Shawty Redd and Pyro da God’s “Big Ol Drip” beat is a slow, bluesy burner with bold drops and ragtime riffs. For “Jefe,” Bangladesh blends mariachi horns and marching-band percussion into a spirited thump, landing between Nola bounce and Latin trap. He seems to have rediscovered the power of fluidity, zipping through his thoughts until larger ideas settle into place.Ī murderers’ row of both new and seasoned producers match his breezy rapping with zesty beats. That single sequence is more potent than T.I.’s entire last album. “Swear to God I coulda been Freddie Gray/Or Mike Brown, getting shot down/With a pistol on me and half a brick of yay,” he reflects. “Laugh at Em” melds T.I.’s memories of his days in the trap with observations from this ongoing era of hyper-visible police brutality. “In the trap with a trap door,” he raps, insisting that a successful hustle only begets more hustles. “What Can I Say” transforms T.I.’s unlikely ascent into a cautionary tale. When he dismisses the advice and sets his sights on hip-hop moguldom, instead, you can feel the weight of that choice. On “Seasons,” he quotes his marriage counselor, who tells him to focus on the pain his decisions have caused. in repose, mapping the choices he’s made and teasing out their effects. Narrated by Dave Chappelle, another black artist who’s publicly wrestled with questions of legacy, Dime Trap finds T.I.
But throughout this record, there’s an emphasis on consequences. still likes to flex, and balling remains a priority. But he wanted Dime Trap to reset the balance and provide “unadulterated trap music” with “young, hungry, talented producers.” This return to the trap was so straightforward that, at one point, Dime Trap was simply called Trap Music.īut the Dime Trap of 2018 focuses on legacy instead of legend. duel- that is, the clash between the CEO and the streetside hustler-had been settled. He’d recently received a Grammy nomination for “Blurred Lines,” was Iggy Azalea’s mentor and defender, and was the patriarch of a reality-show family. envisioned Dime Trap as the second installment of a trilogy that began with 2014’s pop-leaning Paperwork. just might become the King of the South that he continually claims to be.Back in 2015, T.I. With another record as good as this, T.I. T.I.P." By the time 2003 drew to a close, this album had spawned three chart hits - "24's" had a particularly long-running presence on the video shows - and the album itself scraped the Top Five of the Billboard album chart. David Banner, Kanye West, and DJ Toomp all chip in with key production work, but the MC is the real draw from beginning to end, from the supremely infectious chorus of "24's" to the complex self-analysis of "T.I. Dig beneath that surface, and you'll come to appreciate an MC who uses the art of the metaphor like few others "The Trap," for instance, comes to mean a number of things. On the surface, Trap Muzik can be viewed as another record built on glorious superficialities, concerned with little more than material wealth, drug dealing, and champion stature. showed on his flawed debut is almost fully realized throughout his excellent 2003 follow-up, Trap Muzik.
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