The latter's thundering basslines sound out of place next to more considered compositions.
The gunshot samples on "All 4 The Love" are trite, while "Azure" starts out beautifully before pivoting into by-the-numbers trap. There are plenty of impressive moments on Night's Edge, and plenty of clichés. "Contact" glides between halftime hip-hop and straight-up house on a warm, welcoming bassline, while "All 4 The Love" starts out sounding like Araabmuzik and ends up scooting along into Jersey club on a drum break. His approach is minimalist, usually just a few synth lines and a drum kit, but the tracks on Night's Edge don't lack drama. His notes trill methodically, like he's plugging pins into a Lite Brite, and each one glows brilliantly. The latest signing to Terrorhythm, New York's Noah B, exemplifies both tendencies, building stark hip-hop beats out of chrome and neon. Its releases are all over the map, sure, but there's a common hip-hop influence and a penchant for bright, shiny textures. Plastician's Terrorhythm label is one of the many sources for this ongoing movement. There's a glut of artists reengineering it, splicing trap's genes in with grime, Jersey club and other dance music styles. Like dubstep in its later days, trap has become a springboard for ideas.
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