Luger's 'H.A.M.' beat (highly unofficial version here), for example, is a thrilling piece of production, but the gaps where Jay and Kanye are supposed to come in feel empty. What makes him unique is that he fills in all the spaces that other guys tend to leave open for MCs to rap over. There are plenty of guys, from Hit-Boy to Lex Luger to AraabMuzik, who can match or exceed his ability. It's not that Clams is hip-hop's most talented beatmaker. It's worth considering why these tracks, and not other producers', are able to function so well independently. But even without Rocky's indelible hook, it feels whole. The beat for A$AP Rocky's 'Palace' is pretty glorious by itself, with a natural arc that moves from collapsing drums to a coda of soaring, disembodied vocals. Now that he's making beats for songs with more memorable hooks and verses, do Clams' productions work as well on their own? The short answer is yes, and you don't have to look further than the opening cut for proof.

And while the beats on the first tape were unquestionably strong, many of them supported stream-of-consciousness Lil B raps which, no disrespect to the Based God, most people didn't mind leaving behind.

We're familiar with his style now, and that initial 'wow' factor has worn off some. Clams faces a little more of a challenge with Instrumental Mixtape 2.

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