Mid-tempo and unhurried, "Right Hand Man" settles into its groove with the ease of someone entirely comfortable in their own company. The electronic hip-hop beats at its foundation are clean and purposeful — never flashy, never overcrowded — providing a rhythmic chassis onto which Miller layers synths and harmonies that open the track outward into something genuinely cinematic. It is the kind of production that soundtracks the interior life: the late-evening commute, the moment between sleeping and waking, the view from a window when you are thinking about something else entirely.
What lifts "Right Hand Man" above the considerable volume of instrumental hip-hop currently competing for attention is the quality of its harmonic imagination. Miller is, first and foremost, a jazz musician — leader of the Ben Miller Trio and the ensemble Dweller on the Threshold — and that background surfaces here not in any obvious quotation of the jazz tradition but in something subtler and more valuable: a feel for how chords can carry emotional weight without resolving too quickly, how a layered synth harmony can suggest an entire mood without ever stating it directly. The cinematic quality that the track achieves is not the result of reaching for grandeur, but of trusting the atmosphere to do its work.
"The cinematic quality is not the result of reaching for grandeur, but of trusting the atmosphere to do its work — the mark of a producer who has learned when to let go."
The no-loops, no-pre-made-content approach that Miller has committed to across his Medium B project is audible here as a quality of organic coherence rather than a technical credential. Nothing feels stitched together; everything breathes. The synth layers accumulate with the logic of a composed piece rather than the repetition of a constructed beat, which places "Right Hand Man" in the tradition of producers — Nujabes, early Madlib, the more meditative corners of J Dilla's catalogue — for whom the instrumental hip-hop format was always a vehicle for something more considered than the sum of its parts.
Rochester, New York does not receive nearly enough coverage in the music press. On the evidence of this single, that is an oversight worth correcting. Ben Miller has built something here that functions equally well as background music and as the object of close, headphones-on attention — a rare achievement, and one that speaks to the depth of craft behind what might superficially appear to be a simple, relaxed piece of music. Simple it is not. Relaxed it certainly is. The difference between those two things is exactly where Medium B lives.
VERDICT
A cinematic, unhurried single that wears its jazz intelligence lightly and rewards close listening. Medium B understands that in hip-hop production, as in life, the most indispensable presence is often the quietest one in the room.