Scott "Babydaddy" Hoffman on Waving the Synth Dystopia of the Warm Fusion Vinyl
Much like Vin—the protagonist of the post-human cyberpunk meditation Warm Fusion— Scott "Babydaddy" Hoffman is an entertainer torn between two worlds. For decades he's performed as one of the founding members of the delightful glam rock, disco-glittered pop epiphany Scissor Sisters. More recently, Hoffman has channeled his lyricism into dynamic comic scripts for such series as Wag, Nostalgia, and the aforementioned Warm Fusion, illustrated with neon-tension by Alberto Ponticelli.
A few weeks ago, Hoffman was able to merge (fuse?) those worlds with the Warm Fusion 12" Vinyl. A joint project between Hoffman and Die Antwoord beat slinger DJ Hi-Tek, the project unleashes an avalanche of magenta synth bursts, concussive breakbeats, and ingenious samples across two tracks. The result is an aural journey into the back-alley decadence of Warm Fusion's irradiated, warped world, at once stimulating and terrifying. Ernie Estrella asked Hoffman some questions about the vinyl and—with its second issue out now—what to expect from the finale.
Each copy signed by Hoffman, the Warm Fusion "12 Vinyl is available now.
It seems like vinyl records and comics should've been sold together for ages. I've always believed there is crossover between the comics and vinyl crowds. After you poured your heart and soul into writing this series, exercising a whole different creative muscle, what made you music for Warm Fusion and putting it in vinyl form?
Scott "Babydaddy" Hoffman: I’m usually assembling specific playlists with different writing projects. I think music is the most nostalgic of experiences and I think it helps so much with the feel of worldbuilding. I was listening to everything from Queensryche to modern vaporwave and ambient while I was writing Warm Fusion, and it just takes me somewhere. So the challenge of putting that world back into music was something I really had fun taking on. DSTLRY is so great with the quality of their products that vinyl seemed extra special to do with them.
Warm Fusion #1 Cover A by Alberto Ponticelli
Talk about the approach you and DJ Hi-Tek took in what you wanted to add to the narrative by adding a layer of music, especially for those who listen to it while they read.
Hoffman: I think the idea is to make something immersive. You’d have to ask Hi-Tek about his approach, but for me it was looking specifically at the Blacklight District and the Atrocity sex club in the book and thinking about how that environment would feel: to me, something that brought me back to those representations in '70s and '80s film, mixed with new sounds that brought it forward. Finally, I always love real life ambience in a track, so that was thrown in, too; in this particular case, it was sex and urban rain.
Did you and Hi-Tek inspire Alberto's art in any way or vice versa, did you see his art and that just flood your creativity to put it into song?
Hoffman: Alberto’s art, as it should be, is now inseparable in my mind from the ideas themselves. He’s a true collaborator, and he put into motion that ideal synergy where once you see the art, any ideas you had about it before are erased and replaced by what's on the page. So yeah, I was thinking about the world he created and wanted that to come through in the sound. Also I wouldn’t want to forget Lee [Loughridge]’s colors either, which perfectly helped build the world and the tone.
Warm Fusion #1 Cover F by Tula Lotay
One thing I like about listening to the music, after I've read the issue, is that my mind fills with Alberto's art and vice versa, when I re-read the issues, I suddenly associate specific scenes with the music you've created.
Hoffman: Awesome. My song is definitely about the sex work area but Justin’s is “Max Aura,” in reverence to Aura, Hannover’s digital stenographer. I think maybe he liked the idea of this insane, dangerous city infused with technological phantoms.
On that note, let's talk about the two tracks on the record. In "Welcome to Atrocity" there's so much despair and bleakness, yet the progressive beat and the brass elements give a somewhat hopeful vibe. That life still thrives despite its appearances.
Hoffman: I think that’s a good description. The Blacklight District is depraved, dark, and dangerous but also has to portray an element of decadence and sexual freedom to still be inviting to its visitors. I hopefully got all of that in there: a kind of inviting and dangerous sexuality.
Warm Fusion #1 A Cover by Alberto Ponticelli
Warm Fusion #2 Cover A by Alberto Ponticelli
Then we come to the drum and bass "Max Aura" track. I can see this accompanying a lot of the Black Light District scenes, maybe a strobing effect. So many of the scenes where darkness lurks and looms, this pulsing and throbbing beat comes from beneath. Which scenes do you like to marry to it?
Hoffman: Yeah, maybe “Welcome to Atrocity” is out on the streets of the Blacklight but “Max Aura” is in the depths, maybe the dungeons. Justin/Hi-Tek also has a love for underground rave sounds that I think fit into the seedy underworld, part of which we don’t really see until moments of issue two. Maybe those spaces will come into play in the sequel (!).
Because you're thinking of so many aspects and details of Warm Fusion, there's such a cinematic feel to this. Has Warm Fusion been a project that you approached as if you were making a small, but limitless feature film?
Hoffman: I’ve gotten warnings about the scope of stories, in the sense that Hollywood may not want it if it feels “expensive.” I’m a bit defiant, I suppose, but I don’t care and I don’t write with movies or TV in mind. I just consider ideas that look amazing in my head and will translate to comics. In fairness, though, I couldn’t deny the cinematic energy here, and so much of the inspiration came from favorite films of a certain era. Maybe if there’s interest in adapting this, my expensive ideas keep unserious people from approaching it. So, if it ever happens, maybe we’ll find a team that’s willing to go all the way with it.
Warm Fusion #2 Cover D by Riley Rossmo
There must be an urge to write music for every scene. How hard was it for you to stop at the tracks you produced, because I could easily see there being theme music for Detective Hannover or Snow White. I'd certainly wonder what the music accompanying Time Square, or "Squarenobyl" as you call it, sounds like.
Hoffman: Don’t make me finish the whole soundtrack! That sounds fun. I’d love to hear those too. I had a couple different starts but really focused on the Blacklight as my track— centerpiece of the book, Vin’s spiritual home, and sums up the book’s decadence. How about a cold German techno track for the creepy Propetiq offices? I’m in.
Your story still has much to tell after issue #2; is there anything you can tease out as far as what's still in store for Vin as she begins undergoing a metamorphosis?
Hoffman: The series ends with #3 and it’s really a proper finale. Of course Vin is going through a physical transformation, but I think the real transformation is her willingness to stand up for herself and the people who care for her, on top of deciding whether she’s truly going to get pulled into all the darkness and toxicity around her. So, expect some action, carnage, and hopefully a bit of emotional resonance—it was all building up to this.
