Day Tipper is a producer from Atlanta who formerly worked with the group Clan Destined. He has been focusing on his solo material in recent years, making his debut on Full Plate in 2020 when he released Langford Landscapes. In 2021, he released a tribute to the British group Broadcast called I Found the End. That went so well, he has now upped the ante with a remix/mashup project called Broadkast.

As you might have guessed from the title, this project finds Day Tripper mixing the rhymes of Outkast with the music of Broadcast. Now, this might not seem like the most obvious pairing in the world, but all it takes is one fan who happens to be a talented producer to make the connection to see if it works or not. In the case of Broadcast and Outkast, it doesn’t take very long to see that Day Tripper is onto something. Maybe it was because Outkast were amongst the most experimental hip hop acts to break through to mainstream success, or maybe it was simply knowing that Big Boi is a huge Kate Bush fan. Whatever inspired him to put the two together, Day Tripper also did the work to mash everything up in really interesting ways. Broadcast’s music was always really moody and psychedelic and experimental, but they also always had some really good beats at the backbone of their songs. What this does in mashing up with Outkast is to take away the wild over-the-top funk and to push the lyrics to the forefront with a more brooding mood to the music. Nowhere does this work better than on “Ladder Jackson,” which pairs Broadcast’s “Subject to the Ladder” with Outkast’s “Ms. Jackson.” This serves to highlight the emotional turmoil of two young men rhyming about trying to work things out and be responsible with the mothers of their children even if they weren’t going to stay together with these women. On top of all this, when you go back to the source material, you can really get a sense for how much work Day Tripper did to make all of this work in successful and interesting ways. Staying on “Ladder Jackson,” DT didn’t just press play on the Broadcast instrumental and the Outkast a cappella, he really went through and chopped stuff up, flipped it, remixed it, and made it come together in a way that made it feel like the song always sounded like that. That’s no easy feat.

Broadkast works on a novelty level for a few seconds, but the longer you stay with it, the more you appreciate what Day Tripper did here. You really come to appreciate both the brilliant instrumental work of Broadcast’s catalog, and you get to fall in love with the lyricism and charisma of Outkast all over again. And if you really pay attention, you appreciate how clever and passionate Day Tripper is as a producer.