He said it himself: “I might not be able to hit a note, but I can sing a note.” Honesty like that is just too good. Dudley Perkins is too much his own man and too comfortable in that skin to be anything other than honest. Expressions (2012 A.U.), which features the longtime emcee crooning more than rapping over a swath of Madlib-produced tracks, is a portrait of man that is doing what he feels. In an interview with T.I.R.M., Dudley made it clear that he’s an emcee, not a singer; and maybe more importantly, “an artist by trade.” As an artist, he has the to spit a rhyme or sing a note, no matter if his voice cracks.

Once Expressions is stripped down and relieved of any responsibility to adhere to R&B or soul standards of “catching notes”, Dudley’s artistry is apparent. He and longtime friend, Madlib, have crafted a Bridge album with a loose gamut of personal quirks and ideas. Even the title is an indication that Dudley is a little different. 2012 A.U. or 2012 After Us is somewhat of a Dudley-prophecy. “I got this little thing in my head saying something is gonna pop off in 2012,” he said. This brain is responsible for a unique, eccentric blend of peculiar funk (“Funky Dudley”, “Get On Up”), reserved soul (That’s the Way It’s Gonna Be”, “Coming Home” with Georgia Anne Muldrow) and left field, apocalyptic visions (“The Last Stand”) coming at you from several angles.

“Come Hear My Dear” has Dudley singing notes and (as his alter-ego and veteran-emcee Declaime) emceeing fantasies over a Madlib-banger soaked in muted-trumpet calls, funk-bass and cascading electric-piano chords. “Testin’ Me”, with a grimy bass-drum rhythm festering underneath rim shots and stark key-chords, is fodder for Dudley to get into some introspection. Life is “falling apart at the seams and all of my dreams will never ever be seen.” This is also a song where he hints at his personal spirituality. It’s a tormented, at times guilty, faith that is buck-naked on “Dear God”, a two-part suite made all the more compelling and vivid accompanied by the poignant strings and minimalist rhythms. On songs like these, it’s almost as if Dudley’s amateur vocal styling and flimsy falsetto add to the authenticity of the feelings he’s emoting.

Madlib can do multitudes for an album, but what some may wrongly conclude is that Dudley is taking a trip on a wizard’s coattail. Not true. Dudley says he “let’s Madlib’s beats breath, so I can breath right on ‘em.” In many ways, Dudley’s obvious quirks and artistic freeness are the logical compliments for Madlib’s unpredictability; making the two a formidable team.

Ultimately, “Me” (albeit nowhere near the album’s highlight), is the track that typifies the essence of Expressions. It’s a song that plainly states in its refrain, “this is me.” Or as Dudley said himself, “My music…if it’s messing with your ears, then turn around and listen to someone else.”

But pay no attention to the man behind the curtain. Turning your back on an album this creative and an artist with this much individuality is a mistake.