The Rise of Electronic Trap Music

Trap music has been on the rise in recent years, thanks in part to the popularity of electronic dance music. And while some purists may scoff at the idea of trap music being considered “real” music, there’s no denying that it’s become a force to be reckoned with. In this blog post, we’ll take a look at the rise of electronic trap music and some of the artists that are helping to push the genre forward.

Origins

Electronic trap music is a subgenre of hip hop that originated in the early 2010s. It is characterized by heavy bass, 808 drums, and synth melodies. The style is often inspired by Atlanta hip hop and Chicago footwork.

2010-2012: Origins in Chicago and Los Angeles

The trap music sound was first popularized by artists from the southern United States, particularly Atlanta, Georgia. However, the trap sound actually has its origins in Chicago and Los Angeles. In 2010-2011, a new style of hip hop began to emerge from the West Coast scene. This style was characterized by its dark, atmospheric beats and its focus on gang culture. Artists such as YG and DJ Mustard began to gain popularity for their easy-to-listen-to yet hard-hitting tracks.

At the same time, a similar style of music was beginning to emerge from Chicago’s underground hip hop scene. Producers such as Lex Luger and Young Chop were creating dark, bass-heavy beats that were perfect for MCs to rap over. These beats often contained samples from horror movies or video games, which added to their dark atmosphere. And like the West Coast artists, these Chicago producers were also focused on gang culture.

Eventually, these two styles of music would come to be known as “trap.” The term “trap” originally referred to a place where drugs were sold illegally; however, it came to be used more generally to describe the bleak and dangerous environments that these artists were rapping about. Trap music often contains lyrics about poverty, violence, and drug use, which reflect the harsh realities of life in inner city neighborhoods.

2013-2014: Mainstream breakout

In 2013, electronic trap music began to enter the mainstream consciousness with the popularity of songs such as “Turn Down for What” by DJ Snake and Lil Jon, and “Bounce” by Iggy Azalea. These songs’ commercial success helped electronic trap music to achieve widespread appeal, and by 2014 the genre had exploded in popularity.

During this time, a number of subgenres and subcultures within electronic trap music began to emerge, each with its own unique sound and style. One of the most popular of these was future trap, which was characterized by its use of futuristic sound effects and synthesizers. Other popular subgenres included wonky trap and cloud rap.

Characteristics

Electronic trap music is a subgenre of hip hop that emerged in the 2010s. It is typified by heavy bass, 808 drums, and dark, often menacing melodies. Lyrical content often revolves around drug dealing, violence, and hedonism.

Sound

trap music is a style of hip hop that was developed in the late 1990s to early 2000s in the Southern United States. It is characterized by heavy syncopation and slow, polyrhythmic hi-hat patterns, layered with textured, melodic hooks and dichotic rhythms. These elements are set against a backdrop of gritty, urban landscapes.

Production

Most trap music is produced using digital audio workstations such as FL Studio, Ableton Live, and Logic Pro. Producers often use pitched down vocal samples from hip-hop records, as well as samples from vintage funk recordings. They also use synths and drum machines, particularly the Roland TR-808 and 909.

Lyrics

Electronic trap music often features lyrics that are dark, violent, or sexually explicit. The music is meant to be shocking and thrilling, and it often includes references to drug use. The artists who make electronic trap music often come from marginalized communities, and they use their music to express their frustration with society.

Notable artists

The rise of electronic trap music is often attributed to artists such as Flosstradamus, Baauer, and RL Grime. These artists took the sound of trap music and added their own electronic flare to it, creating a new subgenre of trap music.

UZ

UZ is a masked French electronic music producer and DJ. His identity is unknown, although he has been rumored to be either French or American. UZ first gained popularity in 2012 with his Trap Music Vol. 1 mixtape, which was downloaded over 100,000 times. He has since released two EPs, Trap Shit V13 and Trap Shit V14, as well as a number of singles. His music has been featured on major publications and blogs such as Pitchfork, FACT Magazine, and The Huffington Post. UZ is considered one of the pioneers of the electronic trap music genre.

Flosstradamus

Flosstradamus is an American DJ and record producer duo based in Chicago, Illinois. The group comprises Curt Cameruci and Josh Young. They are founding members of the record label Fools Gold Records, where they have released several EPs and albums. They have produced remixes for several artists, including Major Lazer, Passion Pit, Kid Cudi, Bruno Mars, Waka Flocka Flame, Snoop Dogg, Kanye West, and Ludacris. In 2012, they produced the track “Don’t Stop the Party” for Pitbull’s album Global Warming.

The duo’s first album Original Don was released on May 15, 2012 on Fools Gold Records. On October 21 of the same year they released a mixtape titled Jubilation Mix Tape. On February 12, 2013 they released their second album Xoi Vey featuring single “Assquake”. Their third EP MORE merch was released on October 29 via Mad Decent imprint Jeffree’s as a free digital download. On March 31 they announced that they would be going on tour with rapper Lil’ B in Europe during May and June 2014.

RL Grime

RL Grime, AKA Henry Steinway, is one of electronic music’s most exciting artists. His 2013 single ” trap on acid ” was a genre-defining moment, and he’s been on the forefront of the sound ever since. He’s also one of the most popular DJs in the world, and has performed at some of the biggest festivals around.

Commercial success

Mainstream appeal

Electronic trap music has found mainstream appeal in recent years, due largely to the success of artists like Lil Pump, Uzi Vert, and Juicy J. This type of music is characterized by its heavy use of bass and often incorporates elements of hip hop, R&B, and pop. While it is still niche compared to other genres, electronic trap music has seen a significant increase in popularity in recent years.

Critical reception

Most commercial trap music has been met with mixed to positive reviews. Many critics have praised the genre for its unique sound and production values, while others have criticized it for being too repetitive and formulaic. However, the genre has seen a significant amount of commercial success in recent years, with many trap artists achieving mainstream success.

Controversy

Since its humble beginnings in the early 2000s, electronic trap music has been on the rise, garnering a massive following in recent years. However, the genre has been met with much controversy, with some people believing that it is a glorification of drug culture. Let’s take a closer look at the rise of electronic trap music and the controversy surrounding it.

Criticism from other genres

Since its inception, electronic trap music has been criticized by other genres for its lack of originality and musicality. Critics claim that the genre is simply a rehashing of pre-existing styles, and that producers rely too heavily on samples and computer-generated sounds instead of creating their own music.

Criticism from within the trap community

Trap music has been criticized by some within the rap community for itsConnection to drug culture. In particular, the term “molly”, which is common in trap songs, has been criticized for its connection to ecstasy. In an interview with xxl, Waka Flocka Flame commented on the use of the term molly in trap music, saying:

The thing that really turned me off about molly was people using it as an excuse to be reckless and irrational… So I made a decision as an artist that I would never glorify that drug in my music.