T R A P S O U L (Deluxe Edition)

Bryson Tiller evidently doesn't see his neologism, trapsoul, to be a fleeting style. Not only did he title his debut album after his approach -- well, technically, it's T R A P S O U L, likely to get chopped up by a page margin or two -- but the term is also the name of his boutique label, funded by RCA. Whether it's Syksense, Sango, J Louis, the Mekanics, Fayo & Chill, Ayo!, or any other name credited with production, each track from this Kentuckian singer, rapper, and songwriter falls into that very specific designation. They vary little in pace, ranging from leaden to liquid, rooted in sparse constructions that consist of deeply booming bass, rattling percussion, and synthesizer accents that stir and swarm. Ghostly samples of mostly '90s tracks -- sourced from the likes of Aaliyah, Jodeci, Shai, Keith Sweat, and KP & Envyi -- are another constant. Not even "Sorry Not Sorry," the track co-produced by Timbaland, deviates from the mode. As monochromatic as the tracks are, they're the right settings, ideal backdrops for Tiller's limited vocal and lyrical range. He's most comfortable dealing out playboy boasts, singing about getting high, "bad bitches," and "hoes"; little imagination is required to know what he means by "I got a job for ya." ~ Andy Kellman

2014年オンラインに放流した"Don't"で名を売った、ルイヴィル出身のシンガー・ソングライター。マライア・キャリー"Shake It Off"をトロ～リと引き延ばした同曲は(初期の)ウィークエンドにも通じる陶酔感と共に主役のラップめいた歌唱をプレゼンする好材料となったが、このアルバムでもその印象は変わらない。サム・クック風に朗々と歌うイントロを過ぎれば、アリーヤやKP&エンヴィ、ジョデシィ、シャイ、キース・スウェットらの90年代ヒットをシロップ漬けにして敷き詰め、甘い歌い口の耽美なベッドルームR&Bが快楽主義的に垂れ流されていく。その良い意味での融解感はティンバランドの助力もあまり意味をなさないほど。終曲でのサブモーション・オーケストラ使いも巧みな、いま聴いてナンボの一枚!
bounce (C)出嶌孝次