What was it like making music around the time that Drake blew in Toronto? Before Drake got to do his thing, it was a race to see who would be the first to cross over to the US. Everyone wanted to be that guy. There is pre-Drake Toronto and post-Drake Toronto. Pre-Drake Toronto, there were so many bars about how he was going to be the first to blow and put Toronto on the map. We needed to find a new goal. Was that your goal, too? For me, it was never that.
I never wanted to be the first. My goal, if anything, was the same that it is now; to be able to do music and think about nothing else. Everything comes with that: money, girls—everything. What websites would you check out regularly to stay clued-up and hear the newest grime music? Those are my guys! Hold tight Hij! Before I started making grime, I used to make hip-hop and it was already mad different.
At the time, in my circle anyway, that was unheard of. Clearly, coming from somewhere else has allowed you to stand out. Spraying bars can only get you so far, which is why I produce a majority of the tracks I vocal, myself. I want to show people what I have in me, and what I feel could be done with the genre. How did your relationship with Big Dada come about? Tre has a chameleon-esque quality about him that allows him to adapt very well. As far as self-produced, independent artists go, Tre Mission has what it takes to make it big, and as represented on Stigmata there are signs that this rookie has what it takes to play in the big leagues.
The only question that remains is in which direction will Tre Mission go next: continue as an underground artist, take a gamble with a major label or throw out a curveball? William Hannan. Tre's been making music ever since, posting freestyles and tracks to U. Since then he's consistently found the bulk of his success overseas. These days Tre finds he has a second life, where he's both celebrated by music critics and grime pioneers alike, and often targeted by haters for his out-of-place Canadian, eh accent.
If anything, the controversy only seems to fuel Tre's drive, and the pace of his video and track releases has yet to slow. Tre articulates laser sharp rhymes over dark and cavernous, yet often frenetic beats, with the obligatory 8-bit Nintendo sound effect to further the space-out vibe of a grime beat.
What sets Tre apart is a balanced lyrical approach that has him flipping seamlessly between bravado and introspection. From rhyming about money, girls, and hiding weed from the cops over a driving bass beat in "Maxin Everything," to the insecurity-laden steel drum confessional of " Hilroy ," it's this delicate straddling of street-cred and self-indulgence that makes Tre Mission's music intriguing.
It's obvious that Tre stands apart from the crop of local up-and-coming rappers, and it's his view that what's burdening the city's rap scene with unoriginality aside from a few notable pioneers is street hip hop's inability to accept creating music for the sake of creating music.
Tre notes how many talented Toronto rappers never escape the cycle of street bravado, and all the danger that comes with it , saying "it's too bad some people don't know when to stop and say 'I'm going to do music now.
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