Between 2012 and 2013, the happenings in Philadelphia’s trap music scene were a microcosm of the global trap scene, where this instrumental hip-hop duo rose from traps all over the world with melodic, flowing lyricists whose recorded vocals were about to change the sound of rap music.
The hip-hop world will never die out completely, and rap will always be here. I came to some serious surprising realizations when I first listened to that twerk mx by Meaux Green. The tribal, animalistic beats pounded truths into the truths that connect the souls of today’s disenfranchised populations with the many lost souls that came before them. The most astounding part of all this is how universal the beats and lyrical flow grew so familiar last year, that I’ve been comparing trap to big room house, equally generic. Exceptions to this are obviously dudes I have recently reviewed, along with Cashmere Cat and Yellow Claw, Keys & Krates, and a bunch of Philly cats that chose brotherly love over the glamorous life of a DJ.
I wanted to take the time today to give you a brief insight into the theories I have been working on flushing out. One of the major ones is a nod to countercultures past to figure out how and why we ended up here.
This was at peace for the most part, much like the trance and techno (which I do fucks wit sometimes) of the time. There were no wars to protest, and everyone acted like racism had been stomped out by iconic political figures who died for the cause. As time past, and bombs came down on American soil, and one hurricaine showed just how undeniable our race issues are here in the U.S. of A. It is unsettling to think now that I almost willed all of this to happen.
Severely heavy and irrationally narcissistic. Maybe everybody just needs to dance, so they don’t think about things so much. I rarely take breaks from the information flow of my brain, always working overtime. Recently wrapping my head and hips around this type of music that will exceed the influence of classic trap sounds, using that an so much more. More claps, horns, clicks, soundbytes, rap tracks, squeeky mattresses, crying babies, and clangs and bangs. It is refreshingly unconventional even though some of the tracks are pretty familiar ones. Totally new sound. And I fucks with it.
There is a reason these dudes were considered artists to look for in 2014. As Annie Nightingale says in the beginning of this mix, Xxtrakt’s sound is representative of the redefined concept of trap music, as in it can be what you want it to be. This dance music is popping off all over the world. It is clubby filled with dirty down low drops from these two kids out of Annie’s hometown of Brighton. It seems the twerk bounce trap ghost sound can be heard all over North America, maybe added influences elsewhere, but also in South America and Africa, the Carribean islands, Asia, and of course the Middle East. Xxtrakt puts in work to rep the UK with respect in this mix. Expect a big year form these two, and enjoy.