Jahlil’s production, a savvy blend of Swizz Beats’s brash programming and Mannie Fresh’s bounce, matched the rapper’s meme-worthy intensity. At that point, the Meek was still clawing his way to the top of the city’s cutthroat battle scene. I was super surprised – he ran down all the joints I did!”īorn and raised in Chester, PA – 10 minutes from Philadelphia – Jahlil Beats linked up with Meek Mill in the mid-2000s through MySpace. “I met Skrillex two years ago at Coachella. ‘Hop Out The Phantom’ doesn’t sound like a traditional EDM record, we just going into the studio and doing whatever we want.”īut there’s a level of pragmatism involved as well: “ is making big money and we’re trying to be a part of that while making great music.” Photography by: Derek Brad “Dance and hip-hop is hand in hand and it’s expanding hip-hop, honestly … but we don’t want to pigeonhole things to a genre. “A lot of these kids are turning up to trap music,” says Jahlil Beats. Rap is, after all, a form of electronic dance music. Why put this out with Dim Mak? The answer, of course, is why not? The lines between hip-hop and EDM are blurrier than ever. The other three tracks just sound like above-average, forward-thinking 2016 hip-hop. But only one of the four tracks (the dubstep-tinged ‘No Problems’, with its builds and drops) reads as EDM. (Check out how he makes Big Sean’s haphazard flow sound precise on ‘Stoop Kid’.) And the production, handled by Jahlil Beats, is top notch. Bok is a nimble rapper, with an impressive range of expression and the type of next-level technical skill that makes Philly-bred emcees so good. This is something to think about when listening to Bok Nero’s Lorde of Legions EP, released last week as a joint effort between veteran Philadelphia producer Jahlil Beats’s Tandem label and Steve Aoki’s Dim Mak. Anything can be EDM as long there’s marketing logic to it. The boundaries of EDM remain extremely permeable. The invention of EDM made room for everything from progressive house to dubstep to “deep” house to “trap” to whatever buzz-genre we’re putting Flume in. America wanted to dance and, this being America, we needed a corporate infrastructure to make that happen. That’s not necessarily a bad thing in and of itself. And so EDM was born: neutral, untainted by history, and ready for brand activations. The “rave” culture of the UK seemed old fashioned, and familiar terms like “house” and “trance” and “techno” had for years been used interchangeably and dismissively by American outsiders to describe all dance music. In the mid-2000s, as dance music and club culture seemed poised to spill into the American mainstream, the industry needed a term for the movement that wouldn’t alienate the existing factions. The global dance scene is balkanized into thousands of micro-genres, each with its own diehard fans, many of whom are willing to fight for their particular corner of the club’s superiority. Producer Jahlil Beats wants to change that, and Andrew Friedman investigates the deal with Dim Mak that could see more rappers head to the stadium.ĮDM is a marketing term, not a genre. Lil Jon) (Prod.Plenty of popular EDM references mainstream rap, but rap’s producers and performers, for the most part, sit on the sidelines.
JAHLIL BEATS PROBLEM FREE
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