Tag: Frazier Trill

Frazier Trill – “Still Trapp’n” review

This is the sophomore full-length album from South Carolina rapper Frazier Trill. Emerging as a Pi’erre Bourne protégé after signing to the latter’s Interscope Records imprint SossHouse Records, he then made his mark over a couple years ago after withan eponymous debut fully produced by his mentor properly introducing himself to the masses & showing us what he’s capable of. But as Pi’erre is now turning his attention to his SossHouse signees after dropping his latest EP Grails last month to critical acclaim, Frazier is first at bar assuring that he’s Still Trapp’n.

“Alaska” is a symphonic trap opener flexing that his shit be on froze whereas “System” works in some synths & organs getting on the more conscious tip lyrically talking about the corruption within the United States government. “Bachelor Party” hooks up some horns & hi-hats assuring that you know it’s about to get wild, but then “One of a Kind” brings back the synthesizers so he can talk about how fine & unique that one special woman in his life truly is to him.

Meanwhile, we have Frazier expressing his desire for 30 chains on “Lu Kang” over a trap instrumental with a somewhat eerie synth pattern leading into “Cold Case” taking more ominous approach talking about spending $1K on a new pair of kicks. Fellow SossHouse labelmate Jelly makes the album’s only guest appearance on “Big Dog” diving into more rowdier territory as far as sound goes boasting their statuses in the game just before “Hood Rich” has a really cool flute weaves into the fold thanking God he didn’t lose his life in the streets.

“Another One” has one of the weaker performances on the album as he sounds like he’s trying to impersonate Gucci Mane a bit jumping over a rubbery trap beat talking about not needing another plug while “Motion Picture” mixes some keys & hi-hats asking what the biz is. The song “Cash App” has a more suspenseful vibe for an ode to the titular mobile payment service while the wavy penultimate track “Steven Segal” talking about getting the dope & selling it. “My Last” is a synth-induced closer spending the remaining amount he has on 20 things.

I’ll always appreciate Pi’erre for always trying to push his protégés by producing albums for them & Still Trapp’n makes it pretty clear that Frazier ain’t going nowhere because not only is it on par with the predecessor, but has me anticipating Chavo’s World 3 as well as Sharc Wave & Street’z Hottest Young’n in the coming weeks. He sounds refreshed after taking a couple years off & I actually think the production that his mentor cooks up here is better than self-titled as solid as that album was.

Score: 3.5/5

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Frazier Trill – Self-Titled review

Frazier Trill is a 31 year old rapper from Greenville, South Carolina who came onto my radar a couple years ago when Pi’erre Bourne signed him to his Interscope Records imprint SossHouse Records. However after a couple of features & singles under his belt, Frazier is ready to deliver his full-length debut with Pi’erre production from start to finish.

The album kicks off with “Evolution”, where Frazier talks about his growth over an eerie instrumental. The next song “Make a Way” talks about praying to make it out the hood alive over a cloudy beat while the track “Missing” with Bermuda Yae sees the 2 talking about murder over the exact same instrumental Famous Dex used for the intro of his 2018 debut album Dex Meets Dexter. The song “Me & My Dog” talks about living it up over some victorious horns while the track “Wat Else” flexes over a beat that I can picture being in a modern Mario game.

The song “Door Swang” with Jelly finds the 2 going back & forth about moving weight over a metaphysical instrumental while the track “Like This” talks about those who run their mouths over a frightening beat. The song “Start Over” talks about how he don’t play games over a mischievous instrumental while the track “Don’t Know the Half” talks about those who can’t understand over a shadowy beat. The penultimate song “Today” talks about riding with a thug over some prominent bells & then the album ends with “Bout Nun”, where Frazier talks about being fresh as shit over a delicate instrumental.

If anyone enjoyed The Wolf of Peachtree or Chavo’s World as much as I did, then I think you’re gonna enjoy this album as well. It’s a little too short only running at 26 & a half minutes, but Frazier does a good job at showing his potential as he’s at his hungriest lyrically whereas Pi’erre kills it behind the boards as he pretty much always does.

Score: 3.5/5