He immediately finds the seams and studs of the sample he’s tinkering with. Cash has bragged that it takes him about five minutes to hook up a sample, and he’s not far off-I clocked him at 20-30 minutes on average.
But Cash is indefatigable: He goes over the beat again and again, bouncing steadily in his computer chair, shifting on its casters with an excitement that never wanes. Making a beat can be tedious, like putting together a jigsaw puzzle composed of ill-fitting parts. I can feel the influence of Pop Smoke and one of his go-to producers, 808Melo, both in the sound and the name of some of Cash’s percussion effects, custom labeled “Dior,” “Luciano,” and “Woo.”
Cash immediately loops a clean two bar stretch that opens the song. The synth is a climbing, churning Nokia cell phone ring. His laptop fuels the rising Bronx and Queens artists in his circle, like Big Yaya, B-Lovee, Lucki, and perhaps most notably Shawny Binladen, whose hushed, urgent growl is the perfect compliment to Cash’s music.įirst up is the Lox’s “ All for the Love”, a Swizz Beats production off 1998’s Money, Power, Respect. Cash has produced for Lil Yachty, and Drake has posted videos vibing out to his music. Now sample drill is very much on the rise on YouTube and in the earbuds of New York City teens. After Pop Smoke hit big, Cash taught himself the parameters of UK drill, and began laying instantly recognizable samples on top of those vibrating baselines-updating a New York tradition of soulful, sample based-rap that runs from Rick Rubin through Large Professor to Puff Daddy. When Pop Smoke, formerly of Canarsie, linked with UK drill producer 808Melo in 2018 and seasoned the dour, punk beats with distinctly Brooklyn lyrical swag, he changed the texture of New York rap.īut the South Bronx-born Cash claims to have made New York’s first real contribution to the drill sound.
After jumping to the UK, where it fused with elements of grime, Chicago drill blew up in New York in 2014, thanks to Bobby Shmurda and Rowdy Rebel. The sound-largely credited to producers DJ L and Young Chop-is a skeletal bass-heavy style paced by stuttering 808s and ticking hi hats, with menacing, repetitive synth melodies and lyrics obsessed with nihilistic violence. The self-titled “Sample God” has agreed to come in blind, sit with 13 random tracks I’ve loaded onto a thumb drive, and turn them into beats fashioned in his trademark style, known either as “Sample Drill”, or “Bronx Drill,” depending on who you ask.ĭrill was christened on the Northeast side of Chicago in the early 2010s. The basement is a converted corridor of windowless, soundproof closets available for rent, and Cash has commandeered this one specifically for our session. I’m sitting in the basement of a low-rise corner building in Bushwick with 23-year-old rapper/producer Cash Cobain, and it’s finally time to throw on the Spice Girls.
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