The hit NBC show World of Dance showcases top tier dance talent on many outlets around the world, with partner shows in 4 other countries and a network of YouTube channels with over 1 million combined subscribers. In 2018, World Of Dance’s music supervisor Vaedynn Er teamed up with Producer Dojo to curate and create playlists of dance music for their crews to use on the shows. We are proud to announce that Trap Jesus has now released three new songs on their World of Dance Music channel:


Speaking in Tongues first appeared as a beat sketch in May 2018 during a Bounce Gvng session in Kaydence’s room at 1500 or Nothin Studios in Inglewood, CA, where the drums, 808s and plucks were born. The next day came the halftime sections with the low pitch brass stabs and it was exported as a rap beat. A few months later it was revisited while I was in Atlanta preparing for iStandard’s A3C Producer Show, so the production got stepped up to include the high energy drop section and I added some vocal chops from ill.Gates 2018 Class of 808 Sound Library to give it a lead sound. At that point it wasn’t quite hot enough to win it’s round in the battle (Shouts to my Bouncegvng brothers Egomi and Double AA for taking 1st and 3rd!) so I decided to turn it in for feedback in the Producer Dojo. As they say, steel sharpens steel, and ill.Gates and the Dojo Senseis were able to give me the right advice and feedback to make the song really slap, and right in time for the World of Dance mixtape.

[warning: may cause fits, glossolalia and the holy spirit]


During that same Atlanta trip to compete in the A3C Producer Show my friend and amazing songwriter Dalicia La Fleur invited me to accompany her on a trip down to visit Gray Matter Collective studios in East Point, GA, where super producer WLPWR [Big K.R.I.T., Yelawolf, Wiz Khalifa, Tech9ine] and his team of talented writers and producers work. It just so happened that the session in the Dilla Suite was running long so the rest of us got whisked into the C room and told we had a couple hours to kill. All of a sudden my laptop is open and Reason is running, DC jumps on the keys while I start throwing him sounds and Dalicia and Mage are on the couch with lyrics and melodies on deck. We start a few nice loops when suddenly my computer dies; I forgot to plug it in! Aaaaand I hadn’t saved the song yet… {always, always save!!!} Some how in the 10 minutes DC had left before he had to leave we miraculously recaptured all the MIDI and found the patches and rebuilt the loops [I saved it this time, with the utterly original title JAM]. By that time our illustrious writers had enough lyrics penned for Dalicia to lay down a first draft, then the homie Anatome came in and said “you know what would really set this off? Live percussion!” so he took the demo home and laid down some fire conga tracks. The next day we met back up at Gray Matter, got some sage advice on lyrics, arrangement and mix from WLPWR himself, then recorded new vocals and honed the track to to what you hear today! Six talented musicians coming together to create a jam [pun intended] in a little over 24 hours. That goes to show why the Bounce Gvng motto is “Music is a Team Sport!”


A couple days after those productive sessions at Gray Matter Dalicia had me over to work at her home studio along with another talented musician from the Gray Matter Collective, Matt Mulkey, known by his stage name Molekey. But this wasn’t just any night, this was the night that Hurricane Michael was set to hit Atlanta, and we didn’t know what to expect. Luckily, Dalicia’s studio is in a basement room with no windows so we felt safe enough, but the stormy, windy weather combined with the looming hurricane threat gave that session a decidedly spooky vibe, and we ran with it. Matt picked up his guitar and started playing the ghostly signature riff of the song while I matched him with drums and an 808 line. Dalicia then jumped on the keys on her computer and sent me over some scary synth lines to add to the mix. After that we were all in the mix adding concepts and writing lines. Early verses were full of storm metaphors, but when the “ghost in my room” pre hook was written we ran with it and we re-wrote the verses with supernatural tones over the same melody and cadence. Finally the hook came together and we could all tell that Molekey’s soaring voice was the one to bring this one home, so he jumped in the booth and brought the house down [which is a lot more than I can say for the storm, by the time we left the session it looked like a typical fall night in Seattle outside, lol, nothing a North Face with the hood up couldn’t handle!].

Thanks to all the people who helped to co create these songs and make their placement possible, music truly is a team sport!

Luke RainComment