The Grung Gad Bounty Killer has again made it clear that they are not in favor of dilution or any attempt to replace authentic Dancehall music with trap sounds.
As he did in a 2019 radio interview in Trinidad, Bounty expressed his disdain on Sunday morning for members of the Jamaican entertainment fraternity who record their songs in patois, but to Hip Hop and Trap beats and l ‘mistakenly label as “Trap Dancehall”.
In an Instagram post today, he posted a teaser for new producer Suku Ward. Stench Dancehall riddim, and gave him a caption that mocked and rejected ‘Dancehall-Trap’ sounds, and made his followers laugh.
“Tink wi did it there just sit back and watch the dancehall fall inna unuh rat trap music
He was supported by Party animal deejay Charly Black who replied: “Tell dem nuh trupidnis”.
Suku Ward’s new riddim is expected to feature a bevy of songs, featuring some of Dancehall’s biggest names, including the Grunggadzilla himself, Beenie Man, Christopher Martin, Busy Signal, Bling Dawg, and TOK’s Craigy T.
A few days ago, the producer in announcing his new riddim, declared himself to have all the elements of the “greats” that he idolizes in Dancehall music, including producers such as “‘Professor King Jammys’, Dave Kelly, Tony Kelly, Steelie & Clevie, Sly Dunbar and Teetimus â€.
Bounty, along with veteran producer Danny Browne, has been at the forefront of the battle for supporters of Trap sounds to stop mislabeling the genre and find another name for their new sounds.
In 2019, veteran deejay said that while he acknowledged that Trap music had become very popular among young Jamaicans, the fact that American beats were not in any way altered or injected with authentic Dancehall sounds, is a clear indication that ‘they are in no way even remote Dancehall.
the Copper shot The artist has long argued that the new sounds in music are simply Trap fusions, which are American sounds, and should not be confused with the Dancehall music genre, which is an authentic Jamaican sound with a distinct drum pattern. .
In his radio interview, Bounty had laid out the scientific reasons why the sounds could not be considered Dancehall, noting that the notion of Dancehall trap was a misnomer.
“Nothing is called Trap Dancehall. Trap music is trap music and Dancehall is Dancehall. So you can’t take two genres and make one. Are we called that? he said, pointing out that there could never be a genre called Reggae Soca or Rap-Trap either.
“So how did you get the Dancehall Trap?” It’s like stealing people’s music to make it. No. And Jamaica has such creative music? Why are we going to steal people’s music? The Seaview Gardens native argued. “You can’t take it and do it Dancehall; it’s not. It was Trap and you take it. How does Dancehall work? Yuh no, do something else, but watch it and sing it now. “
Bounty had also said that the beatmakers didn’t even try to distinguish their music from Hip Hop and Trap, inserting Dancehall elements such as kicks in order to “give it a different vibe” as in the case of Afrobeat, which merged “Reggae vibrate, but you can hear afro instruments”.
Instead, he said, Jamaicans were just “playing the same groove and tempo” singing patois over it and then declaring the songs “Dancehall Trap.”
Bounty had also sought to educate wandering beatmakers who mislabeled Trap’s songs and caused confusion surrounding the role of language in defining the genre.
“Nooo, it’s not the language that makes the genre; it is the groove, the rhythm, the tempo and the sound that create the music. So not because singing patois on a riddim makes Dancehall, â€he said.
“And that’s what most producers do, give young people pop music, R&B style riddims of trap music. And just because I sound like a Jamaican, it’s a Dancehall. No. Music represents itself. Patois no mek nuttn Dancehall… â€, he declared.
