‘Popped a molly. I’m sweatin.’
Trinidad James’ flagrant endorsement of substance abuse, ‘All Gold Everything,’ has taken the gold-toothed Trinidadian Atlanta resident from obscurity to an overnight viral sensation and major figure Def Jam signee in an MDMA powder flash, cementing ‘Molly Rap’ as the hip-hop trend of the moment. Too often, internet era fame and sensationalistic drug rap are dismissed by self-styled serious electronic music aficionados as tawdry pop fluff – signs of the digital degradation of our culture. But hip-hop’s recent infatuation with ecstasy echoes the growing crossover synergy between dance music and rap through the shared vectors of hedonistic self-expression. After all, electronic music and hip-hop share common origins on outsider anti-establishment African-American dance floors. Viewed through that lens, ‘All Gold Everything’ is a political jolt aimed straight at the nervous system of our culture, carrying on a long tradition of shaking up stiff, dusty power structures with raw kinetic energy.
Mood Hut affiliate and long time lurker on Vancouver’s DJ scene, flørist, seizes the potential to pull James’ crossover back in the direction of the dance floor. A tweaky, hazy jungle of jacking, juked-out Carib syncopation and wet synth echoes, ‘Final Bounce’ turns on a deftly re-appropriated sample of James’ drug anthem to craft a UK leaning rave shaker. At the midpoint, the track breaks down into a wavy melodic horn line that perfectly compliments its spare, driving surroundings. Inflected with subtle tinges from Daphni and Delroy Edwards, this rocket propelled time capsule contains a psychotropic glimpse of our planet today as viewed from a no-holds-barred after-hours party in space. From here at least, the future sure looks beautiful.