The Music Scene is Blockhead’s fourth solo album, and proves that the Manhattan-based producer responsible for Aesop Rock’s beats is most certainly a force to be reckoned with in his own right. Born Tony Smith, Blockhead has also worked with such darlings of the underground as Slug and Murs, and is one half of the hip-hop/comedy duo Party Fun Action Committee, whose album, released by Definitive Jux was “the best worst selling album ever made” (in the words of the man himself). Amongst all this, Blockhead also manages to make what record label Ninja Tune describes as “exquisite, emotional instrumental hip-hop”. You can’t believe record label hype though, can you? Well yes, actually.

The album opens with the slightly brooding It’s Raining Clouds, a track that traverses an incredible amount of musical ground throughout its six-odd minutes. A slow intro leads into a flute loop that eventually gives way to smooth brass, which is itself replaced by low-key tambourine and yes, exquisite choral samples. An almost drum n’ bass beat rounds things out – see what I mean about traversing a lot of musical ground?
The title track is percussion-led with a subtle hint of what sounds like sitar and tabla, while Only Sequences Change merges a broken beat with a washed-out vocal and epic strings in just the right amounts to produce a delicate and beautiful piece of instrumental hip-hop. In a similar vein is the brilliantly named Which One of You Jerks Drank my Arnold Palmer?, with expansive beats and judicious use of strings again the order of the day
The laidback funk of Tricky Turtle shows that Smith is equally adept at more upbeat tracks, but it’s the elegant Hell Camp that steals the show here. This is downbeat instrumental hip-hop at its absolute best. Just gorgeous.

“Exquisite, emotional instrumental hip-hop”, you say? I can’t think of a better description of The Music Scene. Some instrumental hip-hop struggles to hold the interest of the listener, especially, as on this album, where tracks are on the longer side. Smith has no such troubles, with his creations being constantly engaging and rewarding. Perhaps this won’t go down as one of the best albums of 2009, but it’s most certainly a solid and worthwhile listen.