• Courtesy
• Caleb Lodish, I Expect Nothing in Return

(Self-released, digital)

Burlington producer Caleb Lodish has been an inescapable name in the Vermont hip-hop scene for the past two years. While he's a prolific collaborator, what really sets him apart is the professional sheen of his mixing work and the tremendous range of his sound. He's not content being a "type beats" producer, replicating the sounds of his idols and influences. He is an explorer, seeking out new horizons and flavors. And throughout that journey, he has run circles around his competition.

Given his success, titling his debut LP I Expect Nothing in Return might seem like smug sarcasm, but rest assured, Lodish is dead earnest about his passion and his calling.

The opening is pure cinema, with Vermont rapper Obi the Voicegod reading an introduction he wrote himself. "This almost didn't happen," Obi intones over a bright flourish of keyboard horns, describing how he survived an overdose at 15, followed by a car crash two years later. Reassessing everything, he plunged into music, making it his new purpose in life: "I made this album for me, and you."

For a big, loud statement of purpose, Lodish couldn't have done much better. Obi is blessed with one of the most distinctive baritones in 802 history, the timbre of James Earl Jones delivered with the jazzy enunciation of Yaphet Kotto. The spoken-word passage leads into a great opening verse from rapper/singer/maniac Ranch God, careens into a superb guitar solo by Dylan Mac and washes out into a bass-heavy outro movement. This is a serious statement, an ambitious young maestro showing off his powers. And every second of it works perfectly.

Next up is "Accolades," built on a dynamite extended rant from HANKNATIVE of 99 Neighbors. It's a wild ride, the work of a young artist coming to grips with the cost of success and the persistence of a past he can't quite put behind him. It's also a rap tour de force, as HANKNATIVE glides through different flow patterns with effortless ease. This is a consistent theme: Not only does Lodish get great guest features but he gets their best work out of them, too.

The album's musical depth becomes even more apparent on "Private Quarters," an outstanding R&B cut with singer PhiloSofie. Blending the palettes of acid jazz and EDM over some crushing drums, this is a flawless, radio-ready production spotlighting a smooth vocal performance. Every detail is meticulously on point. This track is the work of someone who has studied the greats carefully.

Conswank takes center stage for "Make It Back," an anthem about rebuilding a life from scratch. His charismatic drawl is the ideal counterpoint for the bright, soulful production.

"Mutt" abruptly cranks up the vibe. I'm no fan of the prescription amphetamine techno-clutter of the hyperpop genre, but Jawndarko and Flywlkr deliver the goods with style here. No question, this song would slay a packed room at a live show.

Things take a downright goofy turn on "Taken Aback" with Ranch God, a fun R&B track with a bedroom-studio feel. I never know what the hell to make of Ranch God, and that's a fond compliment. He is a chameleon bursting with energy and talent, and he's got a mean falsetto.

"Forgive You" might just be the best song on an album full of bangers. I was stunned to find out that the male part of this 2000s MTV-flavored R&B duet is Tyler Serrani, a name I've mostly known for some of the most emo-ass emo-rap to emerge from the new wave of Vermont talent. His performance here is so self-assured, it's a breakthrough moment for an already excellent artist.

Serrani trades bars (and barbs) with Leandra Dielle, whose breathy soprano can transform from Mariah Carey reverie into the rapid-fire cadence of a rapper in a heartbeat. The beat is magnificent down-tempo funk, and the chemistry between the vocalists is gold.

That's a hard act to follow, but few local artists are better equipped for the challenge than Bilé. "Discussions" is yet another tale of toxic love, but his venom is what truly sells it.

The album closes with two takes on that omnipresent "whoa-oh-oh" auto-tune warble: the slow, melodic burn of "Encore" with Topia & PLEASANT BOYS and the overdriven rumble of "Wasted," which features rans0m.

Albums that aim to offer something for everybody generally end up appealing to nobody. With I Expect Nothing in Return, Lodish has wisely avoided that trap by delivering exactly the album he wanted to make. It is a monument of a release, both for the young producer and for the thriving scene he emerged from. I'm betting this will still be in the Album of the Year conversation come December, but you should check it out right about now.

I Expect Nothing in Return by Caleb Lodish is available on Soundcloud.