Nota Baloyi Claims Sjava Took Control of ‘The Trap Temptations’ Project
The long-awaited collaborative album The Trap Temptations, featuring Ruff, Emtee, Sjava and Saudi, has been widely celebrated by fans as a nostalgic reunion of some of the most influential voices to emerge from South Africa’s trap movement. However, the project has also sparked debate within the industry, with music executive and co-host of Music Pulse, Nhlamulo “Nota” Baloyi, offering a sharply critical take on the release.
Released on Youth Day, the album marks the return of the former African Trap Movement (ATM) collective, a group that rose to prominence during their time under Ambitiouz Entertainment. Together, the four artists helped shape a distinctly South African interpretation of trap music, blending street narratives, soulful melodies and emotionally driven storytelling into a sound that defined a generation of hip hop fans.
Following years of successful solo careers, the reunion project was expected to showcase both nostalgia and artistic evolution. While many listeners have praised the chemistry between the artists and welcomed the return of their shared sound, Baloyi argues that the album leans too heavily in one creative direction.
Speaking on his podcast, he compared the project’s overall feel to a past-era group dynamic, suggesting that it resembles more of a collective identity than a fully balanced collaboration.
“They are recreating the Teargas vibes by joining up together. They sound like Teargas, I won’t lie. It’s like if Teargas did a trap album. Instead of ‘The Trap Temptations’, it should have been ‘The Trap Teargas’,” he said.
Baloyi further suggested that the project does not fully highlight the individuality of all four artists, arguing that certain contributors do not stand out as strongly as expected.
“You don’t hear Emtee adding something new. What’s the difference between that album and Logan? Sjava’s on it. It’s the same sound, Ruff, same producer,” he added.
According to his view, the production style and overall direction of the album feel too familiar, relying heavily on established sonic patterns associated with Sjava and longtime collaborator Ruff. This, he argues, makes it difficult for the project to feel like a fresh creative step forward for the group.
His comments have ignited discussion among fans and industry observers, many of whom have taken to social media to debate whether the album should be viewed as a nostalgic celebration or critiqued for lacking experimentation.
Despite the criticism, The Trap Temptations has been praised by a large portion of listeners who appreciate the reunion of four artists who played a pivotal role in shaping South Africa’s trap era. For many fans, the project represents a return to a sound and chemistry that defined a significant moment in local hip hop history.
Ahead of the album’s release, the group described the project as more than just a musical collaboration, framing it as a reflection of their shared journey and growth over the years.
“This album represents our brotherhood, and we are also trying to give our people a picture of how much we have grown musically as a collective,” Ruff said.
Sjava echoed similar sentiments, emphasizing that the project carries the weight of their individual experiences since their early days together in the industry.
As reactions continue to pour in, the album has become one of the most talked-about local releases of the year, not only for its music but also for the conversations it has reignited around artistic identity, collaboration and legacy within South African hip hop.

























