Hi-Tek has expanded his portfolio since creating classics with Talib Kweli and Mos Def. On this sophomore release, he demonstrates why artists as diverse as 50 Cent and Common have enlisted his production skills. Hi-Tek’s beats sound as soulful behind Bun B and Devin the Dude as they do backing Nas and Common. On “Josephine,” Tek gets eclectic, with Ghostface dropping the similes, while his father, mother, and uncle-as the Willie Cottrell Band-play the blues. But it’s when he’s reunited with Kweli, on “Can We Go Back,” that Tek shines by showing listeners he hasn’t forsaken his roots.
Lily Allen Alright, Still
With her show-biz pedigree (she’s the daughter of the British actor/musician Keith Allen) and a whole lotta MySpace love, Lily Allen quickly became the bloggers’ darling long before any of her tracks were domestically released. Fortunately, she’s delivered nicely on the virtual promise. Packed with addictive pop hooks and influences from all across the board (hip-hop, ska, lounge, club), Alright, Still has everything that it takes to succeed in iPodland. But Allen’s lyrics can tend to seem shoehorned (using “People in the city having lunch in the park/I believe that is called al fresco” to rhyme Tesco), the production a bit disposable, and the genre-chasing tiresome. That said, she still croons like a Mockney bird (“Everything’s Wonderful”), throws down the gauntlet (the ex-hatin’, ska-inflected “Smile”), and does the dance-diva thing (“Friday Night”) like no one’s business. At only 21 years old, that’s saying something.
Federation My Rims
First time I heard this, I was laughing hysterically and yelling, “They flipped Al B.’s ‘Night & Day.’ They crazy!” On the third listen, I was doing a thizz face and poppin’ my collar, but still keeping it grown and sexy in a smooth 2-step. That’s a powerful record. Rick Rock’s team did it again.
The Game feat. Will.I.Am Compton
I’m not a fan of The Game at all and I’ve spewed much hate Willie’s way for his BET crap show. But Dre makes sure Game stays laced with great beats. I can’t front on what Will did here, on Busta’s “I Love My Bitch,” or on Too $hort’s “Keep Bouncing.” Dude is a talented producer who hasn’t forgotten how to make good hip-hop records.
The Cataracs Blueberry Afghani
The brains and brawn behind The Cataracs, Cyrano and Campa, are barely legal. No joke. They’re 18. Go find their album Techno-Hop. Lurk on www.myspace.com/cataracs. Maybe if you stalk them long enough, you’ll get to check out “I’m a Star,” “Gumdrops,” or another exclusive joint before they pop up on what’s sure to be a huge major-label debut.”
UNK feat. OutKast & Jim Jones Walk It Out
“My Rub brethren and I recently played at the Brooklyn Museum’s monthly free party. When my partner Ayres dropped this joint, everyone under 16 went crazy. It’s not a huge departure from other snap music records but, if folks as high-profile and diverse as OutKast and Dipset cosign, don’t sleep.”
Intex Systems Research And Development
James Clements is known for his innovative and nuanced drum & bass releases under the name ASC. But as Intex Systems, all bets are off. You might find a hint of D&B within these 18 tracks, but Research and Development is by no means a dance record. Instead, breakbeat elements seem to float in and out like parts of a barely remembered dream, and lush pads give way to ticking beats and far-away melodies, which terminate in effects straight from Blade Runner. Reminiscent of Future Sounds of London or early Aphex Twin, R&D is an impressive achievement.
Skream Kut-off
Skream is a phenomenal, elemental force within the context of this scene. I absolutely love “Kut-off.” According to people who have a greater understanding of mathematics than I have, it’s built using triplets, but I cannot figure out how he’s done the math. It sounds to me like there’s one too many beats in every section, but it’s just one of these incredible beats that just tumbles and tumbles over itself. Every time you play it in a club it’s incredible, because people just skank right out, and yet still you can see they’re confused about the pattern.
Darqwan M/a..ximum Reespek
Oris Jay [a .k.a. Darqwan] is a godfather of the sound… He came out of garage and started twisting dark techno and drum & bass influences into garage, and his beats form the blueprint of dubstep today. The next tune that he’s gonna come with on Texture is “M/a..ximum Reespek.” I put an old-school garage special together with El-B versus Oris. I wanted to them to show the transition from garage to dubstep. Oris made this tune “M/a..ximum Reespek” [Mary Anne signs her emails “m/a.. x”-Ed.] especially to end that particular mix.
Asbo Productions AsboTOO
Asbo Productions have just had their MySpace deleted because they’ve been flaming people… Asbo makes some of the thickest, most naked, most dark, brutal beats that you’d ever hear, but then they put, like, birdsong or the sound of the ocean in the middle of it… They are quite extraordinary in every way. Beloved by serious bass-builders, their sound is very simple, but it will hit you so low. It’s a sort of sound that could floor a herd of charging rhinos.
