Despite having a Bandcamp page as thick as a double-stuffed booklet of CDs, Knxwledge's semi-breakthrough didn't arrive until he contributed to Kendrick Lamar's To Pimp a Butterfly last year. "Momma," equal parts slow-burning soul and dazed funk, is emblematic of the producer's style: You can hear conspicuous traces of Madlib and J Dilla, but an individual sound emanates through their influence. Knxwledge's ongoing Wraptaypes series is a good place to get a feel for his aesthetic: On these mixes, he layers a mixture of vocals and audio clips laid atop his production—vintage beat tapes with voices for added emphasis. The Wraptaypes anthology compiles 26 such productions created between 2011 and 2015 into a highlight reel. His sample selections are noteworthy, but his repurposing of them is the resonant accomplishment.

Wraptaypes involves Knxwledge stripping original works of their elements, taking the remains he deemed useful and engraving them with his signature. It's an aggressive, dissociative process, in which he basically decapitates source material like action figures and sews the heads onto music he's composed. The face (or, rather, the voice) is the same, but the limbs, extremities, and heart are all different. As a result, the ensemble of bit players Knxwledge weaves into each web becomes part of something original.

Knxwledge allows each track—no matter how short or unpolished it is—to stand as its own entity. In each instance, the outcome is rewardingly distinct. "Strtdfrmthebttm" slows Drake's "humble" recollections, trading urgency for a warm, mellow haze for the better part of two minutes. (Kudos to Knxwledge for reimagining a club anthem as a lush, scenic Urban Outfitters composition—that's a feat.) An Eazy-E verse from "Tha Muthaphukkin Real" contrasts the lazy strings and 808s on "Iwish" before Carl Thomas' voice literally chirps in, accelerated to Alvin and the Chipmunks speeds, Heatmakerz style. Inebriated keys turn Sheek Louch and Jadakiss into charming lounge singers on "Choosewun"; the first portion of "Choppas" does the same to Lil Wayne.

The anthology also showcases Knxwledge's perceptive grasp of how certain instruments drive songs, namely the unrestrained '80s sitcom sax on "21kwestions" and Ernie Isley's screaming guitar on "Allwegot." Details count, so artifacts like different parts of the same Boyz n the Hood scene used at the beginning of "Ignorntsht" and end of "Gotstaprove" are welcome pop culture Easter Eggs for the film enthusiasts. Anthologies have no hidden messages or intricate narrative structures; they're collections meant to be taken at face value. Wraptaypes, however, is as much a snapshot of Knxwledge's mind as it is an aggregate of music. Each component and pairing speaks to how he interprets music and assembles his own.