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Two / Three

Dabrye

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Album Review

During the five years that passed between One/Three and Two/Three, polymath producer Tadd Mullinix kept Dabrye active with a short release for Scott Herren's Eastern Developments label, a handful of singles for Ghostly, collaborations on Thomas Fehlmann's underheard Lowflow, and several remixes. If you heard any of these releases as they came out, Two/Three will be less of a surprise. The album is much different from One/Three in presentation, length, tone, and structure. One/Three remains the most effective and subliminally touching fusion of IDM and hip-hop, an all-instrumental affair that rides in on a cool breeze and subsides after half an hour. Two/Three's contrasts are immediate, signified in the design of its sleeve and made further apparent with each successive listen. Nearly twice as long as its predecessor, the album contains 14 tracks with a varied roster of guest MCs and six succinct instrumentals. The experience is dense and as cold as a Detroit alley on a February morning, packed with biting beats and thick atmospheric globs. It's rather claustrophobic at times, if in a deeply alluring fashion, and it can be tough to get a grip on it all in one concentrated shot. A nine-track patch, from "Jorgy" through "My Life," is where you can get an easy-to-digest fix, as it involves an extraordinarily vast array of sounds and lyricists while sacrificing neither flow nor momentum. Here's where several Detroit and Detroit-area MCs — from Platinum Pied Pipers' Waajeed (a phenom on the boards in his own right) to Invincible (who really should release a full Dabrye-produced album) — step up as if they know they're introducing themselves to a lot of new ears. On "My Life," '90s-rap nerds will get a kick, and then a reality check, from hearing half of the duo that brought them "Fat Pockets" and "Soul Clap." Fittingly closed out by the Jay Dee and Phat Kat feature "Game Over," originally released in 2003, Two/Three's always moving, almost always stimulating, never stagnating, and will hopefully be followed up sooner than 2011.

Customer Reviews

Unique and excellent.

This second installment of Dabrye's trilogy, although completely different, is a worthy sequel. I liken it to Gorillaz's first two (and currently, only) albums -- "Gorillaz" laid the groundwork exceptionally, and "Demon Days" colored it brilliantly with a flair of unmatched style. "Two/Three" is the same: the themes and greatness of "One/Three" are heard throughout the album in Dabrye's beats and instrumental interludes (the latter being my favorite parts of the album), while some of the best of the underground hip-hop scene fill in the rest. My only complaint is that the album feels a bit disjointed, like it's just a collection of tracks Dabrye put together over time... but this doesn't detract at all from the polished feeling of the individual tracks. If you are a fan of "One/Three" and electronica, and NOT hip-hop, I might recommend purchasing only the "interludes" -- the tracks without guest artists, as these are pure Dabrye instrumentals; however, if you're an admirer of hip-hop I'd DEFINITELY recommend the whole album. It's $7.99 for 20 tracks... you can't go wrong. Either way, Dabrye has come through with a very strong album, and I look forward to whatever "Three/Three" might be.

Biography

Genre: Hip-Hop/Rap

Years Active: '00s

Dabrye is one of the aliases of Tadd Mullinix, an Ann Arbor, MI-based producer who carved a niche in the IDM community with early 2001's Winking Makes a Face (released under his own name), a twisted album that blended a sick sense of humor with genuine emotion. Later that year, Mullinix unveiled Dabrye with One/Three, the first of a three-part series that skews fractured hip-hop production. Falling into a categorical netherworld, tracks from One/Three enjoyed frequent rotation on tastemaker Gilles...
Full Bio

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