From Vancouver, British Columbia, Mat Trewhit and Dtour debunk the preconception of Rap music being just spoken word slapped on a beat. Put In On Wax highlights the voracious predisposition of truly self-made Rap artists leaving their mark on the music business through the abundant use of crude lyrics, metaphorical associations, and a commercially syrupy flow that invades your ears and comfortably stays there rent-free for days.
“This song took us a while to come to fruition. Dtour had written all of his bars and the hook first and after seven months, he convinced me to do my part as well as I had been super involved in production-related affairs. In the span of those months, I had gone through quitting my day job and finding a new one, moving from North Vancouver to East Vancouver, and getting Covid several times. When the record was polished and completed, we decided on the name and realized that it serves us and other Indie artists as a powerful message to stay working and stay persevering despite the cliche braggadocious style,” shares Mat Trewhit exclusively for Blue Rhymez Entertainment.
Omnipotent enough to fill the room on its own, the incipient strums resembling deep xylophone plucks imbue the mood of the public with mystery and high expectations. Hey, yo, is heard Dtour speaking to the listener in a casual manner peppered with a comforting yet sober bass voice.
Setting the vibes on fire with his delivery, Dtour raps the first part of the hook with ferocity and tranquil anger: I swear Dtour’s only dope when on he’s rappin’ on that Boom Bap/ Add it up man I swear it’s only two tracks/ Still got a handful of problems but there ain’t a thing that I lack/ I had to go weigh it up then I took it back to the trap. From the start, the Rap artist makes it evident he knows his craft and easily commands the beat with confidence without any profanity yet!
I got some drugs in my pocket, I got some beats in the stash/ Imma be real with you yeah, I want a handful of racks/ Sh*t that you got for your homeboy, I took it and sold it right back/ He needed some help with his flow, I told him to go home relax, adds Dtour the second part of the uber-appealing hook.
The flow the Rap artist opts for during his verse reverberates in multiple layers like a chant done by a group of people rather than one guy doing what he best does. The sophisticated portrayal of one’s own lyrical superiority hits hard in the following bars: This sh*t is straight out the oven/ Yeah we just cooked it from scratch/ Matty we’re making a hit/ We should go put it on wax; Oh, you’re painting graff? I never seen you in streets/ Imma roll up when I want heads turning like 40 degrees.
After a second stridently pleasing hook, Mat Trewhit joins the song with a certain vein of vengeance in his voice repeating the pre-hook we heard earlier by Dtour and then adding, of course, his own spice to the mix: I just went and slid up to 8th st/ Put the whole gang in the back/ You can pull up if you want/ My crew is staying intact/ I put it all in the past/ I had to learn and adapt/ I got a couple of problems/ But I don’t see nothing I lack. Mat’s flow is distinctly monochromatic carrying an undertone of anger mixed with ambition. You hear the man’s voice and you can tell he’s been working hard at his craft in silence for possibly years. His lyrics are more straightforward than Dtour’s but they convey the same level of gravitas and domineering.
By the time the listener reaches the end of Put It On Wax, he/she’s become a fan. The song turned out to be a sonic creation that exerts a most obvious grip on lovers of Hip Hop and modern Rap music. It’s very hard to point out any flaws or acoustic mishaps because they simply don’t exist.
Song Credits: Daniel Dekleer (Dtour) – Artist, Songwriter; Matthew Steen (Mat Trewhit) – Music Producer, Artist, Songwriter; Jamie Warnock – Sound Engineer.
Make sure you support the two Hip Hop artists by streaming Put It On Wax on Apple Music HERE, on Deezer HERE, on Tidal HERE, on Amazon Music HERE, on YouTube Music HERE, and on Spotify below:
Written by Mariana Berdianu
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