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“We’re definitely making big songs,” explains vyle, the Chicago area rapper, who along with producer Eliot Lipp, make up the progressive new collaboration AUBURN. “It’s both a continuation and innovation of our influences. Combining top-forty sounds, the music we grew up with, and material that’s simply ingrained within ourselves as artists.”

One part homage, one part upheaval; AUBURN’s output is intricate and sophisticated. A forward-leaning project carrying an electro-knob backdrop laid out behind hip-hop vocals delivered as intelligently bold. Here’s the duo’s first music vid, the show-em-if-ya-got-em stylized clip based upon their single “Ultramodern Verandah.”

Surrounded by Chicago notables in the early 2000’s rap scene vyle, aka Albert Johnson, polished his charismatic and articulate verbal flow early on. “It was so cohesive despite it being a competition,” he reveals about his environment’s influence. “And when people were rapping, they said something that made you rewind the tape. Using similes and metaphors, I couldn’t believe dudes from the South Side were writing this stuff. I was completely enamored by it.”

It wasn’t long after with absorbed talent in tow, that he started shaking the scene himself. Releasing a slew of hustled cassettes and CDs, all featuring his unique hybrid of hip hip and electronica, he parlayed recognition to a wider audience. Johnson elaborates, “So I started hosting these Flosstradamus parties. Must’ve been in 2006, it was myself and Kid Sister. And over a six month period these nights grew from thirty kids to upwards of three hundred; finally bringing a new generation of Chicago underground rap aboveground.”

That party-scene gig led the young rapper to releasing 2006’s Oh I Think Dey like Hoodtronics mixtape, a refined collection of electronic hip-hop glossed with vyle.’s distinctly clever and intelligent lyrical content. It has since been downloaded nearly 20,000 times. Then, having worked with the likes of Drop the Lime, A-trak, Daft Punk, and Kid Sister among others, Johnson’s carved a niche. A delicate, yet innovative style densely influenced by Chicago hip-hop, while still transmitting elements of Baltimore club, disco, and electronic glitch. Layered atop vintage bass, his sound’s been featured in countless showcases across the country.

Lipp followed a similar, if not more nomadic, approach. Raised in Tacoma Washington, the heavy-hitting producer began pushing buttons at a young age. Self-taught on a diet weighing heavy on West Coast underground rap, Lipp started creating beats in high school; originally for others. “But then I heard people like DJ Shadow doing solo records, so I just started making instrumentals and releasing my own full-lengths,” says Lipp. Building up acquired hype, Lipp explains his aggressive DIY approach. “I’d press a bunch of these black and whites then got to random spots with stacks of CDs and ask if I could sell them. I did this all over the county, including Chicago, where I was living at the time.”

The grassroots approach deemed worthy as an acknowledgement and subsequent release by Prefuse 73‘s Eastern Developments followed. Since then Lipp’s spent time twisting his recognizable brand of ‘90s hip-hop and house, 70’s funk-fusion, and classic electro in almost every primary market in Europe, Asia, and the US. Successful releases for labels such as Mush and Hefty notwithstanding, it was the aforementioned cross country hustle that would ultimately lead Lipp to his present day collaboration with vyle.

“That’s when I first heard Eliot’s stuff,” adds Johnson. “I randomly picked up one of his earlier releases at Chicago’s Tower Records and while the music was definitely more rap influence, it was still very synth-heavy.” A 2004 email explaining Johnson’s interest to Lipp followed and the two artists have been close ever since, working on projects when time and location allowed (Lipp has since moved to Brooklyn, while Johnson still holds court in Chicago).

“Throughout the years I’d get feedback from Albert on tracks and vice versa. He’d always pick out the ones I wouldn’t expect him to; the super techno or the acid-type ones,” comments Lipp. “So when we finally got serious about working together, it was the natural direction to pursue.”

Standing apart, the artists hold court at the forefront of their respective genres. “Our music is futuristic without trying too hard. It’s a direct advancement of what’s currently going down,” finishes Lipp. “We’re taking what the people are listening to and pressing its limits.”

Call AUBURN electro-hop or label them glitch-pop. But when the pushing leads to shoving, their sound conjures up contemporary looks alongside a combo platter of sounds both old and new. Kinda like if you duct taped a flux capacitor to a milk crate full of ‘90s hip-hop, positioned the vinyl on a turquoise (definitely not hot pink) hover board, then kicked pavement till you hit 88mph. Saying adios to ‘98, hello near-future (probably sometime earlier than 2020 but after 2015), before resting back in present day and coolly nodding, ‘Yep. Been there, down that. Now here’s this.”

The outfit is an archetype, a prototypical musical rendering of what radio will sound like in the not-so-distant future.

Today also marks the release of the “Ultramodern Verandah” maxi-single, a bundle that comes with both the single and the “Arrivals Departures (Pyramid Angle)” b-side, plus the accompanying music video. Make that purchase, brought to you by Box of Milk Records, here.