Mus AbubakerArtist, producer, vocalist, and DJ Autobhan, sees music as a constant presence in his life, clearly favoring the long run in his journey. As the founder of the label Tactical Music Group, and formerly half of the award-winning electronic duo HYDRABADD, his stints with experimental hip-hop and electronic music have meshed very well with Atlanta’s eclectic sonic territories. His new EP Remote Viewer, a four-track project that includes the song “Blues,” featuring Dae Dae of “Spend It” fame, is out today on all streaming platforms. Immersive Atlanta joined Autobhan in conversation to dissect and analyze the record, and to talk about Chiluveru’s broader vision for his music and career.
What was the first song you remember making with the intent of being on this album?
The first track I made was “Moonrocks.” It started with the beat. This whole project, Remote Viewer, I wanted to step away from my own production. Every EP before, I produced every single record. But for this one, my producer Brainstorm, whose on my label TMG, just sent me a bunch of beats. When I heard the beat, I knocked out the track the next night. That hook sounded glued into the track—it sounded like a moment. Everything else fell into place.
Why switch it up at the end there with one Mike Mixer beat?
There’s still a consistent sound throughout the record. Since Dae Dae is featured on it, it makes it a special moment, if you just look at the tracklist. Moreso than that, Mike is the one that FaceTimed Dae Dae. I went to his place to buy the beat and right then he FaceTimed Dae Dae. So I’m just paying respect to him to put him on the beat.
What made you want to get that feature?
Just being an independent artist. I don’t have a label to take care of that. It’s probably the first time in my life I was able to do something like that financially. If you want to work with artists like that, you can. As an artist, I had to take that opportunity. A lot of people just listen and move on but I knew it was going to be a good mix; I had to take the opportunity.
Dae Dae / Credit: Landon Kovalick
How did his mainstream appeal translate over to working on a more independent record?
I definitely contemplated that. The imagery behind the EP is conceptual but the sonics are very pop. I feel like Dae Dae already exists within that realm. My sound already lends itself to that. I feel like I can work with artists like Thug and Gunna or any of these artists that fit into this certain “format.” I bring something just a little bit to the left of that—more Travis, more Post, more harmonically based. I’m the one that’s drawing out the cadences, kind of singing, and Dae Dae is really snapping and hitting the bars. It’s that ideal that balances the track.
Why name it “Blues”?
Just a very instinctual move. The first thing you hear. Not too much behind that.
Street Execs?
Yeah. That’s 2 Chainz’ studio. I just kind of got there a little early. I had a two-hour session. I used the engineer Grown Man. I was chopping it up with [him]. Dae Dae showed up with thirty minutes to spare; he already had a Backwood rolled up. I recorded my part at home already. So, he was able to come in and instantly finish it. The engineer put his touches on it. It was a really dope experience. I didn’t feel like I was trying to keep up. I felt like I had already done my work and I belonged there. I didn’t feel like, “Oh, man, is this good? Am I holding Dae Dae back?” I don’t ever really like think that. But you can tell sometimes new artists get that feeling, like, “Oh am I keeping up?” I didn’t feel like that all. The art was just happening.
You’ve released multiple projects, yet you still feel like a new artist?
Yeah, definitely. The way that I make art is more oriented towards a model like Future or something. Future put out so much music before it all kind of got inundated and the people lifted him up, you know? It wasn’t like look at my image or my clout. I don’t care about that shit, bro. I can make ten times better music than somebody else whose got like 100,000 followers. What do followers have to do with how a song sounds like? Like really, empirically, tell me. People are brainwashed. That’s what I don’t like about music nowadays. I really don’t care about that aspect, but I’m being forced to in a way.
Was it a challenge to whittle it down to four songs?
It was organic. I usually stick to shorter EPs.
Do you see yourself making longer records in the future?
Yeah, definitely. That needs to come with more attention. It needs to be warranted. I’m still garnering listeners, building a fanbase.
What’s the ideal listening state for this?
Probably like in an altered state. Maybe you stayed up too late, maybe you took a molly, maybe at a strip club where they’re playing rap. In your room, sober, it doesn’t matter. But an altered state would be good.
How much of this artwork is conceptual?
I close my eyes and imagine these scenes, conceptualize these scenes. This was inspired by this movie called Gonzo—it’s on Netflix.
What’s the last one you recorded?
“Insane.”
How long did the recording take?
Three months. The entire thing is like moody, romantic—but at the same time it’s more pop oriented.
Remote Viewer is out today.
More Info
Bandcamp: autobhan.bandcamp.com
Facebook: @AutobhanTMG
Instagram: @autobhantmg
Twitter: @AutobhanTMG