"Recently, in casual conversations, I've been asked for my opinion about the October report that "No Rap Songs Are in the Billboard Hot 100's Top 40 for the First Time Since 1990" more so than my thoughts on any particular rap album or song from this year. I never gave anyone the "Yeah, this rap shit is dead" answer they seemed to be looking for, but the question did make me have to think about what gets me excited about rap these days."
"Immediately, I thought about regional scenes, but I realized it wasn't just that-it was the marginal and almost undetectable ways these scenes have changed over time. How did Philly street rap get to the point where the underwater raps of HappyDranker make sense? Why do all the DMV beats sound like a cargo train running over rusty tracks? Catching these little tweaks and advancements is what makes me lose my shit."
"One day, I played it for my friend as we drove around Brooklyn, trying to sell him on the creativity of the project with the intensity of one of the brokers in Boiler Room for no real reason. When he hit me with a song link and the "Nah, he's going crazy" text a week later, the blast of endorphins I got made me understand the communal connection so many rap fans are desperately looking for."
Frequent questions about a Billboard report on rap's absence from the Hot 100 top 40 prompt reflection on what excites about rap today. Excitement arises from regional scenes and the marginal, almost undetectable ways those scenes evolve over time. Philly street rap has shifted toward underwater vocal textures, and DMV beats often sound like a cargo train running over rusty tracks. Noticing subtle production and stylistic tweaks provides strong enjoyment. Communal experiences — live performances and shared reactions among friends — elevate albums. Favorite albums of the year span Chicago revisionist drill, Mexican plugg, new-age L.A. g-funk, and ATL Christian trap.
Read at Pitchfork
Unable to calculate read time
Collection
[
|
...
]