The Art of Trap

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[theartoftrap]

Throwback Thizz: Mac Mall

For any Bay Area native, Mac Dre and his cohort of dope rhyme spitters make up a huge portion of the essential rap canon. From the strange, engaging deliver of P.S.D tha Driver to the energetic lyricism of Da Unda Dogg, Mac Dre put on a variety of rappers that, while never getting major radio play, spit fire: remaining completely under-rated and under-recognized. 

This blog post series, “Throwback Thizz,” is an effort to explore and reveal some of the rappers that, while doing numbers within the Bay Area, have yet to reach a wider audience.

In this series, I’ll outline two projects from each rapper; this week, I start with Mac Mall.

Hailing from the CCC, or Country Club Crest, Mac Mall proudly represents the North Side of Vallejo, sometimes called the North Pole. With a confident delivery and a boisterous style, harnessing the dialect of the pimpalistic player, Young Mac Mall paved a lane for himself, first spreading his beat slaying wings on Illegal Business? which dropped in ‘93. Rapping over beats entirely composed by Vallejo’s Khayree, Mall asserted himself as a prominent force within the burgeoning underground Bay rap scene. 

To me, Sick Wit Tis is a clear-cut savage track from Mall’s freshman record. As Khayree sprinkles the beat with synthesized horns and a tenacious drum pattern, Mall acknowledges his own obscurity, taunting the females that try to get with him for some clout:

Turn up the beat and let me come wit’ some game, mane Talkin’ about these hoes who be tryna claim to fame, mane But it’s a waste of time, because Mac Mall ain’t no celebrity I’m just a playa wit’ some G-A-M-E 

The beat switch on this record, using a jazzy sample, highlights the clever way that Mall lures women in with his pimpin’:

But when we first meet, I give ya full respect I’d be the sweetest muthafucka that ya ever met But don't think I’mma stop doin’ scandalous shit I’m takin’ mail, food stamps, check, even WIC, bitch

Jumping back into the aggressive synth-loop orchestrated by Khayree. This is just one slap of many on the record, so check it out on Spotify or buy the physical.

Untouchable is the only project that Mall released on a major label, and it remains a palpable project that hits hard on relevant political issues, most notably on songs like Ghetto Stardom. 

Over a wavy beat produced 2Pac and E-40 collaborators Femi Ojetunde, Rick Rock, and Mike Mosley, Mall questions the representation of the black constituency, asserting:

And I doubt a republican or democrat Gives a fuck about us young inner city blacks It's a trap, Uncle Sam keeps cursing me Rather have me in the pen than the university

With the discussion of black lives in the Black Lives Matter movement, the suppression of black voices continues to be a problem in the political sphere. After 8 years with a black president, has anything come to change? Over two decades ago, Mall was asking the same questions that we are now, a haunting reminder that change happens now, not later. Mall doubles down on the conscious message in his hook:

They try to tell us in the verses and the scriptures But I guess the real message must have missed us In '96 all my brothers and my sisters Is on a mission, we're trippin' livin' senseless Tell me, will I see the sun in days to come Will blacks be the victors instead of victims Or will my people keep killing over fuckin' crumbs Pushin' dope just to reach ghetto stardom

I encourage all my readers to check this man out. Dig into this Bay rap shit, because it delivers more and more as you dig deeper and deeper. The Bay Area scene is one of the last to be thoroughly tainted by the record industry, and this is prime music for the hip-hop head. Check him out, and give me your thoughts.

Peace

—AoT

Follow me on Twitter: @NSchwassMB

[theartoftrap]

Some old Short Dog and The Dangerous Crew for you bay area hip-hop heads. I feel like this is the golden age of Too $hort. Yeah, you got Blow the Whistle, but $hort really had bars when he was on his conscious tip. Shock G from the Digital Underground also delivers a solid, sing-song verse on the track. Shorty’s music also slaps in the trunk, so if you got some 12s, get it knockin’. 

Peace

—AoT

[theartoftrap]

Clyde the Mack, SOBxRBE, Mike Sherm, G-Bo Lean, and SouthSideSu remix the E40 classic “1-Luv” on the slapper, “No Love,” showing love to the Vallejo representer and bay area ambassador. None of the guys spitting on this track show any slack and Yung T.O. brings the heat with his hook yet again. Check it out and lemme know what you think.

Peace

—AoT

[theartoftrap]

Drake: More Life, a Review

Drake’s new project More Life jumps from aggressive, biting flows to smooth, warm, and tropical songs tackling themes of love, loss, and trust. Advertised as a “playlist,” Drizzy continues to search for new marketing techniques to differentiate himself from the homogeneity of rap. 

Speaking of this differentiation, Drake, by-and-large, one of the biggest—if not the biggest—forces in the rap game. His sound dominates the club, and, any given day, you will hear at least 5 or 6 songs in every DJ set trying to appeal to the common ear. This should be no surprise, given that Drake can provide a litany of styles to each musical ear: going from the bar for bar brandishing of a belligerent rap skill, to a warm, globalized dancehall mixed with an adult contemporary aesthetic, and to an even, vibrant song utilizing a beat from a prominent South African DJ. 

This playlist is different from an album in the way that it changes genre suddenly, but not inorganically. Sliding from the warm, tropical sound of “Passionfruit,” to the basslines of Black Coffee on “Get It Together,” and to the patois of “Blem,” Drake moves from these crowd pleasers to some dope features with raps most prominent spitters with a palpable verse from Skepta.

I really like the Quavo hook on “Portland,” the two features from Young Thug on “Sacrifices” and “Ice Melts,” and the smooth aesthetics of “Blem,” “Get It Together,” and “Passionfruit.” I like “Glow” with Kanye, as he spits over a minimalistic track with some 808s and a warbly set of bass notes. My main gripe with this project is the tracks that appropriate the aesthetic of UK rap, particularly the verses by Giggs. Much credit to the rappers from the UK for paving their own lane, using their own slang and finding their own voice, but the slang leaves me disconnected from the impact the verses have on me as a listener. 

However, I think the greatest benefit of this project is your ability to pick and choose the songs with resonate with you the most. There’s so much to pick from that it would be reasonable to say that everyone could find a song on here that they liked moderately. It’s not an incredible project by any means, but it’s not offensively bad; rather, there are some really good moments on this project, some songs that I continually find myself returning to. 

I think that Drake could greatly benefit from trying to find his own aesthetic, rather than hoping on the hot style or trying to jam the tropical aesthetic into his own sound. Drake has cited in his Nardwuar interview that he is inspired by Mac Dre and his movement, and he should take some notes from the way that Furl paved his own lane. The brash, electronic sounds of the Hyphy movement were pioneered by Dre, and Drake needs to find a sound which is wholly new, innovative, and forward thinking. He’s already solidified himself as a chart topper, but legendary status is reserved for those who change the sound forever.

[theartoftrap]

“Ugh” is one of my favorite cuts from the second edition of DrakeO the Ruler’s “I am Mr. Mosely” mixtape series. Rapping over a threatening beat by Lil Fresh, DrakeO spits with a leaned-out, slurred delivery: 

“Ugh...

The choppa’ make him go ugh...

Nigga, I’m a bully breaker...

Who the fuck? He think he Suge?”

On the track, DrakeO forewarns any potential suckas from trying to test his gangsta:

Shit, I don't think they want that

I'll start shooting where your dome at

Grimey, sheisty niggas wonderin' where the chrome at

On “Ugh,” DrakeO presents his unique brand of murder rap, spitting his bars at a sluggish, foreboding pace, like Darth Vader strutting with a cold, steady pace creating suspense and anxiety, then suddenly jumping back to speed with an unexpected quickness, highlight in this set of bars:

No bitch, I ain't your broham

Boosky tucked just in case I gotta blow hams

Niggas actin' crazy with that petty ass four bands

My niggas'll fold em, on beats im Hulk Hogan

From his delivery, to his beat choice and his talent for making memorable hooks with a disturbing detail of graphic violence, DrakeO is certainly a rising star in the West Coast rap game. He’s currently serving a bid for an unknown charge, so show him some love on Twitter. 

[theartoftrap]

Slimmy B and Yhung T.O. out the 707 tap in with DrakeO the Ruler for a slappin’ collaboration, produced by Wavy Tre. Featuring some ominous piano chords and a foreboding synthetic baseline, Slimmy B brings the bars while T.O. continues to wow with his vocal timbre and trademark delivery.

Slimmy always seems to find a great way to tread the line between hilarious reference and threatening allusion:

I don't fuck with niggas like a redneck Catch an op slippin, flip his whip like a tech deck This fonk shit I bring it to your door, like FedEx And talkin' dumb will get yo' ass popped like a Xanax

And he flashes his fashion sense and taste with more dope lyricism, cramming a ton of syllables into his jam-pack bars:

White buffs' on, bitch it's Cartiers All these bands a nigga get, I wouldn't call it fair Stay out my closet, lil nigga might get lost in there And this chopper turn your whip into a rocking chair

DrakeO slides in with a brief verse that leaves the listener craving more, with a subtle but quick delivery that is undertoned by his gravely voice.

These SOB cats can’t be stopped, won’t be stopped. Every song highlights there notable chemistry and their tireless work ethic, and I look forward to hearing them as they continue to pave their lane.

Peace

—AoT

Follow me on twitter: @NSchwassMB

[theartoftrap]

Salsalino is a fresh rapper coming out of South Vallejo, CA: a neighborhood brought to fame as the birthplace and stomping ground for E40, a legendary bay area rapper, member of The Click, and founder of Sick Wid It Records. 

Salsalino brings all the flavor of Vallejo’s unkillable, innovative music scene, where new artists sprout like vibrant foliage from the cracks of the project pavement. In an area known for it’s poverty (Vallejo filed for Chapter 9 bankruptcy in 2008), rappers from the 707 continue to make a lane for themselves despite their discouraging financial predispositions.

Riding a wave similar to that of the up-and-comers from SOBxRBE, Salsalino raps over Detroit-esque beats with dark, murderous undertones. Synth-heavy, slapping baselines underpin the threatening bars and clever wordplay, as Saucy raps: 

I'm on the go, don't blame if you don't see the vision Cuz the life that I live was only made for me to live it. So keep your distance, I'm partaking in hedonism. Boy, you don't no nothing bout' that dere, you need to read the diction.

The dictionary, learn how to be literary. Then you can fuck around and finesse the judiciary. My vision blurry, been blowin' like that nigga kirby. Tryna' take this shit everywhere 'cept a cemetery.

Exhibiting an expansive vocabulary and rapping with incredible pace and deftness, Salsalino is certainly one of the most promising rappers from the Valley-Joe. 

Slimmy B, T.O. and DaBoii from SOB shout out Salsalino in an interview with Thizzler, and this name-drop was certainly something that will likely turn listeners on to the intrepid rapper. Keep your eyes on this dude, cuz’ he’s likely to blow.

Peace

—AoT

[theartoftrap]

Mozzy has released a new music video for “The People Plan,” a cut off his new album Fake Famous. In this new video, directed by Jae Synth, Mozzy creates a visual platform to discuss the trails and tribulations of black subjectivity in the modern age. A collage of violence, misdoings, and sensationalist media, Jae Synth tactfully pieces together a haunting cinematic slideshow of brutality, a perfect match for the mesmerizing lyricism of the jaded Sac-town rapper:

“Pull up to the grave site, woozy off an 8 of syrup/ You’ll never understand what I go through as a man/ Let my momma down when she needed a helping hand.” 

“Momma couldn’t save you from the judge, they the Klan/ Black on black crime a part of the people plan/ 40 acres and a mule mean they worked us off the land/ Let the jury hang us when the witness hit the stand.” 

This video is a clear reminded of why Mozzy is Northern California’s imminent emcee, spitting about the dirty, gritty life of the Californian streets. Far from the reductive gaze of outsiders, with our beaches, palm trees, and cool weather, California can be a killing ground. From the child prostitution of Sac-town, the human trafficking of the central valley, and the murder rate of Oakland, California has seen some shit. While its easy to package Northern California lifestyle in a nice, warm summer banger, it’s winter time and Mozzy is bringing the chill. Listen to the song, buy the album, and show some love to Jae Synth. 

[theartoftrap]

In Memoriam: The Jacka

Born in Pittsburg, CA, an area a little in-land from Bay Area major, The Jacka was one of the bay areas biggest movers and shakers, creating a feeling of collaboration and teamwork that was unfamiliar to the sectarian culture of bay rap. Similarly to Mac Dre, the Jack was cut down in his prime, silenced before his music could have reached the general public. An incredible lyricist and musical mind, the Jacka created a legendary body of work before his unfortunate passing, and this post will commemorate some of the hallmarks of this incredible discography.

The Demolition Men: Animal Planet mixtape is a project which will bring back warm memories of California crusin’ for any bay area local. Jammin’ this CD/mixtape in the deck, its easy to listen to this tape from start to finish. A collaborative effort between Jacka and his close-friend Husalah, both guys bring an original style which can only be imitated, never recreated. Both rappers have such a unique, dynamic style that every song has different feel and aesthetic. Truly a great project:

The Jack Artist is the Jacka’s second official album release (after his self-titled mixtape/album), a project which solidified the Jacka as an immense musical force in the bay area. Countless artists have been inspired to rap as a result of listening to and appreciating this album. Features amazing cuts, such as: Never Blink, Barney, and Girls Say.

A project which features the rapping talent of Mob Figaz members Jacka, AP. 9, and Husalah, the project doesn’t slack from start to finish. The opening track is one of the Jacka’s most memorable singles, Sicilian Breeze. This project is really great because of the production, which goes from hyper self-aware (Boom Clack) to slappin’ orchestral samples (Hott Head). 

Honestly one of my favorite projects by the Jacka, hands down. The album is at times self-aware critique of the headstrong gangster identity, at times a slapper for the trunk, all heat, all the time. A collaboration with Ampichino, a rapper from Akron, Ohio, both rappers work incredibly well together. I Try is one of my favorite songs by the Jacka, period. The hook is incredibly memorable and catchy, while the verses bombard the listener with incredible word play, tragic narratives, and amazing production. The insane cutting of the vocal sample on Family First, the unparalleled wordplay and self-criticism, this album is a must listen. 

Another collaboration with Ampichino, the sequel to 36 Zipz, House of the Dead is one of the Jacka’s most consistent releases. The song above is a track I come back to over and over again. Similar to the first project, the production lays the foundation for some incredible verses and hooks. This song turned me on to Lil Rue in a big way, another highly under-rated rapper put on by the Jack. Some of the most conscious trap-rap that’s ever been composed, and it has held up so well in the 7 years since it was released. The Jacka has a weird talent of sounding contemporary even when his music is over a decade old. Jack was so far ahead of the curve, and, while sometimes his music takes a minute to fully appreciate, it stick to you like a haunting memory. It’s hard to forget about, it’s addicting to remember, addicting to appreciate.

The Jacka has had a profound affect on the Bay Area’s rap culture, but, guaranteed, people appreciate the Jacka globally. He was an undeniable emcee, an undeniably positive figure for urban youth. That’s why it’s so hard to remember that there won’t be any more work by the Jacka. It seems like every time an artist is coming up in the Bay, jealousy and resentment takes them away from us. Today, I’ll be slappin’ Jack. Today, I’m going to appreciate him the only way I can: with a pair of headphones and a stuffed wood with 3 g’s of top shelf. Show some love to the Jacka, and never let his memory fade.

[theartoftrap]

Warhol.ss new vid. Check it.

[theartoftrap]

Lil Peep disposes of the traditional fetishization of women in his new music video for “girls.” The video, directed by Ramez Silyan, is a visually vibrant piece to accompany the airy, reverberation of the guitar chords that are featured on the track. Peep continues to disregard the norms of hip-hop in this new video, another piece of kindle to fuel his strange, hedonistic approach to hip-hop music. Check it out any be sure to show some love to the artist.

Peace—AoT

[theartoftrap]

Too Short Blows Off Anti-Gay Rapper Stance: "We Should Not Ridicule Anyone Who Comes Out" – SOHH.com

West Coast rapper Too Short recently offered his take on the gay community and, specifically, his stance toward homosexual hip-hop artists being looked at

Shout out to Too $hort for taking the mature, compassionate position on LGBT rights within the hip-hop community. Short Dog has been an immensely important figure within hip-hop, particularly West Coast hip-hop, and I hope that people can take his message to heart.

[theartoftrap]

Oliver is one of the up-and-coming rappers that I’ve been watching closely for most of 2016. Oliver, and his cloudboys collective, piece together a very airy sound, filled with simple, joyous synths and looped piano samples. Oliver also has a great videographer and video editor on his team, constructing videos that seem youthful and fun, without an excessive production value. 

What really stands out to me about Oliver is his delivery and rapping style. With a touch of vocal modulation, Oliver turns his rapid vocal pace into a platform for vivid imagery and description: “headed to the coast/ go on raise your glass I propose a toast/ pull up to the spot throwin c notes/ blowin weed smoke.” 

While it’s not the most groundbreaking style of lyricism since Big Pun, Oliver caters perfectly to the aesthetic of modern rap: youthful, quirky, and boisterous. 

In a way, Oliver might be the only artist of today who’s making cloud rap moderately relevant. While the big names in cloud rap, such as A$AP Rocky, Antwon, and Main Attrakionz, have stopped making headlines for their unique style, Oliver has an in with his modern approach to the genre. 

Soon enough, labels will be calling, so fuck with him while he’s lo-key.

Peace—AoT

[theartoftrap]

Fake News in the Age of Internet Reporting (Hip-Hop Edition)

Yesterday, a user by the name of RockoTreez posted a thread on the hip-hop heads subreddit, claiming that he had interviewed Chief Keef for his website, The Local Savage. In the interview, Sosa, or the individual claiming to be Sosa, discussed working with Mike Will, future projects with Gucci Mane, and the final death note of a few of his rumored projects. 

Hilariously, Sosa exposed the interview on IG as a fake, saying: “Fake interview Niggas went from Hitting bitches acting like me to doing interviews....”

Sosa continues to humorously flame the guy on IG, saying “If u gonna try to be me in a interview cut the dick riding and sound like a Chiraqean.” 

However, prior to exposing the interview in question as a fake, many popular and prominent hip-hop publications rolled with the story, just hours after it had been posted. I got notifications from Complex, XXL, and HNHH, all quoting and distributing the lies of the Local Savage writer. 

I think this story does wonders in highlighting how the ravenous pace of internet journalism, hip-hop included, leads to bad press. Because they wanted to break the story before anyone else and because the power of internet publishing allowed them to delete and edit the story, some of the biggest publishers in hip-hop go unscathed for failing to fact check the story. 

Publishers like XXL and Complex most certainly have the relationships with Sosa’s PR to fact check stories like this, yet they failed to do so in order to get that “hot scoop.” I’m honestly not sure who’s more at fault here: the goofy journalist or the cursory writers at the big publishers. 

It’s honestly a damn shame too, because Chief Keef seldom does any interviews who so ever, and perhaps that’s the reason why places like Complex picked it up. In hindsight, it seemed to good to be true, and that’s why it certainly was. 

Lastly, I would like to speak directly to the writer for Local Savage who frauded this story. As a low key hip-hop writer myself, I know how difficult and frustrating it can be to start from nothing, and I completely get how difficult it is to make connections with just a Twitter and a Tumblr. 

But, bro, you literally just squashed any potential connections you could have made with these big sites. You also made yourself look like a fool to Chief Keef, a rapper who I’m sure you idolize, given your website and the way you falsely conversed with Chief Keef (yourself). 

If you actually had the nuts for this job, you’d start local, you’d start small, you’d start with the acts that aren’t getting the exposure that you could provide as a service. Joe Shmoe doesn’t get an interview with Chief Keef having never interviewed anyone prior, don’t get it twisted. Work hard and the success will come, because you simply can’t cheat your way to success.

Peace—AoT

[theartoftrap]

Ay fam, Lil B X Metro. In a subtly auto-tuned teaser for Black Ken, Lil B hilariously describes his flextacular home: “My basement got a stripper pole/ 10,000 square feet, that’s a man’s home.” As we get closer and closer to the legendary release of Lil B’s newest rare art, take a moment to enjoy B X Metro’s new single. 

Peace — AoT

[theartoftrap]

"My brother grab the draco/

I’ma grab the cutta

Then go lurkin for them niggas ouchea actin’ like the gutta.”

“This 22 Savage and I want my respect.”

22 Savage is not one to let the negative attention prevent him from getting a check. In his new video, “Tired,” 22 Savage promotes a song which displays a different rapping style than the comedic appropriation of 21 Savage’s signature flow and lyricality. On “Tired,” 22 fires back with murderous, threatening lyrics: “My brother grab the draco/ Ima grab the cutta/ Then go lurkin’ for them niggas ouchea actin’ like the gutta.” 

While the hilarity that surrounds 22 Savage’s rise to fame, for some, a bastardization of the tenets of hip-hop, 22 has shown the rap game that blatant imitation is no longer off limits. Like the aesthetic appropriation of Desiigner, 22 has learned that it’s not too difficult to ride someone else’s wave, securing financial success and promoting community empowerment. Over Christmas, 22 Savage gave back to his community with a bike giveaway, an attempt to prove that he’s not hogging all of his music money for himself. While 22 Savage started out as an embarrassment to hip-hop, it seems that he’s not going to let his detractors stop him from working towards success. 

In other news, 22 Savage continues to make threats towards 21 Savage, the rapper who could qualify as the most authentic gangsta MC of this generation. As 22 remains untouched by any of 21′s thugs, his disses continue to undermine 21 Savage’s gangsta cred. Could that be exactly what 22 Savage wanted? 

In any regard, 22 has released an actually decent track. Check it out in the WSHH video above. 

Peace and happy New Year—AoT

[theartoftrap]

New Young Kodak