Superboy Cheque, PsychoYP, Straffitti, Zilla Oaks, and Marv OTM, are among the artists included.
In Nigeria, a slew of new and upcoming rappers are defying traditions and integrating local tastes to produce Afro-trap or Naija trap, which combines the gritty Southern American trap sound with local sensibilities.
Of course, none of this occurred in a vacuum. Rap music in local languages like Yoruba and Igbo was crucial to how trap operates now, exploding with youth and vibrancy from the realm of SoundCloud.
These are the artists who are spearheading the Nigerian trap movement, despite the fact that it is still in its infancy.
Even though Superboy Cheque might claim a fusion of so many genres simply because of the panic that trap music is not typical to the Nigerian traditional music market, he may perhaps focus on the forefront of Solidifying Trap music.
The massive reception and appreciation of his five-track debut EP titled “Razor”, especially from all sides of the spectrum on the trap songs, says a lot about the genre he basically needs, as regards Trap music.
Arguably one of trap’s most visible torchbearers today, PsychoYP is a young rapper from Nigeria’s capital Abuja who embodies the genre in its truest form.
Emerging from the grapevines of SoundCloud, his 2016 debut EP Lost in the Sauce laid the groundwork for his music trajectory, coasting on the personality tics and lyricism of hip-hop.
But it was his debut album YPSZN (2018) and follow-up YPSZN2 (2019) that showed a better trap progression, embracing the echoing snares, stuttering kick drums, hi-hats, and 808s.
Straffitti‘s inclination towards hip-hop is only one side of his creative complexities. As a producer, he founded the indie label Thirsty Worldwide under which his first project Vanilla Sky was released in 2017.
That body of work scored a feature from rap heavyweight M.I on the song “Cozy Wave,” with its rap swag punctuated by digitally warped interludes and trap-centric chants.
His 2018 debut album Molotov was an illuminating turn for the singer-rapper, solidifying his trap credentials.
Featuring PsychoYP and Blaqbonez on the album’s headline single “100Benz,” the track takes the rudiments of trap to produce stark atmospheres, chaotic hisses folding in smog as Straffitti sings about largess with his gravel voice.
Another Abuja native, Zilla Oaks is a member of the hip-hop collective Apex Village just like PsychoYP, Kuddi Is Dead, and Marv OTM.
His latest album No Zzzz 2 is a dangerous upgrade from his 2018’s sophomore offering No Zzzz. Tracks like “Still Up” are almost Frankenstein in nature, a furious blend of trap, drill, and grime sensibilities.
Elsewhere, “Vibez on Vibez” would land on club dance floors in Lagos or London and as far as Afro-trap is concerned, “Ogini” featuring Dremo and Prettyboy DO traffics in lyrical Igbo for good measure.
Marv OTM‘s remarkable command of tone and wordplay have cleared a space for him on the burgeoning landscape of Nigerian trap, whether in collaboration with other trap acts or independently.
His 2017 single “Omo Bendel” featuring Bobson is a sprightly, clubby production, with pockets of trap patterns and a heavy dose of Pidgin English and local lingo.
His debut EP, Way Up North released in 2020 is shaped by a denser, kinetic production, crossing into the trap threshold with digitally filtered vocals and blown-out instrumentation.
The same thing also with his more recent offering Holy Grail, a PsychoYP-assisted, two-track exercise swinging with faster kicks. His follow-up project Northpole is coming soon.
The opener “Bros” was an interesting primer blown over tinkling synths and echoes. It had been recorded at night with hushed tones but Tochi had found himself later loving the way it sounded.