Full disclosure, I’m over three decades old. I’m a father of two young children, and I’ve been immersed and plugged into hip-hop culture since the early 90s. So, like most older heads, sometimes the newer generations [there’s been a few now] of artists make me feel old. One such movement was led by the based god, Lil’ B. I didn’t get it. I gave it repeated attempts, but couldn’t grasp the appeal; however his sheer cult status intrigued me, and I eventually wrapped my mind around the direction that he and the artists affiliated with him were going. One young producer, along the same vein, is SlurRty. I’ve had his name pop up a few times in conversations, which prompted me to delve in. Why is he notable? Well, off the top, he’s produced for the based god, as well as Tyga’s artist, Honey Cocaine, Love and Hip Hop Hollywood star Soulja Boy, and much more. So, as far as production is concerned, he has a pretty solid resume.

As an artist, he comes off a little more polished than some of the artists’s he’s produced for — personally. His music is often slow, hypnotic, and full of distorted, varied style. But he also shakes shit up. For example, you think you have him pinned when listening to his last record “Baddest Bitch I Ever Seen,” but the he drops jazzy boom-bap hip-hop on “After Party.” He’s quite eclectic. Kind of like a new-age Kool Keith. He doesn’t seem to prescribe to a standard and does so consistently. Not unlike Lil’B; when I previously said that I suddenly understood the movement, it was Lil’B’s consistency. SluRty’s music takes some risks — that’s his constant. He has a youthful vibe.

Take a listen to his latest joint, “Time,” fresh out of the studio. You’ll also want to go through his production catalog.