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Drip" is a groove-heavy trap song that features "slinky production and a pulsating trap beat". [7] [8] Described as "a blinking, Atlanta-style track full of hi-hat tics and tinny synth melodies", [9] it "chugs along on looped flutes and Simon-like synth blips". [10] Lyrically, the artists hit back at critics who have attacked them.
In Pritchard's description, 100 Gecs took hyperpop "to its most extreme, and extremely catchy, conclusions: stadium-sized trap beats processed and distorted to near-destruction, overwrought emo vocals and cascades of ravey arpeggios." [5] According to Vice and The Face, a second wave of the genre emerged in 2019 following the release of 1000 gecs.
Southern hip hop (Dirty south) . Atlanta hip hop. Snap; Trap; Houston hip hop. Chopped and screwed; Louisiana Bounce - from New Orleans, Louisiana; Jigga music - from Baton Rouge, Louisiana
Trap is a subgenre of hip hop music which originated in the Southern United States, with lyrical references to trap starting in 1991 but the modern sound of trap appearing in 1999. [ 1 ] [ 3 ] The genre gets its name from the Atlanta slang term " trap house ", a house used exclusively to sell drugs. [ 4 ]
Around 2012, a new style of electronic dance music (EDM) emerged which incorporated elements of trap music, [7] creating "dirty, aggressive beats [and] dark melodies." [7] Electronic music producers, such as TNGHT, Baauer, RL Grime, Flosstradamus and Yellow Claw (DJs) expanded the popularity, and brought wider attention to the derivative forms of trap. [8]
DJ Snake brings the synapse-rattling EDM and Southern trap music; Lil Jon brings the dragon-fire holler for a hilarious, glorious, glowstick-punk fuck you." [ 22 ] The success of "Turn Down for What" set the standard for Trap EDM and even Pop music in the mid-2010s, which kept the influence and legacy of hyphy music alive.
Hardstyle mixes influences from techno, new beat and hardcore. Early hardstyle was typically written at 140 BPM ( beats per minute ); however, modern hardstyle is faster, produced around 150 BPM. It consisted of overdriven and hard-sounding kick drums, often accompanied by an offbeat bass, known as a "reverse bass".
Reflecting on its commercial impact, Billboard magazine's Andrew Unterberger called the song "a three-part prog-rap odyssey that would've been unimaginable as a radio single years earlier, but which got audiences so hyped with its unexpected beat switches and back-and-forth hooks that the pop world had no choice but to meet it halfway". [2]
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