girovagando sul Web ho trovato un'ottima Beatrice Finaro fare un'intervista a Reynolds sulla Trap:
www.collectibledry.com/featured/what-is-trap-simon-reynolds-trap-music-criticism-dry-interview-classical-heretical-...
Non mi spendo a parlare di Reynolds, credo sappiate tutti che nei fatti è rimasto l'unico giornalista musicale a settare standard globalmente e comunemente accettati.
L'intervista è pienissima di spunti interessanti, a volte nelle domande:
Trap is new, it’s disruptive, it’s the absolute denial of Nostalgia in terms of music. To me, it’s beyond the hauntological music scene, the electronic experimentations, the hypnagogic pop and the Vaporwave. On the other hand – and I don’t want to sound too old-fashioned here – the approach to some matters such as women, wealth, social Darwinism, sounds a little conservative, doesn’t it? Is it time to leave behind the idea that subcultures bring along with them some input for the change?
Talvolta nelle risposte che riporto giusto per sottolineare alcuni passaggi:
Sulla novità del Trap rispetto al Rap
On one hand, Trap is just Rap – the same old, same old. Gangsta Rap, part 12. If you listen from a distance, you won’t hear anything you’ve not heard before. But immerse yourself in the music, and you hear a host of micro-innovations. Most of them are in the domain of vocals – the creative use of auto-tune and other vocal processing, the emergence of ad libs as kind of antiphonal commentary on or reinforcement of the lead vocal, the blurring of rapping with singing so that you can’t distinguish between rhythmic speech and melodic trills. The other innovations are in the domain of personality – there has never been a character and a vocal presence before like Future’s, or Young Thug’s, or Chief Keef.
Sulla rottura netta tra questa generazione e la nostra.
Why does Trap have such an influence on kids?
Kids want something that feels now and that belongs to them, and Trap is the most convincing and intoxicating contender for that role. Most other forms of youth music are static or overly shadowed with heritage and history.
The other thing is that Trap is one of the few music around that drips with jouissance and with a disruptive energy. Trap – especially Migos and Young Thug, but all of it – is ecstatic. The performers seems entranced by themselves, in a swirl of ecstasy and glory. Think of the feeling in Rae Sremmurd ‘Black Beatles’. The fact that their trope for that feeling of excess, triumph and abandon is rock stardom tells you something. This is supplying what kids got from the Rolling Stones or Led Zeppelin: a fantasy of a life without constraints.
Infine riporto il cappello iniziale, quello che più di tutti mi trova d'accordo e mi fa avere un giudizio positivo per questo tipo di musica che comunque mi rimane sempre ostile e di difficile comprensione
Pop Culture’s Addiction to Its Own Past. Simon Reynolds’s thesis is that rock music is now simply feeding off its own past and that if we want to find out which is the music that represents the contemporaneity at its best then we need to look elsewhere. As soon as I mentioned the interview, Reynolds said that Trap is his favourite music since a while and he’s happy to explain why.