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The members of the Detroit rap group HiTech came together via the kind of cosmic alignment that’s hard to ignore: a PornHub video. Rapper King Milo, one-third of the trio, recalls meeting for a recording session with fellow Detroit rapper Milf Melly right after finding out someone he’d recently been intimate with had become an amateur pornstar. In relaying the story to Melly, they came to realize they’d been sleeping with the same woman. Then, a little while later, Milo and Melly were at a party where 47Chops, now the group’s producer, was DJ’ing. They got to talking about how they met and, well, you can see where this is going. “Yeah, bro, she had us all. We were her little thots, ” King Milo says over Zoom. “And then we came together like butt cheeks. We made this crazy joint that was technically ‘Same Girl’ without the Usher and the R Kelly.”
That also might be the best way to describe HiTech’s music. The group makes politely promiscuous tracks that place the trio’s origin story in the realm of pre-ordained. All three members of the group had been making music around Detroit’s vibrant underground rap scene before they met, but HiTech also draws inspiration from The Motor City’s techno roots. Their sound harkens to a subgenre called ghettotech, which emerged in the Nineties almost as a fusion of Detroit techno and the rapidly rising popularity of rap music in the mainstream. A hallmark of ghettotech’s raunchy, hypnotically looped lyrics is that they’re often funny as hell. It’s not the lecherous kind of sexiness all too present in the mainstream, but instead something much more lighthearted.
HiTech’s self-titled debut EP, released on techno pioneer Omar S’s label FXHE last year, featured thick, melodic basslines and rave-ready drum patterns that offer an irresistible allure. An invitation to get sweaty on the dancefloor and let everything else go. “In the Detroit scene, people are not moving their bodies or moving how they used to,” Melly says. “It’s like we really want to get people interactive and go home like, damn, that was a night, type shit.”
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“Coming out of the pandemic, a lot of people have been standoffish, kind of reclusive, or just to themselves, so it’s definitely a good time to put this sound out and have fun with it,” 47Chops says. “People dance and have a good time, make connections, connect with other people through the music, and all types of stuff.”
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It’s no surprise that Omar S saw potential in the group of friends. HiTech’s infectious take on ghettotech feels like precisely what the culture needs. A reminder of the kind of dancefloor energy that was once commonplace in the city. “Dog put the turbo boosters on our back and was like, ‘Man, let’s bring Detroit home – it’s everybody’s house,’” King Milo recalls. Melly chimes in, recounting the first time they hit the studio with Omar. “He’s like, ‘How serious are you trying to take this shit?’ I’m like, ‘Damn.’” The session took place thanks to Chops, who first met Omar at a show at his storefront and passed along a demo tape. “He was telling us he had played that shit all summer, just playing it in the whip, riding around and shit like that,” 47Chops says.
Last month, HiTech released their second full-length project Détwat, which manages to build on the strength of the group’s debut. Standouts like the opening track, “Nu Munni,” offer a decent signal as to where the rap world, already growing increasingly enamored with dance music’s euphoric charm, might be heading. Jersey Club’s influence on modern rap is already apparent in hits like Bad Bunny’s “Where She Goes” and Lil Uzi Vert’s “Just Wanna Rock,” and ghettotech, another homegrown form of Black electronic music from the Nineties, is clearly ripe for exploration. HiTech’s raucous live show is good evidence. Over Zoom, they tell me about performing during guerilla-style protests over Atlanta’s “Cop City,” and they maintain a ground-level fan engagement that’s reminiscent of early Odd Future. Their music is just as bold, fusing the many genre palettes native to Detroit. “But not genre-bending in a formal sense,” King Milo notes. “I would say genre-bending like Avatar: The Last Airbender.”
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Courtesy : https://www.rollingstone.com/music/music-features/hitech-detroit-interview-omar-s-1234769848/