Since 2012, Trillectro has been one of the most intriguing music festivals to hit the DMV (D.C., Maryland, Virginia) area. Although the Trillectro brand has spread across the US in the form of parties and concerts, the original festival is still one of the best places to go to hear artists—new and old—in a wide range of genres.

The Lineup

On August 27, 2016, Trillectro is coming to the Merriweather Post Pavilion in Columbia, Maryland with one of the hottest lineups yet. There are a few familiar faces performing this year, including Kid Cudi, Rae Sremmurd, Goldlink, and Lil Uzi Vert. There are also a ton of other notable artists performing this year that require attention.

The Artists

Esta. 

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Cousin Stizz

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070 Shake 

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Larry June 

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Jay Idk 

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Ari Lennox

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Mane Squeeze/Mista Selecta 

Mane Squeeze: Twitter Instagram

Mista Selecta: Twitter Facebook Instagram

Dirty Chocolate

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Lean Quatifah 

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The Yellow R Kel

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Spicoli

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Taste Faker 

Twitter Instagram

Whether you’ll be attending Trillectro or not, make sure you support these amazing artists!

(to see all photos in this post and to find out more about Trillectro, go to http://trillectro.com )

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The post Meet the Trillectro 2016 Lineup appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

It seems as though we’re in an age where Hip-Hop and EDM are somewhat synonymous with one another. With both genres increasingly blending, Trillectro was the perfect festival to showcase both sides. Artists like Dom Kennedy, Kehlani, JMSN, D.R.A.M, and Chance The Rapper shard the stage with the likes of Masego, Cashmere Cat, and RL Grime, forming an artistic bond between urban culture and electronic music. From hardcore Hip-Hop heads to wrist beads and glow sticks, Trillectro 2015 was the trillest of trill.

The post Premier: Trillectro 2015 (Recap) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

The post News: Big Sean and Baauer To Headline Trillectro 2014 appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Shout out to the University of Pennsylvania for getting the Ivy League excited about underground hip-hop. Last month they invited Brooklyn rap duo The Underachievers and Canada’s hottest new producer Kaytranada for a tag team performance that rocked Philadelphia’s Rotunda Theater. This month, their events planning committee hit fans with a triple threat–bringing together Ty Dolla $ign, Travis Scott, and Topaz Jones for what they are calling ” The Owl Pharaoh Beach Honeymoon Concert“.

With Ty$ as the headliner and Topaz and Travis warming up the crowd, it goes without saying that this show was nothing short of pure chaos. In fact, the Penn Campus Police nearly cut the concert short when Travis Scott invited the entire theater on stage and caused a small scale riot. Obviously, the Penn Police hadn’t done their research, since given Travis’s infamous history of trying to draw blood from his audience (see Trillectro Music Festival 2013), they should have been prepared for the wreckage. But luckily, after having dealt with crazy campus police the night before, Ty$ was fully prepared to talk the cops out of a complete shut down–just like he talked Virginia police out of putting him in jail for drug possession less than 24 hours beforehand.

Despite the rage that took place before his set, Ty$ managed to keep the crowd calm–but still hyped–when he exploded onto the stage with 2010’s west coast hit “Toot It and Boot It.” After making rounds with fast-paced crowd-pleasers like “Familiar” and “Irie,” Ty$ slowed it down for the ladies and invited one lucky chick up for quick serenade and slow grind. Finally, as expected, Ty$ ended his Saturday night to a chorus of singing fans with 2014’s radio hit “Paranoid.”

In spite of the drama the Penn Police made for themselves, The Owl Pharaoh Beach Honeymoon Concert was definitely a success. Who knew the Ivy league could party so hard? Check out RESPECT.’s exclusive photo recap from the show below and see for yourself.

The post Photo Recap: TY Dolla $ign, Travis $cott & Topaz Jones @ University of Pennsylvania appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

As the sun set on the DC Fairgrounds, a unique, interim venue in Southeast on the Capitol Riverfront boxed in by massive, brightly colored cargo containers, the city’s brightest star took center stage, his mere presence drawing a nearly deafening response.  Olubowale Akintimehin, the man these days more commonly known to the public as Wale, addressed the moment as a homecoming, with Booz Allen Hamilton at his back and a skyline highlighted by the new National’s park in his direct line of sight. It was a fitting backdrop for the occasion, since the Maybach Music Group MC became a fixture in the rap game long before the stadium’s first opening day. In fact, he had presence in the metropolitan area before they even broke ground on the gargantuan structure. Now, here he stood, performing “Dig Dug (Shake It),” his Go-go infused first single, in the only city in the world where the majority of a capacity crowd knows all the lyrics—collectively chanting them mere yards away from the baseball Mecca’s front gates, as if to properly christen it.

This wasn’t the first annual Trillecto Music Festival, but it may as well have been. Last year, no one knew what to expect; no one could’ve anticipated that a vision this grand could be so succinct. Last year, a number of imports headlined the bill, and only a few locals peppered the music experiment’s lineup. This time around, it was about us. It was subtly done, but we knew it long before Wale graced the stage. We knew it when Fat Trel surprised attendees with a performance of “Respect with the Tech” and when A$AP Ferg brought out A$AP Rocky: Washington, D.C. matters in music again. This is our city, and for the first time in a long time we have something to be truly proud of.

Trillectro is that something. The District of Columbia has long been devoid of that special energy, the one that is present when people come together to enjoy a moment where time stands still and life is simple—a vortex that later induces nostalgia for participants and envy in those that were absent. We have been lacking this, probably because our music scene in recent years could be described as stale at best and nonexistent at worst. “I aint ever seen the city like this before,” Wale stated, triumphantly standing among a host of DC natives of varying status, pride permeating each syllable of each word. The artist, now the possessor of a #1 album, has never been the biggest name on a festival ticket before. He may never be again. But, I imagine, if he is, it won’t ever feel quite like this. The rapper’s presence was more symbolic than anything; in fact, he didn’t perform any songs in full (an unfortunate side effect of his co-headlining tour with J. Cole), but it felt essential. It’s hard to fathom any of this happening without him. You can’t build a festival on a scene built on DJ Kool’s “Let Me Clear My Throat” that’s for sure. While it’s fun to ponder how quickly the festival would be defunct without the now growing stable of local artists led by the MMG poet, it’d be impossible to imagine where it’d be without Modele “Modi” Oyewole, the nearly mythical figure behind the curtain running the show.

“My nigga Modi got his own Made In America,” joked host LowKey of YouHeardThatNew.com, referencing Jay-Z’s equally infantile festival. It’s a joke because Jay-Z has quite a few more connections resulting in bigger acts and bigger turnouts, but there’s still truth to LowKey’s jest. No matter who took the stage, local act or import, obscure act or superstar, everyone mentioned Modi. The tagline on his twitter page reads simply, “I like to connect ppl,” and it’s clear he takes pride in his work. He’s also got the results to show for it. In a absurdly short time, Modi has put together a truly spectacular annual event—one worth every penny—and while there are still some kinks to work out, it’s only a matter of time until Trillectro becomes one of the hottest tickets in the country. Yet as it stands now, the production is pretty damn great.

Trillectro is a very young festival and this is only its second summer. It is still in the fledgling stages, and it has yet to reach its full potential. This year it faced even greater growing pains in the wake of a now growing profile and, well, a considerably larger number of attendees. But, despite not delivering a flawless product with faultless execution, there was absolutely no shortage of fun.

The atmosphere at the festival was a reflection of the performers booked. Trillectro as a festival draws a unique and diverse blend of EDM fans and hip-hop heads, and the Fairgrounds venue forces a lot of intermingling. There were folks in attendance dressed in their finest and folks dressed for the couch, all coming together for the sake of good music. There was a permanent weed fog directly in front of the main stage and refreshing libations were on hand at all times—the Svedka sponsored open bar peddled a plethora of mixed drinks right next to the stage and across the way literal hoards of twenty somethings stormed The Bullpen for $8 margaritas and $10 red bull and vodkas. The venue was nearly vacant when it started at noon, but by the time 1 pm rolled around, the festivities were in full swing.

MAIN STAGE

New Retro / Misun / RDGLDGRN

A host of talent, directly from the nation’s capital, was on full display in the city that would’ve been unfit to nurture them five years ago, and a few of the more unknown acts opened the show. The first act of the day wasn’t from D.C., but was a representative of the DMV (College Park, MD) called New Retro. The group featured rap with a live band, and the sound had traces of Reggae. The Fairgrounds were basically empty for the group’s set, but they still maintained their stage presence. It was a solid way to kick off the event. New Retro was followed by Misun, an aquawave/emo-pop band from Washington, D.C. that hands down stole the award for sleeper act of the festival. Named after the act’s lead singer, the group received the first full applause of the day. “Met You” was the early highlight until “Something Inside of Me” completely took my breath away. The band seemed ridiculously comfortable on stage, and it translated to the music. RDGLDGRN, another district product, followed Misun, and though the aquawave charisma was tough to follow, the group brought a Rage Against The Machine feel to the stage that was infectious. The music was Rock based with obvious Go-go influence (in fact, the group brought out Pep from the Go-go band, Mambo Sauce, to perform some songs) and there were some great baselines and breakdowns that really got the crowd going. The Pharrell produced “Doing the Most” forced me to check the band’s soundcloud for CDQs. RDGLDGRN was the last super obscure act of the festival, but the early local talent set the stage for the rest of the day.

Shy Glizzy

After a considerable delay, the next act, rising D.C. star Shy Glizzy, showed up with his entire entourage. The rapper took the stage to decent fanfare and opened with the hubris filled “I Am D.C.” off his recently released Law 2 mixtape. Glizzy had great presence, but his dubbed vocals were so loud it was distracting. His set was capped off nicely when two young children joined him on stage with squirt guns to perform “Shooters.”

Phil Ade

DMV rapper Phil Ade quickly followed his metropolitan area colleague, and put on one of the best performances of the entire festival. Ade proved to be one of the few rappers on the day that rapped without dubbed vocals, and he commanded the stage with the confidence of a 10-year veteran. The Maryland MC also brought out LA’s Shawn Chrystopher to perform “The Vapors (Bet U Know Me).” It was an overall fantastic performance. I highly recommend catching him on The ROSE tour if you can. I wasn’t a Phil Ade fan before, but I am now, and that’s the greatest compliment you can pay an artist.

Two-9

The first act from outside of the DMV was Two-9, a rap group from Atlanta, GA featured last September in Complex magazine’s “10 Atlanta Rappers To Watch Out For.” The stage was so packed with people during the set that I couldn’t tell who was in the group, honestly. With that said, the music was almost good enough to make me overlook that. Almost. I felt distracted throughout the performance. Some members were captivating, some weren’t, but that’s simply a curse of rap groups. I was fortunate enough to catch one of the hard copies of the group’s mixtape that was flung from the stage and it has been in moderate rotation ever since.

Nadastrom

I’m not too big on EDM personally, but D.C. natives, Nadastrom, shut it down with an incredible set. The only EDM act on the main stage other than the headlining Carnage, the electronic duo dropped some of the dopest bass records I’ve ever heard. Accompanied by scantily clad dancers that took the stage in pairs, the set served as high quality entertainment all around. The energy level dropped off towards the end of the set, but it didn’t take away from the overall excellence of the performance. There’s a reason why so many people at our roundtable were anticipating this set.

King Chip

The artist formerly known as Chip tha Ripper was the first of the major acts to hit the stage, and his set was a bit of a letdown. As a longtime fan, I was expecting more. His delivery doesn’t particularly cater to live performances, but it came across even lazier than I anticipated. He performed with dubbed vocals and no hypeman, and if any artist needs a hypeman it’s King Chip. The Cleveland, OH rapper debuted a new record off, 44108, entitled “Black on Black” and it gave me high hopes for the project. Other songs performed included “Old English,” “25 Wives,” “Feel Good,” “Hyyerr,” and “Experimental,” three of which aren’t King Chip records.

Travi$ Scott

One of the more highly anticipated acts was Travi$ Scott, and you could hear a hum of excitement amongst the crowd before he was set to go on. The artist opened with Jay-Z’s “Crown,” a song he co-produced, which successfully got the crowd riled up. After some brief technical difficulties, he unleashed the thumping “Quintana.” Crowd surfing ensued, and fans swarmed in an attempt to lift the rapper. Travi$ Scott is an intense dude, and he shouted at media and photographers on stage during his set, forcing them to leave. When Scott finished performing “Uptown,” a song he admitted was one of his personal favorites, he broke out into “Upper Echelon,” which had everyone in complete hysteria. Immediately following his set, Scott got into a brief altercation with the event’s security team after some comments he made about the staff rubbed them the wrong way. Inevitably—and unfortunately—his set was cut short.

Casey Veggies

Casey Veggies is the only Trillectro alumni, but he made no mention of that. His set (another case of dubbed vocals) was very chill, and the crowd didn’t particularly respond well to that. In fact, there was very little crowd response at all. There was a relatively decent head nod percentage throughout, though. In keeping with the overall vibe of his set, Veggies shocked the crowd and brought out D.C. R&B sensation Raheem Devaughn to perform “Guess Who Loves You More.” “I’m gonna take you to the go-go, Casey. Ima show you how we get down where I’m from,” Devaughn chimed before going into a cool Go-go breakdown of the song. Casey closed out strong performing “The Team” and “Everything Wavy” before doing “Up” with Travi$ Scott until staff cut the sound for exceeding the set’s time limit. “They aint gon’ let ‘em rock?” one fan yelled from the crowd. “Fuck that shit, man.” The sentiment was echoed among the rest of attendees.

A$AP Ferg

The artist that commanded the most pre-festival buzz was without question A$AP Ferg, who had released his highly anticipated album, Trap Lord, for stream a few days prior to the show. There was a murmur of excitement, and fans wondered, which songs he’d perform. He opened with “Dump Dump,” and the crowd went bananas. Crowd surfing followed, and after a brief introduction, Ferg dropped Lords Never Worry favorite, “Persian Wine,” and did the second verse acapella, which was a blessing since most attendees—including yours truly—struggled to catch their breath. Then, it happened. The moment that festival patrons will be talking about for weeks: Ferg dropped “Work,” then stopped it abruptly to bring out A$AP Rocky for the “Work (Remix)”, then the two performed “Shabba.” It felt like everyone within a two-mile radius went into a complete frenzy—people flailed out of control, in what was almost a mosh pit type atmosphere, with complete disregard for the person next to them. A$AP Ferg turned in the best performance of Trillectro 2013, no debate, and in the process set an incredible bar for the acts next year.

KARMALOOP STAGE

DJ Slink

The New Jersey based DJ brought an all out showcase that had the cramped, but packed Karmaloop stage continuously grooving. The records spun include the “Versace (Remix),” “Blood On The Leaves,” “U.O.E.N.O.,” “I Don’t Like (Remix),” “Pop, Lock, and Drop It”—a twerk team classic—“Pony,” and “I’m Different.” At one point, the DJ even invited girls from the audience to come up on stage and dance. What resulted was not wholesome family entertainment, but the guys certainly enjoyed it.

Salva

I’d never heard of Salva—who is not to be confused with DJ Salva apparently—before Trillectro, but he put on a very strong showing. His set was a stark contrast to DJ Slink’s, which preceded his. The set was very inventive and far more EDM based, but there was such a wide array of sounds and textures that it never got tiring. Salva proved to be a nice change of pace on the day, and he had probably the most diverse set of any act at Trillecto.

Overall, Trillectro was a massive success. Not only is in one of the more affordable festival tickets this days, it’s also a great value. The asking price for food and beverage was pretty ridiculous, but what are you going to do? At the end of the day, festivals are about having a great time with great music, and there was no shortage of entertainment. Trillectro continues to make waves, and now the only question that remains is: what will the festival do for a follow up?

Despite the setbacks and some logistical errors, this year’s Trillectro put on a far more captivating show than its inaugural outing. The acts seemed less randomly selected, and there were solid showings across the board. While there is plenty to work on, there is no doubt in my mind that, over the course of the next decade, Trillectro will be one of the biggest music festivals in the country. For now, though, it’ll have to settle for being the savior of a once all but dead music scene. Trillectro has started something here, and the possibilities now feel endless. What’s next? Go-go on Altanta’s Hot 107.9? Who knows? In Modi We Trust.

The post In Modi We Trust: How Trillectro is Fostering a New Era in D.C. Music [Festival Review + Full Recap] appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Despite a long history of beats being standalone songs, especially in genres such as jungle and ragga, which were often made using the same technologies and methods as hip-hop songs (sampling, digital manipulation, drum machines, synthesizers etc), hip-hop fans still largely view beats as static receptacles, pre-loaded canvasses. In other words, until vocals are added beats are thought of as parts of songs rather than as songs themselves. This strain of thought is slowly dissipating, especially as the supergenre, EDM, finds itself increasingly in bed with hip-hop (See: Trillectro), but this dissipation is not self-perpetuating. There are catalysts actively driving this phenomenon, preventing it succumbing to its own, stifling inertia.

YellaFingizZillaJamz VOL. 5, the latest beat tape from producer CrackZilla, is one of those catalysts. Mining pop culture and his own creative mind for compatible and even incompatible sounds and images, CrackZilla gives us a beat tape that could easily be appropriated by some [adventurous] rapper (or singer), yet is perfectly autonomous without vocal interventions (besides the obligatory recurring producer tag: “Craaaaackkk….Zilla, Zilla).

The songs are variously menacing (“Only Smellz”), haunting (“Prometh Gator”), soft (“When Pigs Fly”) and spacey (“Got 2 Like Rambo”), taking listeners on an opaque, yet engaging sonic journey. Opacity is often avoided by both rap consumers and producers, but CrackZilla revels in it, beckoning us to enjoy the ride despite not knowing who exactly is in the driver’s seat. There are glimpses of personality in the strange song titles and in the gaudy artwork, but there’s no need for transparency here. The lack of knowledge does nothing to stifle one’s musical experience. In fact, it possibly enables that experience. Presented with just disparate sounds, the listener is forced to notice their myriad little flourishes. The strange wail at the beginning of “Russian Breakfast” and the odd vocals on “Jala Gah” become characters.

In the end, YellaFingizZillaJamz VOL. 5 is a fun opportunity to rethink how to listen to hip-hop and to engage with the weird mind of another mysterious internet producer. Even after 10 listens, you won’t be able to figure out what exactly CrackZilla listens to for fun (other than Danny Brown. See: “Wit Da Goud”), but that makes your listening experience even more enriching. Check it out below.

The post Album Review: CrackZilla – “YellaFingizZillaJamz VOL. 5” appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

RESPECT.is presented to you as a smooth, faceless entity, but in reality, it’s operated by over a dozen dedicated and dangerous hip-hop fans and aficionados. With this new feature, RESPECT. Roundtable, we hope to give you a brief glimpse into the minds of the individual voices behind RESPECT.‘s familiar resonant roar.

The first topic is Trillectro, the Washington D.C.-based music festival that explicitly encourages the ever-increasing collisions between hip-hop and what is now known as EDM. Most of the RESPECT. team will not make it to Trillectro, but that doesn’t mean we don’t have interesting thoughts on the festival’s lineup. Read below as we pick apart our hivemind just for you. The specific question everyone responded to was, “What two acts would you HAVE to see at Trillectro?”

Kevin Ahmadi – Writer

“Summer festivals are about two things: food and dancing next to half-naked women. These conditions require a fun party climate that is best achieved with big, hard-hitting beats. DJ Slink and Alex Young both meet that criteria without falling into annoying dubstep territory. While Wale may be the main attraction, the best atmosphere will be at Slink and Young’s shows. You could probably also score some molly if that’s still cool.“

Ali Holdridge -Writer

“It’s the heat of music festival season and Trillectro will no doubt go hard. Travi$ Scott and A$AP FERG top my itinerary list. Scott’s debut mixtape Owl Pharaoh, was extremely well-done. Seeing his new single “Upper Echelon” live would be insane.  Admittedly, I’m a huge fan of A$AP FERG’s remix to “Work.”  With Trap Lord set to drop Aug. 20, I’d jump on the opportunity to see the track performed in person. “

Veronica Slabicki – Writer

“Dave Nada and Matt Nordstrom are Nadastrom, and their DJ set is a living legend. The duo is known for pioneering moombahton, a genre that splices the pulsing rhythms of reggaeton with the energizing kicks of dutch house, for a combination that wreaks havoc on the dancefloor. Nadastrom will have you popping, jumping, and flailing, among other things. I wouldn’t miss that for anything. Venus X is also someone I wouldn’t miss. She came into the public eye through a weekly party called “Ghetto Gothic” which features a range of styles and aims to break the segregation of genres in the New York music scene. Unlike other artists who may premix their sets, Venus X takes a unique approach to deejaying, and she mixes sounds on the spot based on her own emotions, experiences, and the vibe of the crowd. That’s pretty rare these days.”

Sheldon Pearce – Writer

“As a DC native, when the full Trillectro lineup was released, my eyes immediately lit up when I saw Shy Glizzy would be gracing one of the biggest stages in the metropolitan area (figuratively speaking). But all regional biases aside, I’d have to say my two must see acts on a performance basis would be Travi$ Scott and A$AP FERG. I must have a thing for the whole dollar-sign-replacing-the-s shtick. I’m a big rap guy. The EDM/IDM/Dance records don’t really sway me (although they can be great for festivals like *cough* *cough* this one, so I don’t know I guess we’ll see). Hip-hop shows are incredible when done right, though, and I think both Travi$ and Ferg have the charisma and the catalogs necessary to put on a great show. Not to mention, FERG’s Trap Lord is due out a few days later so there’s some huge debut potential there (fingers crossed).”

Alyse Howard – Writer

“I would definitely HAVE TO SEE Nodastrom – I can tell they are very musically savvy.  Those conversational synths and hooky drum rhythms would provide the perfect atmosphere for me to dance and just dream. I would also definitely have to see  Phil Ade.  His rhymes are poignant and the accompanying videos add subtle touches of realness without overdoing it, you know?”

Fatima Johnson – Writer

“For me, music festival is synonymous with dance party, so I am going to Trillectro specifically to shake my tailfeather. Moombahton music is a new fusion of house/hip hop/reggaeton/dancehall that has been leaving divas and dancequeens breathless on the dance floor for the last three years. Moombahton beats are the hottest they’ve ever been right now, and there’s no better stage for the genre to shine than in its birthplace, Washington D.C. If you like to dance, like listening to dance music, like laughing at other people dancing, or all the above, definitely watch the Moombahton originator, Dave Nada, and his producer friend, Matt Nordstrom, performing as their DJ group, Nadastrom.”

Emmanuel Wallace – Writer

“This entire lineup looks interesting as hell. The first act I’d check out is King Chip. I’m a bit partial since he’s from my hometown and all, but I’ve been following the guy since he was Chip Tha Ripper and his devoted fanbase always make his shows fun. The second act is Phil Ade, I think he’s been overlooked by many over the past few years but he’s definitely been bubbling under the surface.”

Nina Long – Writer

“The two performances I would have to see at Trillectro would be Nadastrom and A$AP FERG. Nadastrom brings a ton of energy, and definitely knows how to get the party stated. Being that they are performing in their hometown, I’d expect their performance to be epic.  The trap lord himself, A$AP FERG, is definitely a must-see at the festival. His album is dropping in a few weeks so he’s definitely gong to be bringing it. Plus the A$AP Mob is totally unpredictable so you never know what they might have up their sleeve.”

Ryan Lyons – Writer

“I can only expect greater things to come out of Trillectro since I attended the first festival last summer. Beautiful people came out from as far as the West Coast to join in on a localized movement brought forth by the good folks at DC to BC.

Historically, Washington D.C has always had open doors to whatever emcee or group came down for the Howard Homecomings or whatever. Many rappers reference it in song. However, the city possesses it’s own slang and it’s own style that will be embedded in this show featuring emcees like Wale, Phil Ade and Shy Glizzy. I’m hoping Fat Trel makes an appearance as well.I’m most excited to see Wale perform some hits from The Gifted in his hometown because because this latest album sounds so much like D.C. ( i.e. congos, melody, live instrumentation). I’m hoping to see that in person and reminisce on the days when I witnessed him as a young pup covering gogo songs in the same area.

Other than Wale, I’m really looking forward to seeing Fergenstein [A$AP FERG]. His “Work” single and it’s remix are some of those tracks that made this summer more fun. How could we even have Trillectro without one of the main songs people turn up too? After witnessing A$AP FERG tear it down at SOB’s in NYC during the fall, I’m waiting to see how D.C. reacts to him.”

 

Ben Sherak – Online Editor

This festival is going to be an strange experience for everyone involved. From the fan-to-fan interactions, which are sure to be a confused intermingling of ravers, trendy hip-hop fans and diehards for individual acts, to the artists’ ability to engage a crowd that might not have shown up for their genre, let alone their individual music, Trillectro could go one of two ways. It could be an awkward but still energetic gathering, or a straight up amazing party. At good parties, you rock out, regardless of lyrics, regardless of anything. At amazing parties, you experience something new. It should almost offend your tastes at first, and it should be reshaping your tastes by the end. Your world should expand and your head should throb.

Standing in the way of Trillectro‘s ability to do that are a few things. Choosing a particularly organic sounding headliner, Wale, for a majorly electronic festival will probably wind up a bad call. If Salva or Nadastrom fans listen to any un-remixed hip-hop, it’s probably not Wale. Even though that album with the unused Wale Chia pet on the cover premiered at #1, it was a quiet #1. Even more importantly: it’s just uncool to love Wale, probably because of his lack of distinguishing traits and the fact that, according to those unearthed tweets, the rest of the cool kids of rap think (or used to think) he’s a joke. (LINK http://highbrowhiphop.com/old-tweets-of-rappers-talking-reckless-surface/). Regardless, his album is accessible to fans of music in general, so there’s certainly hope.

One rap act who’s far more fit for Trillectro and is more respected by the game’s current cool kids is Casey Veggies. Casey‘s “Everything Wavy” and “Faces” are synthesized and current enough to lure more than a few non-hip-hop heads toward his set. He’s also got the co-signs to backup his almost-man-of-the-hour style. Both ScHoolboy Q and Logic, current XXL Freshmen, named Casey as their pick for the main man missing from this year’s list. Add all of that to Casey‘s clear knack for style and the end result is one of the festival’s likely all-around successes.

Overall, it will prove hard to consolidate the two umbrella terms–trill and electro–that comprise the festival’s name until the music leads it there. Trillectro is doing a great service of creating an inhabitable melting pot, which will guaranteed be a good party. Time, and the direction of the music, will tell if it was great.

Stephen Kearse – Online editor

“The Trillectro lineup is a strange beast for me. On one hand, there are tons of amazing DJs with the proven ability to use largely un-instrumental music as marionette strings. On the other hand, there are rappers, but not rappers that I would necessarily qualify as “trill.” I’m from Atlanta, but I hadn’t heard the term “trill” since a DJ at a party back in 2010 surprised us with a spin of “Some Cut” by Trillville. If “trill” is back, how does Casey Veggies embody it? How does King Chip embody it? I don’t know, but those questions (and a preexisting interest in those specific rappers) alone would draw me out to the festival.

With that in mind, from a slightly less subjective perspective, I’d have to say that the sets to see would be Casey Veggie‘s and DJ Slink‘s. Slink is one of the few DJs out there who spins trap that I find tolerable. I hate to sound lame, but seeing someone twerk to a Rick Ross song about shooting people is just bizarre. I don’t think that would happen during a Slink set. He doesn’t seem to treat all trap equally. He makes a discernible distinction between songs to get rowdy to and songs to get nasty to. I appreciate that. As far as Casey Veggies, I just want to see how he approaches this set. He’s a solid rapper and a cool dude, but can he bring out the inner Miley Cyrus in that quiet girl from your English class? Or will he just play it cool? There’s only one way to find out.”

And there you have it. Expect more RESPECT. Roundtable discussions in the future and check out our review of Trillectro from last year.

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