provided a visual landscape for the audience to drift away to.

Truly an inspiring and honest performer, Nosaj Thing is the embodiment of the modern technologically inclined musician.  Quietly dressed in his usual uniform of muted tones, dark slacks, a button up collared shirt, and his signature mop top, Nosaj doesn’t rely on his stage presence or wardrobe to draw attention to himself, but rather, quietly exists as a controller behind his laptop and gear.  He twists and turns his modules behind his setup, his slender frame sways with his movements, and he is prominently consumed by the music.  Relying on the program Logic Pro and multiple effects of dropping beats, he disproves the opposition to this new wave of music that “drum machines have no soul.”  Blatantly focused and in tuned, Nosaj’s facial expression is consistently somber and unaffected by his surroundings.  The crowd’s reception of Nosaj was evident, an alliance of sort was formed, and the degree of artistic and aesthetic performance that Nosaj delivered took the audience to a level of exposure and insight through his redefined concept of music and the integration of the optically enhancing visual art show.

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