It would simply be unfair to say that Lewis Parker is a RZA disciple. The two seem to have the same respect for dirty and dusty drum beats coupled with vintage soul samples. And though, those tendencies are a part of a huge number of many producers’ repertoires, the fact that Parker worked on Ghostface Killah’s fifth album, Fishscale only serves to further this comparison.

But Parker hails from London, a world away from Shaolin – across an entire ocean. But this producer, who’s of Barbadian descent, has worked to make his name one of the most notable in British hip hop. Very frequently, though, it seems as if Parker is over shadowed by Roots Manuva. And while Manuva has every bit of talent that Parker does, his productions seem steeped in European trappings. For some reason – maybe those huge, dusty drum programs set him apart from Manuva’s decidedly dubbed out affairs.

But even if Parker isn’t at the peak of stardom, he has been able to release his work through a Virgin Records subsidiary helmed by he guys in Massive Attack. And if Massive Attack’s work sits them closer to Roots Manuva, they helped still assisted in the release of the classic Masquerades & Silhouettes in 1998.

A decade on from that affair, the disc still sounds as vibrant and new as it did upon its release, much in the same way 36 Chambers still sounds brand new. But where the latter seems dedicated to violent imagery, kung fu gymnastics and general street level occurrences, Parker litters his first effort with Star Wars references.

The most gripping track perhaps is “Crusades,” in which Parker explains his penchant for taking care of business. And I know that that sounds vague, at best, but a great deal of what occurs on this album needs to be understood through the guise of history.

Everything about this release begs examination through a system of dual images and meanings. Silhouettes, obviously, obstruct a clear view. And Parker wants nothing but the truth. The entire affair has the air of a philosopher mulling over life and the interactions that he has had through that time.

But if Parker’s talents as an emcee were ever in doubt – and they shouldn’t be – he’s worked in an instrumental vein as well and has released the vocal free version of his first full length. But he also released Sniper Beats (Underscores for Drama & Action) last year through Dusty Vinyl, which he helps curate. Even after a decade since his first full length, the production here is as pleasing as it ever was. Amidst the setting of thirteen instrumentals, Parker is able to hold the listeners attention. And while that disc might not be as rewarding as a new full length, replete wit h raps, it was easily one of the highlights from last year in the hip hop world.

Seeing as Parker runs a label, it is confusing as to why we haven’t seen more work from the producer and rapper. But 2009 is still new, so maybe he’ll have something to say soon.