Electronic Funkyshit

After innovating a style of music known as ghettotech in Detroit with partner DJ Assault by blending together the booty-bass rap of Miami with the electro-influenced techno of Detroit, Mr. Dé has gone solo and released his first full-length album of self-produced tracks. The fact that "this ain't no motherf*ckin' mix CD" — as Dé says in the album's intro — instantly draws the distinction between this album and the many infamous Straight up Detroit S**t mix CDs by Assault. Rather than function as a mix, Electronic Funkyshit actually functions more as a portfolio of Dé's rather impressive skills as a producer. Anyone who may have written off his past hits with Assault, such as "Sex on the Beach" or "Crank This Mutha," will have to reconsider those views because this album solidifies the fact that Dé is more than just a ghettotech producer; in fact, this album can be seen as an attempt by the artist to distance himself from that relatively generic movement. Songs such as "Dance" and "Friday Night" find Dé moving toward his P-Funk-meets-Prince roots, with their synth riffs and funky rhythms that bump at a tempo far below what one would consider booty music. The fact that there are multiple Parliament and Prince samples on this record further reinforces the notion that Dé isn't ashamed to show his influences. Other songs, such as "Sex on the Beach 2000" and "Give It Up," feature a distinct R&B tone with some smooth vocalists singing. Some songs toward the end of the album, such as "Get Dem Dollars" and "Chrome," move into Southern gangsta rap territory. Sure, there are a few perverse booty songs ("Throw" and "What You Like") and a few electro tracks ("Crank This Mutha" and "Y2K Bug"), but one ends up feeling a little disappointed by the limited ghettotech content. The few true tracks of this style are primarily rewrites of earlier hits, such as the new version of "Checkstub" ("Pay Me") and the updates of "Crank This Mutha," "Dat N***a's Revenge," and the R&B version of "Sex on the Beach." One can effectively argue the fact that Dé seems an adequate producer of many styles; however, he seems to be depriving listeners of his trademark style. Hopefully for Dé, those approaching this album in hopes of hearing more of the perverted ghettotech that he helped produce with Assault will accept the fact that this isn't a booty album and appreciate his diverse palette of impressive electronic funk for what it is.