Over the past few years, Hip-Hop has been plagued with awful music, especially from a production standpoint. Producers like Lil John and Soljaboy Tell ‘Em were given the green light to over saturate the airwaves with wackness, allowing for Hip-Hop to be the recipient of a granite headstone. Just when you thought that the GS and New Boyz have placed in the final nail into the internationally beloved genre’s coffin, Germany’s producer prodigy, Fabes, emerges from the rubble of vinyl shards and destroyed synthesizers and breathes life back into the ailing art form. He does so by combining familiar and obscure soul samples with heart-pounding percussion.
Fabes has a myriad of tracks posted up on his MySpace page (myspace.com/fabesmusic) for your listening pleasure. Amongst those melodies of street heat is the up-tempo-DJ Premiere-esque cut “Stop Talkin”. Fabes goes to work with the skill of a master Metzger as he chops and dices each sample into finely cut sounds. Strings, horns and a vocal riff arrangement coat thunderous drum kicks and staccato laced high hat/cymbal combinations. The track’s hook boasts a harmonious scratching sequence that infuses the essence of Hip-Hop; turntablism.
Fabes charges the defibrillator and puts the paddles on Hip-Hop’s chest as he sends an electrifying current to its heart on the sonically charged track “Eargasm”. Following the same formula as the previously mentioned song, Fabes uses a female voice sample, coupled with an infectious xylophone riff that adds life and fluidity to the track. The percussion remains the heart of the track and explodes like a detonated brick of C4 and is sure to rattle any trunk. The downfall of this composition is that there is an abrupt transition between what appears to be the tracks refrain and its main groove. Despite the minor sequencing problem, Fabes delivers the first of many resuscitative jolts of energy into the cerebral cortex of Hip-Hop.
The paramedic yells, “Clear!” one more time as Fabes drives home another winner with the Pete Rock inspired “Dying Dreams”. The percussion receives just enough reverb to add variance to the sequence. Fabes uses a wind chime/xylophone combination to add a dash of tranquility to the track. Other significant tracks are “No Competition”, “Those Were the Days” and “Positive Song”.
Despite the thoughts of critics, Hip-Hop is far from dead. It’s alive and thriving from the street corners of the U.S. to the innenstadts of Germany and in all points across the globe. In contrast, the truth is that there the world will never be without wack producers either. They do play their part. They keep prominent producers on their game by giving them and example of what not to be. Subpar producers will always be around. However, as long as there are high-caliber producers like Fabes, Hip-Hop will remain immortal.
Joel the Chemist