Toying more with personal narratives and, as with Bankroll, varying vocal inflection on his newest tapes makes it the most engaging thing he’s put out yet.
It can’t be coincidence that there’s a feature from local Chicago favorite Dreezy on 21 Savage’s flip of the Bankroll-favored Zaytoven beat on his new tape Slaughter King.Ģ1 Savage - who is somewhere in his early 20s - doesn’t quite have his sound together, but he’s got a confident, intimate delivery that is getting a lot of cachet in his city right now.
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There’s plenty of notable moments: the wild howls of oddball Autotune outlier “Trap Bitch,* the unlikely waltz time of “Alpina Beamer,” the rickety industrial trappings of “Van Damme” and the vintage gangsta-rap leanings of “M.O.B.”Ītlanta up-and-comer 21 Savage uses flows and oddly fibrillating deliveries favored by Chief Keef, Fredo Santana, and Lil Reese, and arguably there is as much of them baked into his newest music as the normal Atlanta icons - Gucci Mane, Waka, and Young Jeezy - though one of 21 Savage’s most prominent releases was an EP called Free Guwop, a tribute to Gucci.
Occasionally, his gravelly and aggressive delivery channels a more stylishly slurred DMX.įrom at least the perspective of beat selection and variety, this is one of the strongest Atlanta mixtapes of the year behind Thugger and Future’s paradyme-shifting releases.
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Bankroll says little with too many words, but he usually sells it thanks to his careful sense of how to sell obvious, even silly rhymes as a musical choice rather than a crucial mode for his stories. These mini-screeds - often clocking in under two minutes - have the quality of a guy taunting you in a one-sided conversation, talking close so the spittle hits your face. There are a few exceptions to the rule, and more patent emotional expressions: come-on ballad “Don’t Let Go.” But Bankroll manages to make this not really matter: His voice modulates expertly from song to song, and there’s an unique, arresting energy here. This is snarly, kinetic music that is mostly about turf wars (“Walk in your trap and take over your trap”) and cooking crack. Unlike the streamlined tapes which facilitate Future’s return to hard-edged street rap of the course of the past year, Bankroll’s newest project is 18 songs at least six are throwaway. On his latest independently released project (self-titled), Bankroll sounds like he’s seeking to re-announce himself properly, and demonstrate his prowess as a mixtape kind. He featured in the Noisey Atlanta web miniseries as a token example of the up-and-coming street rapper trying to turn a buzzing hit - 2014’s serviceable “Hot Boy” - into a national career. BALLIN’ LIKE A HOT BOYīankroll Fresh has been struggling for a spot on the ATL scene for years, and he’s finally getting his due as one of the major rising stars in his city. Perhaps a large part of the key is the adventurous, easily derailed production that peppers their tapes, seemingly getting drunk off of their most vociferous inclinations. Though the music of Bankroll and 21 Savage is low stakes - furthering a tradition rather than transforming it - their recent tapes have a personality to them that their previous music didn’t. All four artists’ music draws from the same well of muted, lawn-sprinkler flows and well-contained menace. With the impressionistic and unfettered style of Young Thug, it almost seems like the possibilities of the style as we know it are at an end.īoth 21 Savage and Bankroll Fresh are slowly coming into their own as distinct voices - Bankroll is further along - and have clearly gained steam and inspiration from the approach of Future and Thug. Yet some alluring new generation of MCs always seems to come along to extend the legacy. It’s becoming tougher and tougher to wring anything new out of the components, to find original voices. Truthfully, the ATL-centered trap sound - stone-skipping hi-hats, death-rattle sub-bass, slow BPMs, John Carpenter synths - is getting decidedly more tired, and it’s becoming harder to ignore that fact. People look to Atlanta for new music, and tapes by most of these guys will show up on “Most Downloaded” ranking on your favorite mixtape aggregator sites. Then, there’s an extended universe of functional but unremarkable trap rappers who wouldn’t exist in their current form with mid-00s hometown pioneers Gucci Mane, Young Jeezy, and (to a lesser extent) T.I. There is almost an oversaturation of prominent ATLiens - Rich Homie Quan, Migos, iLoveMakonnen and beyond.
Today, the hip-hop figureheads of the city, and the rappers setting the trends and forwarding the genre, are Future and Young Thug.
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