1.’ In some people’s eyes, the late-coming hype is considered the genre’s ambush, a thorn-laced booby trap that caught the sound into a cycle of ignorant re-appropriation and over-dilution.
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There’s even been a documentary series about trap’s diffusion, created by Mad Decent and, called ‘Certified Trap, Vol. These days, EDM trap is demanded by massive glow-sticked arenas in North America in equal measure to the hipster circuit so much so, it’s now deemed in the same league as dubstep and moombahton. Mad Decent and Jeffrees went on to curate what became some of the biggest noise in the sub-genre, which included hits from Baauer, UZ and Dillon Francis’ trap remixes. I showed Diplo the video and we were tripping out.” Flosstradamus passed five or six more demo beats on to Devro and Diplo, and soon after the ‘Total Recall’ EP was released on Mad Decent’s sister label Jeffrees. They took what Araabmuzik was doing but made it really accessible to more than just bedroom beat-heads. “I remember the day Flosstradamus posted ‘Total Recall’ on their Facebook. Paul Devro, DJ/producer and creative director at Mad Decent, explains when he first felt the switch.
Mad Decent certainly played a part through trap’s EDM explosion, if not being one of the main driving forces. Merging dubstep, rap’s playful swagger and the energy of electro, “EDM trap” prototypes started to emerge from the likes of Flosstradamus and UZ (who even released a chronological series called ‘Trap Shit’), among others. Trap was suddenly dropped in sets across different scenes, and piqued the interest of some of electronic music’s dons, including Kode9, Amon Tobin and the Brainfeeder family.Īcross the Atlantic, meanwhile, a few North American producers also began giving trap a new sheen, but added a completely different texture. Breakout producers like RL Grime and Bauuer also came to light with a UK club-geared sound. Trap’s expansion in the UK in 2012 was kicked off to a new level by production duo TNGHT (aka Mohawke and Lunice), whose infectiously trippy instrumental tracks like ‘Higher Ground’ and ‘Bugg’n’ became veritable trap anthems in the UK scene. It’s since evolved into a different beast, one that has a few opposed faces. But over the last year, trap gained a much-hyped interest in the electronic music world and blogosphere. Rap stars like Juicy J, Lil B, Future, and Chief Keef, meanwhile, flooded the ‘net with trap tracks and mixtapes that set the underground loose, causing viral wildfire.Ĭrunk and trap music travelled to hyped dancefloors in Europe within electronic music’s underbelly from the very beginning, through the likes of rap-heavy DJs such as Hollertronix (Diplo and Low Bee), Hudson Mohawke, Rustie, Jackmaster, Sinden, and more recently Lunice, Jacques Greene and MPC whiz Araabmuzik. Trap records dominated mixtapes and local radio, and blew up in nightclubs and strip clubs across the South.īy 2010, trap was highlighting the top of the mainstream hip-hop charts, particularly when a young Alabama producer named Lex Luger broke out, producing multi-platinum hits like Waka Flocka’s ‘Hard In The Paint,’ Kanye West’s ‘See Me Now’ and Rick Ross’ anthemic ‘B.M.F.’. Along with producers like Shawty Redd, Drumma Boy, Mannie Fresh and Mike WiLL Made It, trap brought rap music to a new sonic dimension: with dark energy, a gothic feel, street culture (guns, drug houses, strippers) and an allover gigantic sound. Across Texas, Alabama, Tennessee, Georgia and Virginia, local rappers like T.I., Gucci Mane, Young Jeezy, Triple 6 Mafia and Tity Boi (now known as 2 Chainz) all started branching out from what was then the sound of the hood: crunk. The trap sound first emerged in the early 2000s as an enclosed scene in rough-edged neighborhoods in America’s Southern region. But its vast history spans back over a decade, coming from a very different place than its current buzzword status in electronic music. In the case of the 808-heavy, epic-feeling rap sound of trap music (or its affectionate nickname, “real trap shit”), it may seem like the genre popped up out of thin air in 2012.
Similar to the rhetoric question about a chicken and its offspring, it’s sometimes hard to gauge what came first: the genre or the hype. Is trap music in a trap? The question conjures images of a dog chasing its own tail, or the idea that pop music will eventually eat itself.
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