Following 2014’s well received LP under his :Brownstudy alias, 'Life Well Lived’, Jason Hogans steps away from the mic to focus on an LP of flawless instrumentals. Returning to production under his own name for the first time in nearly two decades, ‘The Age of Scrap’ belies its title to instead deliver a forward thinking record rooted in classic Detroit, fused with futurist sonics that refuse to look back. Having shared studio time with classic and contemporary scene leaders such as Kevin Saunderson and Jimmy Edgar, and featured on compilations from Moodymann’s celebrated Mahogani Music, Hogans relative anonymity in comparison to his peers has allowed him to focus on sculpting a unique sound, having written and performed music throughout his life since elementary school. And just as he did back in 1998 on the ‘Peter and The Rooster’ EP, a cult classic on Carl Craig’s Planet E imprint, Hogans seamlessly combines strains of house, jazz and hip hop, as well as the futurist bass pioneered by the likes of LA's Brainfeeder collective, throughout just seven perfectly formed musical excursions. Throughout, the Detroit native exhibits a seamless ability to masterfully slip across genres, eras and styles, between past, present and future. For all his experimental leanings - “feeling around the music”, as he ably describes it - ‘The Age Of Scrap’ is Hogan’s sharpest work to date under any title, resisting the urge to veer into indulgence despite Hogans’ natural versatility. The record begins percussively and sensually with the sparse and alluring ‘Do That Thing’, before veering off into more full bodied territory on ‘Bite Lip and Carry On’, while the memorable keys and bassline on ‘Worm Never Dies’ ooze a potent, timeless brand of funk. And while one suspects Hogans can deliver these sort of hooks for days, before long ‘The Age Of Scrap’ evolves into an unexpected and psychedelic passage, referencing the new school of deconstructed electronica. Hogans is pleasingly unafraid to fuck with the formula, as the frenetic ‘High-Grade for Plain Ass’ demonstrates with a thrilling lack of abandon, while the woozy synths and scattering drums of the tellingly titled ‘Keep Gettin’ High’ emerge on an edge before evolving in trippy unision. Final track ‘The Age of Scrap’ gives the record both its title and it’s visceral conclusion, with the many subtle elements of Hogans’ music seemingly colluding powerfully before a sudden end, disappearing just as quickly as it arrived. An essential addition to a pristine, brief discography, ‘The Age of Scrap’ will leave futurists and archivists hoping Hogans doesn’t wait another twenty years to express himself so personally and brilliantly.