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Tadd Mullinix created his Dabrye alias in the late ’90s as a hip-hop alter ego, a sonic wildstyle that weaved together the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Ummah-era Jay Dee, and the calculated subtlety of Detroit dance music. Upon discovering local Detroit hip-hop producers Mullinix realized many of the best had a rhythmic sensibility that set them apart from the rest of the country. Detroit wasn’t a hotspot on the nation-wide rap map yet but it had its own swing, full of subtle di­erences and embodied by groups like Slum Village. As Dabrye, Mullinix captured some of this sensibility — the nuance of metric modulation — and paired it with electronic touches and rap swagger across three albums that brought a new set of Detroit aesthetics to the 2000s hip-hop conversation. Early fans of his refined style included the late James ‘J Dilla’ Yancey and fellow adventurer Prefuse 73 alongside whom Mullinix laid the foundations for a new wave of beat enthusiasts to emerge.