"Everybody in Chicago has to start at ground zero," says Lionel Freeman, aka Brother El. "We can't just walk up to Puff Daddy and ask him to play our songs, we have to do everything from scratch. But it makes us that much stronger—you end up learning everything there is to know about the industry."

Freeman, Earatik Statik's longtime producer, released his debut as Brother El, "Through the Cracks of Concrete," early in 2001 on his own Beat Bank label. I said it before, but here goes again: El's record is one of the most innovative, creatively challenging records released this year, regardless of genre. The production, integrating hard and soft beats with mystical ambience that takes as much from world music as it does rare groove, sounds destined for international success; how Ninja Tune Records hasn't caught on to this, I don't understand.

Freeman tells me that the sound—in addition to his lyrical ability—has developed over the very long term. "I was into hip hop as early as grammar school," he says. "I was trying to make myself into Rakim, which of course didn't work out." Having been classically trained on the piano, Freeman goes on to add that, regarding hip hop and more traditional music, "I was never able to quite put the two together."

With growing interest in making hip hop, Freeman hooked up with the Earatik Statik crew to do their production, but no rapping. "I had developed more musically than lyrically, and I didn't have my voice yet. With Earatik Statik, I got together with some guys who were lyrically tight. It was a way to get my feet wet, and to try and find my voice."

And although he claims that his voice is still developing, "Through the Cracks of Concrete" has the sound of a rapper/producer who's fully on his game. The opening instrumental track, "Jungle Chant," uses continental African rhythms that overlap to create an exotic texture. On "Pay Close Attention," with forceful beats over a floating flute, he paints a dark vision of urban hopelessness with compassionate strokes like "I take a deep breath before I climb the stairwell/ the elevator ain't worked in years/painted with the tears of an Ida B rape victim," and about the "truancy officer in the parking lot/nicknamed Mr. Spark-a lot." And on "Broken Dreams," he breaks out a smooth style that makes Snoop Dogg look choppy. The record is further highlighted by his penchant for using creative breakbeats; "Fade It" and "State Street Rush" keep the thump unpredictable without losing a level of funk.

Much of Freeman's subject matter is about street life, but without the gangsta angle of guns, guns, more guns and bitches. He grew up in North Kenwood on Chicago's South Side, and that definitely plays into his style and subject matter. "I don't want to say that we were poor, but I had a modest upbringing. On one hand, I was blessed with some opportunities that others didn't have—even though I didn't do so well in high school, I still got into a college, did well, and transferred to a better college. But on the other hand, I've still got a street edge. All the gangbangers and drug dealers in my neighborhood know me, but they don't see me as a threat to their way of living. There's a level of respect because they know that my life growing up wasn't any different than theirs."

His record's title, "Through the Cracks of Concrete," is a metaphor for his own style and growth, with images of a project building against a dandelion breaking through the concrete in a sidewalk. "It's an image of society, of an urban youth's mind," he says. "It may look fucked up, but positive things can still come from it. You just have to see it to achieve it. It's like the dandelion. We spray those motherfuckers to get them out of the yard, but look closely and it can still be beautiful."

In addition to his work as Brother El and running The Beat Bank, Freeman also runs the Hip Hop Project, a weekly radio show on WLUW-FM 88.7, every Saturday from 7:30 to 11:30pm. And the Beat Bank is dedicated to putting out other artists' records as well; next up is a release by Eklypz, before he puts out an all-instrumental EP as Brother El.

Freeman is constantly pushing himself to do and learn more. "It's something I learned from my grandparents: always keep your eyes open, and learn as much as you can, because we're not here for very long. That doesn't mean you still can't hang out, just don't be stupid about it. That's Brother El in a nutshell."

Brother El plays October 19 at the Abbey Pub, 3420 West Grace, (773)478-4408 with Earatik Statik and Non & Nip; and October 23 at the Empty Bottle, 1035 North Western, (773)276-3600 with Bullfrog and Def Harmonic. Learn more about the Beat Bank at www.thebeatbank.net.

Also by Dave Chamberlain

RAW MATERIAL
Kelly Hogan's presence in Chicago has been a two-headed beast since she first moved here from Georgia in 1997. First, there's Kelly Hogan the record maker, she of the Jody Grind, Rock*A* Teens and solo records, each with their own unique flavor and angle. Then there's Hogan the live performer, with a voice so affecting and perfect, words can't approach its power.
(2001-10-11)

WEASEL WORLD
My girlfriend and I own four ferrets, and yes, we are aware of how that puts us on the bubble of official "weird animal people" status. Fortunately, we know how to reassure ourselves that we're not members of that strange realm: attend the Greater Chicago Ferret Association's Greatest Ferret Show on Earth.
(2001-10-11)

RAW MATERIAL
Below are records that I haven't had an opportunity to write about since they've been released, and are relatively off the radar in terms of mainstream press. All were released in 2001, and all are available now (meaning no pre-release bragging here).
(2001-10-04)

RAW MATERIAL
For atombombpocketknife, a band that's circulated around the Chicago area for a little more than three years, the show celebrates the release of its second full-length record (and third overall), "God Save the ABPK" (Southern).
(2001-09-20)

RAW MATERIAL
(2001-09-13)

CLOSE CALL
(2001-09-13)

RAW MATERIAL
(2001-09-06)

RAW MATERIAL
(2001-08-30)

CONTINENTAL REPAST
(2001-08-30)

RAW MATERIAL
(2001-08-23)

RAW MATERIAL
(2001-08-09)

RAW MATERIAL
(2001-08-02)