Quick-jabbing triplets had been a staple of rap, but the trio made the style sound fresh, thanks in large part to Takeoff, its master of syncopation. The rapper was shot and killed at 28 on Tuesday.
The Atlanta trio Migos’ 2013 breakout hit “Versace” represented a clear demarcation line between the city’s older generation of rappers and its new vanguard. The rapping — much of it delivered in triplets — was a glittery stomp. Tightly clustered syllables that landed like quick jabs.
“Versace” was such an immediate sensation that Drake, at the time the genre’s most important ascendant superstar, volunteered his services for a remix, mimicking the group’s peppery flow and, by extension, introducing it to the rest of the world.
By all accounts, Takeoff — who was shot and killed in Houston early Tuesday morning — was the primary engine of what came to be dubbed the Migos flow.
The rapper, who was 28, was one of three people who were shot around 2:30 a.m. after a private gathering at 810 Billiards & Bowling ended in an argument. (The other two victims are expected to survive. No arrests have been made, the authorities said.)
The triplet pattern that became a Migos signature wasn’t new to hip-hop: It was a fixture in Memphis rap for years, in the work of Three 6 Mafia and others, and it was part of the cadence-bending arsenal of the Cleveland sing-rap pioneers Bone Thugs-N-Harmony. But Migos made the style sound fresh, less performative and more glossy. It had a hurried urgency and also the briskness of rough-and-tumble triumph.
Such is the nature of hip-hop innovation — sometimes it’s about what is said, but just as often, it’s about how it’s said. And the triplet flow that Migos popularized in the mid-2010s became a standard-bearer for the genre, setting a generation of Atlanta rap afloat.
Atlanta was already the center of hip-hop innovation when Migos arrived, but the trio was primed for streaming-era success — pulsing with youthful energy, leaning heavily on catchy choruses, collaborating widely. After the viral success of its 2016 hit “Bad and Boujee,” Migos released a pair of albums, “Culture” and “Culture II,” that each debuted at the top of the Billboard albums chart and spawned several hits, including “MotorSport,” “Stir Fry” and “Walk It Talk It.”
The prior wave of Atlanta stars like Gucci Mane and Young Jeezy captured ears with imagistic storytelling and signature vocal texture. By comparison, Migos sounded addled, anxious, pugnacious. They were untethered from earlier rap conventions. As the rest of Atlanta rap leaned toward the psychedelic — beginning with Future, then pivoting to Young Thug, and eventually the more commercially minded Gunna and Lil Baby — Migos, and Takeoff especially, held fast to its mechanistic idiosyncrasies.
Takeoff was by far the most reserved figure in Migos, which also featured Quavo and Offset. But he was deeply technically gifted, a master of syncopation, with a deftness that could render even the toughest talk exuberantly.
That talent shone on the group’s earliest songs, catching the ear of Pierre Thomas, known to most as P, one of the founders of Quality Control Music, the dominant Atlanta rap label of the past decade. In 2017, Thomas recalled to Rap Radar how Gucci Mane had introduced him to Migos’ music, and how Takeoff stood out.
“Gucci sent me the song. He sent me the video. I was like, ‘Man, the dude with the long dreads’ — it was Takeoff — I was like, ‘That dude there is crazy.’ The way he was spitting it reminded me of Bone Thugs, like how they used to be rapping back in the day.”
“Versace” appeared on the third Migos mixtape, “Y.R.N.,” which was released in 2013 and remains one of the decade’s defining rap albums. Over the next couple of years, which would see the ascendance of Migos to hip-hop superstardom, the Migos flow expanded past triplets to a broader umbrella that emphasized the staccato.
Even as the group moved in a more melodic direction through the 2010s, Takeoff remained resolute in his commitment to innovative rhyme patterns. He set the tempo of “Fight Night,” one of the group’s signature early hits featuring perhaps its most pointedly rhythmic rapping. On “Cross the Country,” from 2014, he opened with a dizzying verse, switching patterns several times. And last year, on a punishing freestyle on the Los Angeles radio station Power 106, Takeoff delivered a verse that took the group’s classic triplet flow as a starting point and thickened it, demonstrating how on top of one novel idea, a whole mansion could be built.
Source: Music - nytimes.com
