Hip-hop tends to have its future pretty clearly mapped out for those who care to subject it to close scrutiny, having been around for an awfully long time and being notoriously shy of radical change. The current moment may be, as many commentators have noted, one of the genre's transitional ones with acts from outside of the two officially sanctioned hip-hop hometowns shaking things up with new sounds and new attitudes. This remains to be seen but one thing that can confidently be predicted is the increasing 'celebrity' predominance of the star producer.
Hi-Tek has a little of both elements being a respected beat-maker, here delivering his debut album as 'star producer' with a string of guest emcees whilst, coming from Cincinnati, he's bringing a new sound from out-of-town with him. Producer-driven projects have tended to offer an opportunity for heavyweights like Pete Rock to assemble all-star casts of the moment's hottest from hip-hop and R&B. 'Hi-Teknology' is an altogether more modest affair, drawing its collaborators from the Rawkus roster and local Cincinnati talent.
Responsible for much of the sound that characterised the young Rawkus records, Hi-Tek produced one of the label's most attention grabbing early releases, Reflection Eternal's 'Fortified Live/2000 Seasons'. The A-side featured Mos Def; fresh from his own staggering introduction to the hip-hop community, 'Universal Magnetic', and the flip single-handedly defined the lazy jazz piano-sampling sound that was to dominate much of the label's early output.
So the stakes are high for this release as the independent hip-hop community looks to Hi-Tek to drag it out of the complacent monotone groove that's often tarnished the triumphs achieved by Rawkus from '97 onwards. After the unexceptional welcome of 'Intro' the album gradually unfolds to reveal a spectrum of diversity that Hi-Tek's Reflection Eternal work with Talib Kweli has never permitted. Soulful songs and rhythmically and melodically infectious grooves accompany the expected snappy minimal productions, Hi-Tek even pulling a Dr. Dre sample out of the bag on 'Suddenly'.
He can clearly tease a decent performance out of an emcee or producer as well. Mos Def was a revelation when he first flexed his vocal chords singing on 'Umi Says' and he does it again here on 'Git To Steppin'. Hi-Tek produces the track with beautiful poise, kicking out occasional beats and rim-shots as the intro builds over Mos' distinctive drawl eventually letting the bass go to ecstatic effect. 'Round & Round' featuring Jonell is a tight Jay Dee-style groove with Hi-Tek bringing a more organic vibe with warm bass grooves, guitar strumming and hand claps. 'Breakin' Bread' is a classic loose-limbed Hi-Tek beat designed for heads attached to shoulders with springs, whilst for Slum Village collaboration, 'L.T.A.H', he creates a tight rim-shot littered production.
Black Moon fans will be pleased to note that the stand out microphone assault here comes from Buckshot; the Brooklyn emcee sounding just as incredible as he did whilst his all-too brief star burned bright on 'Enta Da Stage' in the early nineties. It's Hi-Tek's great achievement that he can flip a growling Buckshot performance just as perfectly as he can a crooning Mos Def sing-along. With volume two, according to the man himself, destined to be even better you can be sure Hi-Tek's answer phone is packed with requests from potential collaborators. Producers are doin' it for themselves.
