REQ

Bald, bearded guru to Brighton, England’s hip-hop scene, Req is a uniquely odd figure. A self-taught artist and musician, he has participated in every aspect of hip-hop, but he’ll probably be remembered as one of the strangest producers of this music ever. Car Paint Scheme, compiled by Skint Records boss Damian Harris, for whom Req recorded his first two albums, collects tracks from Req’s rare Daily Beats 12 inches. Though not as exotic and varied as 2002’s Sketchbook, Scheme vividly showcases Req’s alien, skeletal production technique and his propensity for unusual embellishments. For example, garishly strident organ blurts spice up “Worthing Line” and “DMX Scratch,” and a koto lends poignancy to “Blimpot.” But Req’s priority remains beats, and his are precise and fat enough to get anyone poppin’ and lockin’. This is funk abstracted into otherworldly zones, deconstructing the “one” into fascinating fractions that still keep you on the good foot.