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Drill is a style of trap music that originated in Chicago streets in the late 2000s. It progressed into the American mainstream circa 2012 following the success of rappers and producers like Chief Keef, Lil Durk, Lil Reese, Fredo Santana, Young Chop, G Herbo, Lil Bibby, King Louie, and King Von who had many local fans and a significant internet presence. Media attention and the signing of drill musicians to major labels followed. Artists within the genre have been noted for their style of lyricism and association with crime in Chicago.

A regional subgenre UK drill emerged in London, particularly in the district of Brixton, beginning in 2012. UK drill rose to prominence by mid-2012 and has influenced other regional scenes, such as Australian, Spanish, Irish, Dutch, and Brooklyn drill (re-introduced to Brooklyn in the late 2010s).[1][2][3]

Characteristics 편집

The lyrics of drill tend to be violent and very gritty. The Guardian's Lucy Stehlik said "nihilistic drill reflects real life where its squeaky-clean hip-hop counterparts have failed."[4] Drill lyrics strongly contrast with the subject matter of earlier Chicago rappers[5] and contemporary mainstream hip hop which at the time of drill's emergence tended to glorify and celebrate a rise to wealth.[6]

Drill lyrics typically reflect life on the streets, and tend to be gritty, violent, realistic and nihilistic. Drill rappers use a grim, deadpan delivery,[7] often filtered through Auto-Tune, influenced by the "stoned, aimless warbling of Soulja Boy (one of the earliest non-local Keef collaborators) and Lil Wayne before him."[8] Atlanta-based rappers Gucci Mane and Waka Flocka Flame were important influences on the drill scene.[9] Though it bears many similarities to trap music the speed of a drill beat is generally slower with a moderate tempo having about 60 to 70 beats per minute.[10][11] Some producers work at double tempo such as 120 to 140 beats per minute.

Drillers tend to be young; many prominent musicians in the scene started getting attention while still in their teens.[12] One of the genre's most prominent musicians, Chief Keef, was 16 when he signed a multi-million dollar record contract with Interscope,[13] and in an extreme example, Lil Wayne co-signed the 13-year-old driller Lil Mouse.[14] Critics have noted drill rappers' lack of concern with metaphor or wordplay. Chief Keef said that his simplistic flow is a conscious stylistic choice: "I know what I'm doing. I mastered it. And I don't even really use metaphors or punchlines. 'Cause I don't have to. But I could. ... I think that's doing too much. I'd rather just say what's going on right now. ... I don't really like metaphors or punchlines like that."[15] Whet Moser wrote that Keef's songs are "lyrically, rhythmically, and emotionally diminished, which is why they sound so airless and claustrophobic ... It's not even fatalistic, because that would imply a self-consciousness, a moral consideration, that isn't there in the lyrics. It just is, over and over again."[16] A profile on the scene in The New York Times examined the genre's aggression:

With rare exception this music is unmediated and raw and without bright spots, focused on anger and violence. The instinct is to call this tough, unforgiving and concrete-hard music joyless, but in truth it's exuberant in its darkness. Most of its practitioners are young and coming into their creative own against a backdrop of outrageous violence in Chicago, particularly among young people—dozens of teenagers have been killed in Chicago this year—and often related to gangs. (There's a long history of overlap between Chicago’s gangs and Chicago’s rap.) That their music is a symphony of ill-tempered threats shouldn't be a surprise.[6]

Female artists have been represented in the scene since its origins.[17] Pitchfork's Miles Raymer said "instead of rapping about being a 'hitta'—the local term for a shooter—they rapped about being in love with hittas. Otherwise, they rode the same kind of icily sociopathic beats from the same producers as any other drill rappers, and came across as equally tough."[17] Female drillers mix themes of violence and love in their songs, and Katie Got Bandz said, "It's different because males wouldn't expect a female to rap about drilling. They're used to females selling themselves."[18]

Stehlik called drill production style the "sonic cousin to skittish footwork, southern-fried hip-hop and the 808 trigger-finger of trap."[4] Young Chop is frequently identified by critics as the genre's most characteristic producer.[19][20][21] The sound of trap producer Lex Luger's music is a major influence on drill,[9][20][22] and Young Chop identified Shawty Redd, Drumma Boy, and Zaytoven as important precursors to drill.[21]

History 편집

David Drake of Complex said drill is not defined by any particular production style, but "is about the entirety of the culture: the lingo, the dances, the mentality, and the music, much of which originated in 'Dro City', a gang-defined territory of city blocks in the Woodlawn neighborhood."[23]

In street slang, "drill" means to fight or retaliate, and "can be used for anything from females getting dolled up to all out war in the streets."[24] Dro City rapper Pacman, considered the stylistic originator of the genre, is credited as the first to apply the term to the local hip hop music.[23][24]

Drake described the drill scene as a major vehicle of the early 2010s rise of Chicago hip hop, and described the scene as a grassroots movement that had incubated in a closed, interlocking system: on the streets and through social media in a network of clubs and parties and amongst high schools.[9] Drill developed on the South Side of Chicago, in the midst of escalating violence and a homicide crisis. Mark Guarino wrote for Salon that the music grew during "a shift from historic feuding between monolithic crime organizations controlling thousands of members each to intrapersonal squabbling and retaliatory conflicts among smaller hybrid groups whose control extends just a few blocks... The toughened reality of living in these neighborhoods is what shaped Drill music."[25] In the drill scene, rap conflict and gang conflict overlap, and many of the young rappers come from backgrounds with experience of violence.[6][26] The Independent's Sam Gould wrote that Chief Keef "represents both a scary strain of current hip hop culture and a seriously alienated group within American society."[14]

By late 2012, rappers from other scenes and hip hop stars like Kanye West, Drake and Rick Ross were collaborating with drill musicians.[27] Kanye West remixed "I Don't Like" for the 2012 GOOD Music compilation Cruel Summer as "Don't Like", with features from West, Chief Keef, Pusha T, Big Sean and Jadakiss. West cited drill as an influence on his 2013 album Yeezus,[28] and Chief Keef and King Louie had vocals featured on the album.[29]

Drill's subject matter strongly contrasts with that of earlier Chicago rappers such as Kid Sister, Lupe Fiasco, Psalm One, Rhymefest and The Cool Kids.[5]

Older Chicago rappers have been mixed in their reaction to drill's popularity and violence. In a radio interview, rapper Lupe Fiasco said "Chief Keef scares me. Not him specifically, but just the culture that he represents ... The murder rate in Chicago is skyrocketing, and you see who's doing it and perpetrating it—they all look like Chief Keef."[5] After Chief Keef threatened Fiasco on Twitter, Fiasco said he was considering quitting the music scene.[5] Rhymefest tweeted that drill is "the theme music to murder."[30]

While drill music of Chicago fizzled out of mainstream popularity, a new scene was emerging in the UK and by the late-2010s was gaining mainstream popularity, spreading across Europe, influencing the creation of drill scenes around the continent.[31] UK drill music evolved its own distinct style of production compared to Chicago drill with UK drill group 67 often credited for shifting the sound away from the Chicago influences it seemed to heavily draw inspiration from in its early days and foundation and for forming a more homegrown sound,[32] with LD - a member of 67 - being named as the godfather of UK drill.[33][34] The mid-2010s saw the emergence of Chicago-influenced Brooklyn drill artists such as Bobby Shmurda and Rowdy Rebel, while the late 2010s saw the emergence of new prominent drill artists from Brooklyn such as Pop Smoke, Sheff G, Fivio Foreign, Sleepy Hallow and 22Gz.[35][36][37][38][39][40][41]

Later Brooklyn drill production is heavily influenced by UK drill (the latter of which brings production influences from grime and UK garage)[42] with artists such as Fivio Foreign, Sheff G, Smoove’L, Bizzy Banks, 22Gz, and Pop Smoke collaborating with UK drill producers such as 808Melo, Yamaica Productions, Yoz Beats, Tommyprime and AXL Beats.[43][44][45] Pop Smoke's song "Welcome to the Party", produced by 808Melo was a prominent release in 2019 and saw remixes from Nicki Minaj, Meek Mill and British MC Skepta.[35][46][47][48][49] Sheff G's "No Suburban" (released in 2017) and 22Gz's "Suburban" (released in 2016) have been credited for bringing attention to later Brooklyn drill.[38]

Controversy 편집

In 2022, some connected the pro-gun content of the genre to real world gun violence on the streets of New York and other major cities, given the violence surrounding a number of drill artists like the late Tdott Woo,[50] the late Pop Smoke, the late Chii Wvttz,[51] and gun violence victim Nas Blixky.[52][53] A shooting by alleged attempted murderer C Blu, who is signed to Interscope Records, also gave rise to concerns, echoing the 1990s era gangsta rap controversy.[54]

In response to the epidemic of death arising out of the diss elements in the scene, in early 2022 a number of prominent New York DJs and music influencers, including DJ Drewski at Hot 97, Joe Budden, Ebro Darden of "Ebro in the Morning" on Hot 97, D Teck, and Power 105.1's DJ Gabe P either vowed to stop playing gang/diss records or re-iterated their refusal to play such content.[55][56][57]

DJ Drewski told Complex that several young artists had told him they themselves did not want to include inflammatory disses in their drill work, being concerned about fueling neighborhood violence, but that such tracks were ultimately what got attention on YouTube.

On February 12, NYC mayor Eric Adams staunchly criticized drill music arguing that it is instigating violence.[58] Days later, he met with drill rappers in attempt to come to an agreement about the music.[59]

Influence 편집

  이 부분의 본문은 UK drill입니다.

UK drill[60][61][62] is a subgenre of drill music and road rap that originated in the South London district of Brixton from 2012 onwards. Borrowing heavily from the style of Chicago drill music, UK drill artists often rap about violent and hedonistic criminal lifestyles.[63][60] Typically, those who create this style of music are affiliated with gangs or come from socioeconomically deprived neighborhoods where crime is a way of life for many.[60] UK drill music is closely related to road rap, a British style of gangsta rap that became popular in the years prior to the existence of drill.[61][62][64] Musically, UK drill often exhibits violent language and provocative lyrics.[63]

References 편집

  1. ↑ Fazal, Mahmood (2019년 8월 1일). “Behind The Scenes With OneFour: Australia's First Drill Rappers”. 《Vice Australia》. 2019년 8월 7일에 원본 문서에서 보존된 문서. 2019년 12월 30일에 확인함. 
  2. ↑ Dunn, Frankie; Gannon, Colin (2018년 11월 21일). “could irish drill music be the next big thing?”. 《I-D》. 2019년 7월 15일에 원본 문서에서 보존된 문서. 2019년 8월 7일에 확인함. 
  3. ↑ “Remembering Pop Smoke, the US rapper who introduced the UK drill sound to New York”. 《The Independent》 (영어). London, England: Independent Print Ltd. 2020년 3월 15일. 2020년 7월 26일에 확인함. 
  4. ↑ 가 나 Stehlik, Lucy (2012년 11월 16일), “Chief Keef takes Chicago's drill sound overground”, 《The Guardian》, 2013년 10월 12일에 원본 문서에서 보존된 문서, 2013년 6월 21일에 확인함 
  5. ↑ 가 나 다 라 DeRogatis, Jim (2012년 9월 25일). “The battle for the soul of Chicago hip hop”. 《wbez.org》. WBEZ. 2013년 7월 5일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  6. ↑ 가 나 다 Caramanica, Jon (2012년 10월 4일). “Chicago Hip-Hop's Raw Burst of Change”. 《The New York Times》. 2012년 10월 11일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  7. ↑ Drake, David (2012년 5월 4일). “Katie Got Bandz, "Ridin Round and We Drillin" MP3”. 《The Fader》. 2013년 2월 18일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  8. ↑ Sargent, Jordan (2012년 12월 11일). “Lil Durk: Life Ain't No Joke”. 《Pitchfork》. 2013년 6월 21일에 확인함. 
  9. ↑ 가 나 다 Drake, David (2012년 6월 25일). “Chicago Rap Blazes Up From the Streets”. 《Spin》. 2014년 2월 3일에 원본 문서에서 보존된 문서. 2013년 6월 23일에 확인함. 
  10. ↑ “What is Trap Music? Trap Music Explained”. 《Run The Trap》. 2015년 2월 3일에 원본 문서에서 보존된 문서. 2015년 1월 29일에 확인함. 
  11. ↑ SherronShabazz. “Young Chop Says, "I Don't Even Know What Drill Music Is"”. HiphopDX. 2015년 2월 3일에 원본 문서에서 보존된 문서. 2015년 1월 29일에 확인함. 
  12. ↑ Sargent, Jordan (2012년 12월 12일), “Drum Majors: Four Producers to Watch: Paris Beuller”, 《The Fader》, 2013년 6월 4일에 원본 문서에서 보존된 문서, 2013년 6월 23일에 확인함 
  13. ↑ Markman, Rob (2013년 1월 23일). “Chief Keef's Interscope Deal Revealed To Be Worth $6 Million”. 《MTV.com》. MTV. 2013년 7월 17일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  14. ↑ 가 나 Gould, Sam (2012년 9월 6일). “Chief Keef, Chicago and violence in hip hop”. 《The Independent》. 2013년 10월 11일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  15. ↑ Kramer, Kyle (2012년 4월 28일). “Exclusive interview: 16-year-old Chicago rapper Chief Keef”. 《RedEye》. Chicago Tribune. 2014년 1월 12일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  16. ↑ Moser, Whet (2012년 9월 6일). “Coming to Terms with Chief Keef”. 《Chicago》. 2013년 5월 13일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  17. ↑ 가 나 Raymer, Miles (2013년 2월 13일). “Sasha Go Hard: Round 3: The Knockout”. 《Pitchfork》. 2013년 6월 21일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  18. ↑ Schwartzberg, Lauren (May 2013). “Drill or Be Drilled”. 《Dazed & Confused》. 2013년 5월 3일에 원본 문서에서 보존된 문서. 2013년 6월 23일에 확인함. 
  19. ↑ “Hip-Hop in 2013... for Dummies (Part 2: The Producers)”. 《Fact》. 2013년 4월 19일. 2013년 7월 26일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  20. ↑ 가 나 Battan, Carrie (2012년 12월 28일). “One Nation Under Drill”. 《Pitchfork》. 2013년 6월 5일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  21. ↑ 가 나 Cho, Jaeki (2013년 2월 7일). “Young Chop Talks Lex Luger, Chief Keef and Studio Habits”. 《XXL》. 2013년 5월 19일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  22. ↑ Delerme, Felipe (2012년 8월 21일). “Chief Keef: Lost Boys”. 《The Fader》. 2013년 7월 2일에 원본 문서에서 보존된 문서. 2013년 6월 21일에 확인함. 
  23. ↑ 가 나 Drake, David (2012년 12월 17일), “Chief Keef: Hail To The Chief (2012 Online Cover Story)”, 《Complex》, 2012년 12월 21일에 원본 문서에서 보존된 문서, 2013년 6월 23일에 확인함 
  24. ↑ 가 나 Meara, Paul (2012년 8월 23일), “It's a Drill!: The Sound That Has Music Labels Flocking to the Windy City”, 《AllHipHop》, 2013년 7월 18일에 원본 문서에서 보존된 문서, 2013년 6월 24일에 확인함 
  25. ↑ Guarino, Mark (2012년 12월 18일), “Rap's killer new rhymes”, 《Salon》, 2013년 7월 18일에 원본 문서에서 보존된 문서, 2013년 6월 23일에 확인함 
  26. ↑ Drake, David; Turner, David (2012년 9월 17일). “Trying To Make Sense of Chief Keef and the Chaos in Chicago”. 《Complex》. 2013년 1월 3일에 원본 문서에서 보존된 문서. 2013년 6월 23일에 확인함. 
  27. ↑ Drake, David (2012년 10월 12일), “Industry or In These Streets: When Superstars Meet Chicago's New Rap Scene”, 《Complex》, 2012년 10월 17일에 원본 문서에서 보존된 문서, 2013년 6월 23일에 확인함 
  28. ↑ Caramanica, Jon (2013년 6월 11일), “Behind Kanye's Mask”, 《The New York Times》, 2013년 6월 12일에 원본 문서에서 보존된 문서, 2013년 6월 17일에 확인함 
  29. ↑ Drake, David (2013년 6월 12일), “King Louie Guide”, 《Complex》, 2013년 6월 16일에 원본 문서에서 보존된 문서, 2013년 6월 17일에 확인함 
  30. ↑ Galil, Leor (2012년 9월 26일), “Chief Keef: Chicago's most promising antihero”, 《Chicago Reader》, 2013년 6월 1일에 원본 문서에서 보존된 문서, 2013년 6월 23일에 확인함 
  31. ↑ “Move over, Chicago: how the UK made drill its own”. 《NME Music News, Reviews, Videos, Galleries, Tickets and Blogs | NME.COM》 (영국 영어). 2020년 2월 25일. 2020년 4월 15일에 확인함. 
  32. ↑ “UK drill FAQ: History, facts & future of the rap genre”. 《Red Bull》. 2019년 8월 6일에 원본 문서에서 보존된 문서. 2019년 3월 14일에 확인함. 
  33. ↑ Keith, James (2021년 2월 26일). “LD Claims 'Godfather Of Drill' Title With New Album 'Who's Watching'”. Complex Networks. 2022년 1월 18일에 확인함. 
  34. ↑ “UK Drill: Should the rap genre change its name?”. 《Capital XTRA》 (영어). 2020년 4월 15일에 확인함. 
  35. ↑ 가 나 Pierre, Alphonse (2017년 8월 4일). “You're Not Paying Attention to New York's Most Exciting New Rap Scene”. 《Vice》 (영어). 2019년 12월 14일에 원본 문서에서 보존된 문서. 2019년 12월 14일에 확인함. 
  36. ↑ Caramanica, Jon (2019년 9월 6일). “The Rapid Rise of Pop Smoke, Brooklyn Rap's Homecoming King”. 《The New York Times》 (미국 영어). ISSN 0362-4331. 2019년 12월 14일에 원본 문서에서 보존된 문서. 2019년 12월 14일에 확인함. 
  37. ↑ “Fetty Luciano Is Carrying the Torch for GS9”. 《Complex》 (영어). 2020년 8월 25일에 확인함. 
  38. ↑ 가 나 “Sheff G Made Drill the Sound of Brooklyn”. 《Pitchfork》 (영어). May 2019. 2019년 8월 7일에 원본 문서에서 보존된 문서. 2019년 12월 14일에 확인함. 
  39. ↑ Miss2Bees (2020년 8월 24일). “The Source |Blizz Vito Releases New Visual "Fuego Freestyle" [Extended Version]”. 《The Source》 (미국 영어). 2020년 12월 17일에 확인함. 
  40. ↑ “22Gz, a Pioneer of Brooklyn Drill”. 《Complex》 (영어). 2020년 12월 17일에 확인함. 
  41. ↑ Lisa Respers France. “Nick Blixky, an up and coming rapper, killed at 21”. 《CNN》. 2020년 12월 17일에 확인함. 
  42. ↑ “Remembering Pop Smoke, the US rapper who introduced the UK drill sound to New York”. 《The Independent》 (영어). 2020년 3월 17일. 2020년 10월 27일에 확인함. 
  43. ↑ “Pop Smoke Shouted Out The UK's Top Drill Producers In His Final Interview”. 《UPROXX》 (미국 영어). 2020년 2월 24일. 2020년 3월 3일에 확인함. 
  44. ↑ “UK Drill: Should the rap genre change its name?”. 《Capital XTRA》. 2020년 4월 15일에 확인함. 
  45. ↑ Coscarelli, Joe (2020년 6월 30일). “Pop Smoke Took Brooklyn Drill Global. Fivio Foreign Is Carrying the Torch.”. 《The New York Times》 (미국 영어). ISSN 0362-4331. 2020년 8월 25일에 확인함. 
  46. ↑ “Sheff G Quietly Ushered In Brooklyn's Drill Movement & Now He's Ready For His Time”. 《HotNewHipHop》. 2019년 10월 9일. 2019년 10월 18일에 원본 문서에서 보존된 문서. 2019년 12월 14일에 확인함. 
  47. ↑ Boparai, Danil (2019년 12월 10일). “Is Pop Smoke the new king of New York?”. 《i-D》 (영어). 2019년 12월 12일에 원본 문서에서 보존된 문서. 2019년 12월 14일에 확인함. 
  48. ↑ “Pop Smoke: Meet the Woo Vol. 1”. 《Pitchfork》 (영어). 2019년 12월 14일에 원본 문서에서 보존된 문서. 2019년 12월 14일에 확인함. 
  49. ↑ “How Brooklyn Drill Became the New Sound of New York”. 《Complex.com》 (영어). 2020년 8월 11일에 확인함. 
  50. ↑ “Rapper TDott Woo fatally shot in Brooklyn after signing with record label”. 2022년 2월 3일. 
  51. ↑ “Drill rapper killed in Brooklyn, 2nd in a week”. 《FOX 5 NY》. 2022년 2월 7일. 
  52. ↑ Heching, Dan (2022년 2월 3일). “N.Y.C. Rapper Tdott Woo Fatally Shot in Brooklyn Hours After Signing Record Contract”. 《people.com》. 
  53. ↑ “NYC drill rap music scene eyed by NYPD as fuel for spate of gun violence”. 《MSN》. 
  54. ↑ “Teen Rapper C Blu Back In Jail Days After Posting $250K Bond For Attempted Murder”. 《HipHopDX》. 2022년 2월 4일. 
  55. ↑ “Hot 97's DJ Drewski Will No Longer Play Gang Music: 'We R Losing Too Many Young Men and Women to the Streets'”. 《Complex Networks》. 
  56. ↑ “Hot 97's DJ Drewski Pulls Plug On Gang Diss Music Following Tdott Woo + Nas Blixky Shootings”. 《HipHopDX》. 2022년 2월 2일. 
  57. ↑ “Why Violent Diss Songs Are Getting Pulled From New York Radio”. 《Complex》. 
  58. ↑ “New York City Mayor Eric Adams Declares War on Drill Rap”. 《Rolling Stone》. 
  59. ↑ “Mayor Eric Adams meets with drill rap artists after criticizing genre for its depiction of violence”. 《WCBS-TV》. 
  60. ↑ 가 나 다 “Get Familiar with UK Drill, the New Sound Exploding on the Streets of London”. 《PigeonsandPlanes》. 2018년 3월 19일에 원본 문서에서 보존된 문서. 2018년 3월 18일에 확인함. 
  61. ↑ 가 나 “Inside UK Drill, London's Hyper-Local DIY Sound”. 《Dazed》. 2017년 4월 25일. 2018년 3월 9일에 원본 문서에서 보존된 문서. 2018년 3월 19일에 확인함. 
  62. ↑ 가 나 “From Chicago to Brixton: The Surprising Rise of UK Drill”. 《FACT Magazine: Music News, New Music.》. 2017년 4월 27일. 2018년 3월 24일에 원본 문서에서 보존된 문서. 2018년 3월 19일에 확인함. 
  63. ↑ 가 나 “67 Interview: 'This Is Not a Gang. This Is a Brand'”. 《London Evening Standard》. 2018년 3월 19일에 원본 문서에서 보존된 문서. 2018년 3월 19일에 확인함. 
  64. ↑ “Don't Call It Road Rap: When Drill, UK Accents and Street Life Collide”. 《Noisey》. 2017년 6월 14일. 2018년 3월 19일에 원본 문서에서 보존된 문서. 2018년 3월 19일에 확인함. 

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