Since breaking in quietly with hometown duo, Mood, in the mid-90′s, DJ Hi-Tek’s climb up the crate-digging ranks has been a slow one. While Hi-Tek garnished some well-overdue exposure for his work on Black Star’s debut, and with running mate Talib Kweli on their critically acclaimed Reflection Eternal endeavor. Tek’s name is still rarely mentioned when it comes time to mention hip-hop’s new class of promising beatsmiths. Yet, Tek is partly to blame for that. Reason being, in an era that widely advocates collaborative efforts, Tek has been the quintessential homebody. Rarely extending his musical olive branch to anyone outside the cozy confines of his close-knit Soulquarians family. Surely, this explains why producers from Tek’s own tribe, Jay Dee and ?uestlove, are in greater-demand, as they have stuffed their resumes by branching out to work with a slew of high-profile artists.

For a while it seemed Tek was satisfied with his shadowy point guard assignment; dishing the ever-important beats, while Kweli, and Mos Def garnished much of the spotlight. However, thanks to the good folks at Rawkus, Tek has been giving the green-light to freely bomb away like Allen Iverson, and with his debut, Hi-Teknology, Tek does just that. However, don’t let the title, Hi-Teknology, fool you! Tek has not undergone a musical facelift, or abandoned his alluring, moody grooves. Nor, as the title may suggest, has he delved into the computerized glitz that contemporaries Timbaland, Swizz Beatz, Rockwilder, and The Neptunes have ridden into mainstream prominence.

Though Tek collaborates with a few familiar artists (Mood, Talib, and Mos Def), he adds a few new wrinkles to his usually laid-back steez, roughing up his trusted MPC-3000 on Cormega and Jonell’s “All I Need Is You” , which features a torn Cormega professing an undying love for the streets, and his significant other; and for the thuggish “The Illest It Get”, which features Buckshot, ripping rhymes with a Gladiator like hunger, over Tek’s sinister organ wails: “Bloww, here comes the B.D.I. thug, Buckshot Shorty with the Gat tucked by the rug, it’s kinda bugged niggas said I fell off on tracks, you see this dick, you fell off on that!” While Tek continues to flex new styles on “Where I’m From” featuring Jinx, and the ultra-funky “L.T.A.H.” , with Slum Village, these efforts lack chemistry, and Slum Village proves that they are woefully deficient emcees, with, or without Jay Dee’s contributions.

Yet, the heart, and soul of Hi-Teknology resides with those who Tek has already developed a solid working relationship with. While the chemistry between Tek & Talib is already solidified, Talib returns to bless the guitar laced “Get Back Part 2″, and the sonic bursts of “Theme From Hi-Tek” ; where Kweli declares that his partner Tek is on fire like the Ohio Players. Common enters the fold, with “The Sun God” and his introspective lyrics emanate with a Marvin Gaye like quality. It’s hard to overlook the new conscious path Chi-town’s favorite son has decided to take, and with “Sun God”, Common submerges himself in Tek’s looped bass-guitar licks, and soulful horns— “I’m down to earth, but at times I feel closer to Mars, the world is yours, I’m hoping it’s ours, some say the God’s is crazy, I see God in our babies, child of the sun, I allowed it too raise me.” Similarly, just as romantically enticing is “Git To Steppin’ ” , as Mos Def and Vinia Mojica body rock in perfect unison to Tek’s sensuous organ arrangement; just add some incense and candles and get to procreating.

While Hi-Teknology is fine in present form, it would have been strengthened by a few cuts, which did not end up making the final tracklisting, such as “The Blast Remix” (w/ Erykah Badu ). Not to mention the fact that for whatever reason, listeners are forced to settle for a few rookie emcees, rather than some of the more experienced artists Tek has recently produced for. Had the album included his recent collaborations with Phife Dawg (“Miscellaneous Remix”), Mad Skillz ( “Ya’ll Don’t Wanna”), Grand Agent  & Planet Asia (“It’s Only Right” ) and especially the wasted Common bootleg track, “Tekzilla”, rather than some of the album’s more generic offerings, perhaps the finished product would have been a little more solid.

Though Hi-Teknology follows no discernible path, it is a grab-bag of aural treats, that enables Tek to display the full-range of his production prowess. It’s abundantly clear that Tek is one of hip-hop’s most promising soundbwoy’s, and Hi-Teknology is just the latest step Tek has taken to claim his rightful spot among the elite-class of beatsmiths.