With rattling snares and booming 808s forming the basis for everything from rap and R&B to pop and EDM right now, it’s easy to forget a time that trap music wasn’t as accessible as switching on your radio to hear Rihanna singing over a Mike WiLL Made-It beat, or Drake going back-and-forth with Future over Metro Boominproduction. While the roots of the sound can be traced back to the 90’s, there is one producer who’s name is unavoidable when discussing modern trap music. Between the years of 2010-2011, Lex Luger managed to craft over 200 songs, from joint mixtapes with originators like Juicy J to bonafide hit records like Waka Flocka Flame‘s‘Hard In The Paint’, Rick Ross‘ ‘B.M.F’ and Watch The Throne‘s ‘H.A.M.’ His epic, orchestral style with heavy 808’s, rapid-fire hi-hats and crisp snares made Lex Lugerthe first trap super-producer, pioneering the sound as we know it today.
After leaving a mark on the game that would go down in history, Luger decided to relocate from Atlanta to be with his daughters back home in Virginia, and to explore other things that could be more creatively stimulating to him. He’s developed a live show that strikes a balance between EDM artists like A-Trak – who he worked with as Low Pros – and putting in work developing underground artists without the constraints of the mainstream music industry (although Wiz Khalifa & Travi$ Scott‘s‘Bake Sale’ and A$AP Ferg & ScHoolboy Q‘s ‘Let It Bang’ are both reminders that he’s still one of the best in the game). This Summer he intends to shut down the festival season, with his partner KinoBeats, where they will blend the old with the new, playing the biggest hits of Lex‘s career so far alongside custom production with plenty of crowd participation at the forefront.
How was Canada? You were there over the weekend, right?
Yeah. We were there for eight days, man. It was f**king awesome, man. It’s a lot of love out there, man. It’s a lot of different cultures. I loved it. It was my first time out there. It was pretty cold the first two days, but after that it was great.
What were you doing out there? Were you making beats and stuff or just visiting?
We had rented out this house. We had our own little section downstairs where we had our studio set up. We would make beats throughout the day and at night we would go out to party and do club appearances. We had two shows. It was kind of a paid vacation.
Cool. Whereabouts were you staying? Was it Toronto?
No, we were in Quebec.
Cool, and who were you working with?
Really these local cats, Les Anticipateurs. They’re really dope. They’re huge out there, as far as the music scene, just the whole aura, the way they carry themselves, the way they talk. Everybody likes them. They go to the clubs, they can get in, they walk in, don’t have to pay. They’re just the guys in the city.
That’s who we try to link up with, those type of people. They’re very good people and they treat outsiders or whatever you want to call it, they treat us good. We’re from America, so there’s always stereotypes and all that blasé, blasé, but with these guys it’s not like that. We like working with people like that. Skin color doesn’t matter, music doesn’t matter, being American doesn’t matter, it’s just a human being doing business with another human being.
I linked up with High Klassified too. He’s the man out there, so I linked up with him one day. We go back since the Low Pros days, with me and A-Trak. That was pretty cool.