When it comes to Trap music, you know what you’re going to get from the off. Lots of high hats played at a speed that isn’t humanly impossible, lot’s of deep blasts of bass after that inevitable drop that everyone expects, and lots of buzz-words thrown around for memorability.
On Flosstradamus‘ new EP Soundclash, they bring all of this in shed-loads.But just because you know exactly what you’re going to get on this EP doesn’t mean it can’t be good fun.
You know that if any single one of these tracks on this project were to be played at a club they’d do their job well. It would be inevitable that Club goers would be euphoric when chanting ‘Bounce so hard and break your back‘ from the track ‘BYB‘. Or the fact that the varying levels of bass on the many many drops on the track ‘Wavy‘ would have people dancing in a very… rhythmic fashion. The fact that it’s a well produced project with the range of sounds that these guys use from police sirens on the track ‘Don’t Trip‘ or just the dubstep inspired synths on every track on here is also enough to keep club-goers on their toes.
The problem is that it’s extremely hard to make any Trap Album/EP continually pleasing throughout the entirety of the project. There’s only so many drops you can take before it becomes somewhat formulaic. Normally producers fix this problem by completely changing style from songs to song, with each one offering their own unique take on the genre of music showcasing exactly how diverse these guys are as artists.
Flosstradamus’ only real left hook on this album comes in the shape of the song ‘Don’t Trip‘ which is one of the most vocal songs from the EP, not only because the female singer, Sizzy Rocket has a prominent voice without just saying buzzwords, but because the incredible Run The Jewels turn up for a verse towards the end of the song. Admittedly it’s a short verse, but it showcases how great these guys sound with some talented artists teaming up with them. Not only that but they do a great job of enhancing the infamous hype man, Lil Jon‘s vocals on the track ‘Police Riot‘. Because it’s the more instrumental tracks – even though they’re well produced – that just don’t pay off as a listening experience.
Flosstradamus have proven in the past that they’re perfectly capable and are in fact very talented producers, especially when producing for Hip-Hop artists. But on here, they’ve attempted to prove their worth based just on instrumentals and it often comes off as a bit more formulaic than it should, especially when listening through from beginning to end.
