The Middle East should brace for hurricane RJD2 this Friday, as the underground hip-hopper unleashes a turntable-tempest on the Cambridge concert hall.

On stage, the producer-turned-artist simultaneously spins four turntables, synchronizing lyrics with melodies and percussion, matching tempos with beats and rhythms.

“It’s not so hard once you get used to using four turntables at once,” RJD2 said in a phone interview Sept. 3. “At this point it’s just fun. I mean, for concerts, I try not to make it exactly like the album. You’ll hear the songs, but I try to mix it all together into something new each time.”

After blasting off in 2002 with his debut album Dead Ringer, this Ohio native is still soaring with his latest project Since We Last Spoke. In this 12-track treat, the master spinner splices songs from the past 40 years together, churning up a savory batch of funky beats and soulful melodies that mostly surpass the original samples.

Altogether, the album feels like an underground Moby album, a modern Quincy Jones record and a breakthrough for the Def Jux label.

Before embarking on a solo career, RJD2 produced for a number of artists, including Polyphonic Spree, Massive Attack and Mos Def. His portfolio and status as an up-and-coming groover and shaker in the underground scene only becomes more impressive with the knowledge that he refuses to digitally mix his music.

“I don’t use any software,” he said. “I still rely on mixers and samplers to make music. It’s worked for me so far.”

RJD2 reveals his turntable dexterity in “One Day.” Bending, stretching and warping syllables on the soulful, lovesick voice track, he draws out a computer-precise distortion effect by hand.

With some tracks taking weeks or even months to perfect, RJD2 said the album’s best song “1976” took only a few days. Laced with a smooth-samba horn track, the tune playfully swirls to stops and whirls back into perfect tempo. The layered percussion offers a toe-tapping tango beat with delightfully infectious instrumentation throughout.

Despite its strong musical fiber, the album’s patchwork nearly unravels in parts. The album’s tenth track, “Intro,” is a poorly woven jumble of samples, abruptly tied together into a frustrating knot that should have been scrapped.

In “Iced Lightning,” RJD2 synthesizes a hypnotizing – but ultimately trite – trance tune that belongs in a video game, not a turntable album.

However, these fumbles are slight and quite forgivable given RJD2’s progressive – and almost aggressive – push to expand the borders of underground sound. Given the breadth of his musical scope, some mistakes were bound to occur.

RJD2 promises concertgoers a collage of hip-hop, jazz, soul, techno and dance – wielding bits of each and welding hits for all.

RJD2 will be appearing at the Middle East Downstairs on Friday, Sept. 17 at 8 p.m.