Jason Hogans on his gear collection, intuitive absurdism and more [interview]

Jason Hogans is a sonic shapeshifter, effortlessly blurring genre lines and redefining the Detroit sound. Debuting on Carl Craig’s Planet E in 1998 with the boundary-pushing Peter And The Rooster, he fused drum & bass, techno, jazz, and hip-hop into something entirely fresh. Never one to linger in a single lane, Hogans explored glitchy soul, punk, folk, dub, and more, evolving his sound through projects like the introspective :brownstudy moniker and the critically-acclaimed Life Well Lived on the Third Ear label. Whether dropping future-funk bangers, crafting intricate instrumentals like The Age of Scrap, or collaborating with heavyweights like Paul Randolph, Kevin Saunderson, and Jimmy Edgar, Hogans is a relentless innovator and certified legend. His live shows are an unpredictable thrill ride — spinning vinyl, manipulating hardware, and delivering emotive vocals, often all in one set. From Detroit to Berlin, London to Amsterdam, he’s built a global reputation as a fearless experimentalist with an ever-expanding sonic palette.

“From the often indistinct morass of modern hip-hop comes something so singular as to merit special attention … His beats are fresh and different, but it is his Rap stylings, a vehicle for social comment and heart- felt self examination, that mark him out as special and worthy of attention.” – The Guardian

Read our insightful interview with Jason below.

Paint us a picture: what sparked your passion for the arts in the first place? Was there a single moment or experience that solidified your decision to pursue this path?

I guess it started in elementary school. My mom got me into playing violin. I used to see my dad playing piano and ended up doing the same thing myself. Listening to lots of radio as a kid in the 80s & 90s – from top 40 to alternative underground type stuff and college radio. And all those early underground rap video shows. As I got closer to college, I chose music over electrical engineering as a career. I bought a Boss DR-660 drum machine and started going crazy from there.

When you create, what leads the way – a feeling, a story, or the sound itself?

I start songs in different ways according to my mood. I might start by throwing a sample in the MPC and chopping it up or by making a drum kit from pieces of several different breakbeats. I might start with some guitar or keyboard chords. If I am collaborating from the beginning, I might like to start with something that my collaborator is really good at to highlight their strengths.

What’s in your toolkit? Share the gear, gadgets, or software you can’t create without.

MPC One has been my main tool most recently. Ableton was my weapon of choice for years & I’m sorting out how I want to use it together with the MPC. I’ve gotten into analog synths again, so the Behringer Pro-800 and Arturia MicroBrute are great friends here.

What’s your go-to ritual or trick for getting into the creative zone?

When I’m the only one home, I love to play records really loud and walk through every room in the house — kinda like when boxers are walking into the ring. Cannabis is everywhere in Michigan & I’m cool with that. Chilling in the big cozy basement chair can be surprisingly inspiring.

What’s the one item you always keep within arm’s reach while creating or performing?

When I am performing, I always wear a necklace my wife got from a Detroit art fair. It’s a citrine dragon pendant on a braided silk cord.

How did you ultimately end up defining your sound?

It seems like I found my own sound by always doing what feels good to me personally and paying little attention to what is most popular. That popularity game is an energy drain for me. If it feels good in the studio, I’m probably gonna do it again & that’s where my sound comes from.

How has your creative process or perspective shifted since you started your journey?

I was very religious when I first started producing and writing music. It’s wild to think about how I had Christian themes in my lyrics. My philosophy has changed, and I don’t follow a formal religion. Right now, I’d probably call myself an intuitive absurdist. Creatively, I value simplicity more now – shorter tracks, less ornate arrangements, and more stripped-down instrumentation.

Walk us through a recording session: what’s the most memorable moment you’ve had in the studio?

One of the most memorable studio sessions was with Kevin Saunderson. I brought a couple pieces of gear over to his place and did some drum programming on the spot. I think it was supposed to be for an Inner City project, Carl Craig recommended me.

Are there any unexpected or dream collaborations hidden in your work?

A lot of people might not know I’ve done songs with Paul Randolph, Jimmy Edgar, or the Detroit poet David Blair. Amp Fiddler invited me over to his place, and he thought it would be great if I did some production with Dames Brown. Theo Parrish wanted to do some studio work together before the pandemic.

Any side projects you’re working on?

I’m starting another vocal project, but I’m not sure what artist name I will use for it yet.

Who’s an emerging artist you think deserves more recognition right now?

I think that my homie Deon Jamar is someone to pay attention to.

What’s the strangest or most surprising song currently on your playlist?

See also

Lately I’ve been playing a lot of Hall & Oates. Makes me feel like a kid again.

Which song, album or playlist do you never get sick of no matter how many times you listen to it?

The album Saturday Night Special by The Lyman Woodard Organization became a major favorite years ago. The song ‘Joy Road’ is crazy special for me.

Are there any unexpected hobbies or projects you’re exploring outside of your main work?

I’m a big wilderness enthusiast and for a while I was teaching primitive living skills. I’m also really into gardening and working on acquiring some land.

If your life and career were an album, what would its title be, and what’s the hidden track only your fans would know?

The album would be called Multipotentialite Madness and the hidden track would be called ‘Fear Of Unrealization’.

Give us a glimpse into the future – what surprises or milestones are coming up for you this year?

I am releasing my first vinyl record on my own Really Nice Recordings label. That EP will also be released digitally. I am also planning my first tour since 2019 — I’ll be landing in Berlin late October.

Famous last words?

You can’t satisfy everyone, so start with yourself.

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