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1 January, 2002@12:00 am

Veteran producer/engineer Djinji Brown describes himself as an ‘enthomusicologist’ - vainglorious perhaps, but wholly fitting indeed. As Dinji’s self-production Sirround Sound proves, where there is a drum, there is a beat and where there is a beat, there will be movement. Deep-fried Dub-riddim meets House meets Afro-Cubanism meets a couple hip-hop beats is the formula translated through . One could ramble about Brown’s past accolades from the brilliantly-jazzy yet-still-scrapped Supernatural full length to his equally unexposed work with Aceyalone to studying the beat under the guise of Public Enemy/Bomb Squad luminary Eric Sadler - but that’s all precursory name dropping. This is the album and this album is the definition of Dinji Brown.

Movement runs through the 13 tracks. Fluidity strings together the release wisely with all fingers pointing to the DJ. Whether in the bedroom, living room, dancehall or block bash - the intellectual dancer will gravitate towards these songs. “Mojuba (Afro-Beat For Ellegua)” slides across tong slaps as the album awakens as a simple yet sundry mix of new music from song to song. “Blue Hunny” scats the dancefloor in DJ Spinna shared sensibilities only to be met at the crossroads by “Apache’s Revenge”, only heightening the energy of the original break to wiggable proportions. Even behind the microphone himself, Brown is fully capable, not necessarily to the magnitude of his fellow Seven Headed associates, but unique in his honesty (“I write about what my gut think, and make a little funk when my butt stink”) and character as found on one of the sole Rap oriented tracks, “Life Savers” (Djinji, you should of included your 12″ cuts though!). He is a rare bird, capable of much that cripples many a hip-hop beatmaker. Revitalizing the ethics longed for and forgotten somewhere after. The record of year to bring together DJ’s of all genre-orientations.

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