The production varies little from song to song and after a while, songs about drugs, guns and money tend to blend together. One of the main issues that the album faces comes down to the lack of memorable moments on the project. Sadly, the mostly mundane features and often sappy or corny lyrical outputs from Scott and his colleagues create far too many songs that can be skipped on the tracklist. ![]() His best songs have almost exclusively been club anthems featuring ferocious energy, over-the-top lines and memorable ad-libs, more akin to Three-Six Mafia than Lauryn Hill. The first song, “The Ends,” has an absolutely killer verse from ATLien André 3000, and later in the tracklist, rap king Kendrick Lamar drops a show stealing, earth-shattering verse.Īlthough Scott is credited as a writer throughout the album, the Houston native has never been known for his lyrics. Scott, known for bringing together a litany of industry and underground elite for projects, continues that trend with his latest album. For an artist who seems to be doing almost nightly shows (Scott did stadium tours with both The Weeknd and Rihanna within the past year), it’s easy to see how he and Dean might have decided to stick with the same general sound as his previous album. With the first single from “Birds in the Trap” arriving nearly nine months in advance, limited promotion and a release date that kept getting pushed back, it’s easy to understand why this album has not gotten the attention that Scott’s last one did. Time and time again rappers fall into the cycle of releasing a project every six to 12 months, and while the singles might sell, the idea of a cohesive and interesting body of work seems to get lost in the shuffle. Like his fellow trap contemporaries Young Thug, Lil Yachty and Migos, the product quality, creative spark and lyric writing tend to take a backseat to fans’ seemingly insatiable desire for more content. McKnight’s most obvious influence on Scott is the range of vocals that were sung on his projects, which can be seen in the heavy distortion and auto tune used to manipulate Scott’s already raspy voice. By the time The Weeknd and TRAVIS serve up a smooth send-off on Wonderful," you're in the Trap for life, and you won't want to leave.The album’s title, coined by Atlanta rapper Quavo, a member of the trap-rap group Migos, references the R&B crooner Brian McKnight, a man last relevant when Travis was still in middle school. "Way Back" drips into a searing guitar solo as "Sweet Sweet" fires off one of his stickiest hooks to date. "The Ends" veers between a haunting hum and a verse-for-verse tandem of our protagonist and Andre 3000 of OutKast. Kendrick Lamar delivers hard-hitting and hypnotic bars in the middle of "Goosebumps" just before a signature chantable chorus. Over the course of 14 tracks, TRAVIS threads together an engaging, enthralling, and epic patchwork of anesthetized and apocalyptic production, mind-numbing raps, and glorious hooks punctuated by an A-list cast of collaborators. ![]() ![]() Pitchfork claimed, "SCOTT's second studio album, Birds In The Trap Sing McKnight, is the Houston rapper's most concise and cohesive project to date, adding, "He has always been a mood-setter and a vocalist, and he is in full command of the vibe, tone, and mood of this entire project more than ever." Houston Press wrote, "SCOTT's playground is chaos the pure and unbridled variety that some have tried to emulate live but have ultimately settled for second place," while W Magazine fittingly dubbed him, "Your new rap superhero." Billboard described the album as "his own trap opera," and Rolling Stone profiled him extensively. In addition to inciting widespread fan fervor, Birds In The Trap Sing McKnight has drawn overwhelming critical and tastemaker support across the board. Travis Scott's critically acclaimed sophomore release debuted at #1 on the Billboard Top 200 and Billboard Top R&B/Hip-Hop.
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