On August 28, 2015, Yung Beef, Khaled, D. Gómez and Steve Lean joined under the pseudonym artistic of Pxxr GVNG (read Poor Gang) to publish his first (and last) album, The poor, With the multinational Sony Music. The band and the album became the representatives of the trap In Spain, a genre split from hip hop, with much more autotune and, if possible, with much more raw letters on drugs and sex. In the memory it remains that all the promotion of that project was marked by the phrase: Your pussy is my drugname of single more successful of the album.
The trap has not disappeared, but that essence has been diluted and mixing with other sounds. Albany (Gerona, 27 years old), often considered part of that movement, analyzes the video call phenomenon: “It is true that the movement trap In Spain, at the time, it had a lot of boom. The kids were very close with the street. That is still there, but it has also been extended to other genres, such as reggaeton, collaborations with people from other countries … and has mixed a lot with the commercial. The change is a bit horrible. ”
Diego Rubio (Madrid, 31 years old), Chief of Drafting in the Music Magazine Nuebo And also a journalist in Rockdelux, This phenomenon has followed from the beginning: “The trap He has suffered media wear: the general media used it too much. He trap, First, it exercises a kind of centripetal force, it tends to absorb everything, and then cause a centrifugal reaction, like a big bang: It is dispersed in countless chips. ”According to data extracted from the digital newspaper library of the National Library of Spain, in 2015 there were 36 texts published in the printed section of all national newspapers talked about music trap. In 2019, the mentions increased to 950, and always with allusions to the high sexual content of the letters or what was interpreted as incitement to drug use.
Thus, between 2015 and 2019, the media monitoring of the phenomenon was based on whether or not he aligned with socially accepted codes of conduct, becoming a stigmatized cultural product for those not belonging to said cultural sphere. In 2017, C. Tangana responded to all this controversy with a statement through social networks: “Spain has to stop seeing us as the Ninis From YouTube (…) the media use your image and your teenage attitude to generate content that in the end is money. ”Shortly after, he said, in reality, he did not do trap. “When analyzed through behavior patterns, purchasing level and certain social codes rather than a concrete sound, many artists within the scene did not sympathize with the label,” says blonde.
Quique Ramos, Cazatalantos of the Spring Labels record and that has worked with the Zowi and Soto Asa, considers that the trap “It was more a scene than a label” because, he argues, “there was a generation drinking from a less traditional hip hop.” Ramos was caught at that time these creators “because of his wild spirit and his way of organizing out of what there was.” That attitude outside the margins was often listed as “the new punk” and, on other occasions, such as immoral or apolitical.
At the 2015 Mulafest Festival, PXXR GVNG shouted slogans such as “Fuck Sony” (which fuck Sony). They claimed that the only thing the record was a album distribution license, because its philosophy was to stay in the underground.
In 2019, under the slogan The New Normal (The new normality), Spring Sound allowed Yung Beef to commission the stage the point, where he could program the artists he wanted. The Barcelona festival thus embraced the paradigm shift in the aesthetic codes of popular music, and its seal, spring labels, collaborated with the selling (the record company created by Yung Beef). “The selling was born with the will to be an independent and self -sufficient seal, to create a parallel industry and share learning out,” says Ramos.
It is difficult to define a post-trap scene now for the way in which the genre has blurred. Some of his figures, such as Dellafuente, associated in their origins to the label, fill the Metropolitan Stadium in Madrid two nights; Bad Gyal has just published his own film; and the public trusts the return to the music of C. Tangana. There are also new names such as Gloosito (Collado Villalba, Madrid, 29 years old) who, although not much younger than his companions, states that this first phase of birth lived from the outside. On November 1 of this year he will give a concert in the Las Ventas Plaza de la Las Ventas (2,800 people). “That first group was formed by Peña with very little shame, but with much more respect for the culture of now,” says the artist.
Albany comments: “I don’t think my music has been trap. People also do not study things in depth and in the end it covers everything in the same sack. ” At least I feel that way. Then there are those who need these new labels to find their slogan”.
If the genre had a first explosion in 2015, 2019 was the year in which it entered the canon of hegemonic popular music. On the one hand, some of their codes are softened; on the other, its characteristics begin to be absorbed by other adjacent musical genres. At that time, and due to the stigmas that the term itself carried trapthe denominator begins to disappear. As Diego Rubio says, “there was a tailor drawer, better, more ambiguous and more generic, which played less sensibilities: urban music.” Thus, the term urban music not only dilutes stylistic borders, but also offers a strategic exit to artists to overcome prejudices and expand their scope.