And OCDJ is totally an appropriator, by the way. His songs are candy-colored remixes of Southern rap's immediate past (my favorites: an endless, The Cars-ian take on Soulja Boy 'Crank Dat'; a version of D4L's 'Laffy Taffy' that sounds like the song's dissolving in sulphuric acid). But he is a master appropriator, not a lazy one like Michael Owen who uses the no-limits ethos of postmodernism as a way to critique-proof his wack-as-hell art. OCDJ puts in the work. His remixes are artfully built around rap a cappellas, which explains why he remains steeped in mid-2000s rap. These were some of the last rap singles to come out on 12-inch and as a result, the last time a cappellas, always a fixture on rap singles, along with the instrumental, were easily available. And so, his work hits multiple nostalgic pleasure centers all at once, reminding you of the crunk era (the last time rugged rap would rule the radio) and the early, especially spazzy days of Wham City (which helped pave the way for this thing called Station North, for better and worse).