Release Date: Sep 9, 2016
Record label: Lex
Genre(s): Electronic, Rap, Underground Rap, Left-Field Hip-Hop
Refusing to become a victim of one-dimensional branding, Boston’s Michael Christmas is relatable to subscribers from numerous walks of life. True to himself at all times, he speaks for doubt riddled adolescents stumbling their way into adulthood, meanwhile, adults with a fetish for pure emceeing embrace him despite his being raised in the internet’s post-Soulja Boy era. Combining forces with the prominent and limitless Prefuse 73 (known for production work alongside quirky underground legends DOOM, Ghostface Killah and El-P), the Fudge outfit allows the two an opportunity to transcend their comfort zones while monetizing this expansion with the backing of indie powerhouse Lex Records.
During the summer and fall of 2015, veteran hip-hop/electronic music producer Guillermo Scott Herren teamed up with Michael Christmas, a Boston-based MC who was still a toddler when Herren's first material as Prefuse 73 was released in 2000. Herren provided a multitude of beats from his computer, to which Christmas spontaneously wrote and recorded lyrics. The result is an extremely casual, playful collaboration, with Christmas firing off in-jokes, references to cartoons, and a plethora of exuberant asides on top of Herren's glitchy, trippy productions.
Michael Christmas and Prefuse 73 are both fringe rap in different senses. The Boston rapper Christmas took an unconventional path to niche web stardom bottling Superbad awkwardness on “Michael Cera,” which prefaced a breakout mixtape cheekily titled Is This Art?. As Prefuse 73, Guillermo Scott Herren has spent much of the last 15 years making IDM out of rap fragments, living at the edge of both genres.
For a time in the early 2000s, Guillermo Scott Herren was one of the most interesting outsiders in hip hop. Released via Warp Records under the Prefuse 73 moniker, 2001’s Vocal Studies + Uprock Narratives jolted boom bap with glitchy, sampladelic juice, artificially extending the life of a style in its death throes. After pivoting as far rightward into rap as he was comfortable doing on 2005’s guest-heavy Surrounded By Silence, Herren curved his fanbase and his label with eclectic electronica releases like 2011’s divisive The Only She Chapters.