Sometimes when an artist does something dramatically original it polarizes the listening populace, some shy away from it, because it shocks their senses and their understanding of the confines of their genre, others flock to it merely because it is different without taking the time to investigate whether there is any depth behind the exploration. When an artist’s originality is subtler – perhaps an unusual combination of existing and previous aesthetics – a lot of times people miss the boat entirely, writing it off as derivative, uninteresting, or uninspiring. The reason for my delay in reviewing Sunday School is that I simply missed the boat the first few times I gave Tree a listen. For those that follow the rap world closely, Tree’s buzz has been unavoidable this year. Often falsely set up as an underground more artistic and cultured foil to Chief Keef and the explosion of the drill scene in Chicago this year, Tree is far from some hyper-conscious coffee shop friendly rap artist. I came upon Sunday School back in March when I started this site up and began to look around for the best releases of the first quarter to begin putting together some reviews for the site. Against the unusually stellar first quarter canvass of Ka’s devout lyrical calisthenics and complex patterns, ScHoolboy Q’s rubbery vocal inflected Oxycontin misadventures, Lil Ugly Mane’s otherworldly dedication to a dark Memphis revivalism, Blue Sky Black Death’s stylized soundscapes the psychedelic self-absorbed deity Nacho Picasso, or Big K.R.I.T.’s mainstream ready country rap gospel spitting stripper solicitations – Tree’s album somehow seemed less alluring and noteworthy to me. Recently I heard The Lit EP and enjoyed it enough that it caught my attention again. As time has gone on, the year has slowed down, and in the midst of a particularly slow third quarter I went back to give Sunday School another shot. S/O to my man Alex over at steadybloggin.com for insisting to me that I was missing out on something special.
Tree “All”
Although he’s been around for a minute on the Chicago scene, Tree has become known this year as the creator of soul trap music, a style he invented by slicing and chopping up samples – often, though not always, familiar soul and R&B samples from the 70’s – into the rhythms of trap beat patterns. The production style he’s created is a welcome innovation given one the relative lack of sample based music in the trap beat dominated circles and the lack of quality drum work – not to mention soul samples – in the sample friendly cloud rap circles. While longevity will undoubtedly prove to be an important factor it’s quite arguable that Tree may have fostered the most important movement in sample based production since Kanye and Just Blaze unleashed The Blueprint. While the cloud/aquatic rap innovators may have their own case to make along those lines, there’s no doubt that nobody has brought new life to soul samples in the same way over the last decade.