This is the latest full-length studio album from rapper, singer, songwriter, and producer Travis Scott, and it’s also the follow-up to his 2016 record “Birds In The Trap Sing McKnight.” Since the release of that album (itself a very quick follow-up to his 2015 debut studio album “Rodeo”), Travis has most certainly kept himself busy in several ways without releasing an album. In 2017, he started the year by seeing the single “goosebumps” from “Birds” reach the Top 40 on the Billboard Hot 100 (it even made the Year-End Hot 100 at #68) and later released the single “BUTTERFLY EFFECT” in May. He then spent the rest of 2017 earning features on several albums from the Migos record “Culture” to having three appearances on DJ Khaled’s “Grateful,” but his most prominent features came from SZA’s “Love Galore” off of “Ctrl,” and of course, the Top 10-peaking Drake single “Portland” that also included frequent Travis Scott collaborator Quavo. Speaking of Quavo, the two of them even ended 2017 by releasing the collaborative project “Huncho Jack, Jack Huncho,” and Travis wasted no time in 2018 by earning appearances on several albums like the Migos record “Culture II,” the “Black Panther” soundtrack and Rae Sremmurd’s “SR3MM,” and he also released the single “Watch” with Kanye West and Lil Uzi Vert which, despite its huge chart success (it peaked at #16 on the Hot 100, Travis’s highest peak as a lead artist), it was not included on this album, and Travis surprisingly chose “BUTTERFLY EFFECT” instead. Strange, but…okay.
Now, while I really like Travis’s style of music, I have an already on-and-off history with his full-length projects. I’m sure you guys remember these from my reviews, but I really did believe the hype after listening to “Rodeo.” I thought that Travis had a very distinct, interesting style on the album with some really top-notch, trippy, and nocturnal production, and I can see how his vocal chops and rap flows inspired several similar artists. However, I wasn’t nearly as into “Birds In The Trap Sing McKnight” because, while Travis’s vocal charm was still there and was still interesting, the production on the album felt more lackluster and phoned-in, nowhere near as sticky as that on “Rodeo.” One of the major things that really pulled me into the first album (the production) ended up being the biggest lowlight of his follow-up. Now, I know this record has been receiving a lot of praise, but you guys should know by now that I have many unpopular opinions, so I’m still walking into the album a little torn. With all the good things I’m hearing, I have hopes that it’ll be a good album, but…let’s just find out, I guess.
(NOTE: While the features on this album are uncredited, I have decided that I will credit them and, like how the features were credited in all lowercase in my “Birds In The Trap Sing McKnight” album review, all the features will be credited here in all caps. All credits are according to Genius.com)
STARGAZING: Kicking things off, Travis talks about a psychedelic trip on this one, and thankfully, he adds to the idea of “psychedelics” on this track by taking things back to the hazy feel of “Rodeo.” I also like his vocals throughout the track, switching from his typical singing to an autotune-assisted falsetto that actually helps fit in with the song’s weird feel. I also love the many twists and turns the song takes sonically (as I said, it does feel like it goes back to the weird feel of “Rodeo”), and it feels like Travis is playing more into what makes him special on this one. Great starter to the album!
CAROUSEL (FT. FRANK OCEAN): Keeping things in a very drug-infused direction, Travis Scott brings in Frank Ocean to talk about what it’s like to spend a day on several drugs. Once again, I really dig the direction Travis is taking this in, as it feels hazier and weirdly produced (with a hint of bombast) this time around. Even if it’s loud and, again, somewhat bombastic, it doesn’t feel overly abrasive, and I dig Travis’s flow throughout this one. Frank Ocean also shines on this song with a really fun hook, as well as a solid slip into his falsetto on his verse, really showing a lot of his vocal range that rounds out the track excellently.
SICKO MODE (FT. DRAKE & SWAE LEE): A THREE-PART TRACK (I capitalize that because I feel like that’s the first time I’m saying that in any review), Travis Scott brings in the 6 God himself, Drake, as well as Rae Sremmurd’s own Swae Lee (though it also does feature guest vocals, sampled or otherwise, from Big Hawk (Hot Shit), Luke (I Wanna Rock), Sheck Wes (Mo Bamba), and the legend himself, The Notorious B.I.G. (Gimme The Loot)), to talk about all the hard work that they’ve put in to keep them a cut above the competition. The production here is really great, taking things in a lot of different directions, mixing in an upbeat feel, a dark, nocturnal feel, and even a video game-esque feel. I love Drake’s mix of sing-rapping and straight rapping throughout the song, Travis obviously brings some solid auto-crooned vocals, and even though he’s hardly there, Swae Lee’s vocals are nice for what they’re trying to do. Definitely dig this one a lot!
R.I.P. SCREW (FT. SWAE LEE): Here, Travis Scott pays respect to the late hip-hop star from Houston, DJ Screw, who passed in 2000 as the result of an apparent drug overdose. Screw helped integrate the “chopped and screwed” technique, and Travis pays tribute to him (as does Swae Lee) by taking this song far slower. I like the click-clacking percussion and the very dark synths on this one, Swae Lee’s vocals feel appropriately chilly and sad on this one, and Travis’s vocals also feel very hazy and emotional thanks to the effects and filters placed on them. It’s definitely a far more sad song compared to some of the previous cuts, but it’s really effective all the same.
STOP TRYING TO BE GOD (FT. JAMES BLAKE, KID CUDI, PHILIP BAILEY & STEVIE WONDER): A star-studded track that features artists such as Philip Bailey, James Blake, Kid Cudi, and the legendary Stevie Wonder, Travis talks about staying true to yourself and not acting like you are some kind of “God.” I initially found Kid Cudi’s humming to be a little obnoxious on this track (I know it’s his typical thing, but it feels a little bit overbearing on this one), but it grew on me throughout my listen of it, and I do like Philip Bailey’s contribution to the hook. Travis’s vocals are also chilly, adding to the emotional vibe on this one. James Blake also comes in towards the end of the song and provides a very beautifully sung verse as well. I like the way so many different weird sonic elements mix together on this one (like Stevie Wonder’s harmonica), and I think this track succeeds in that it feels like Travis remembering what made him special on “Rodeo” and tapping into that again.
NO BYSTANDERS (FT. JUICE WRLD & SHECK WES): Travis turns up on this one alongside up-and-coming rappers Sheck Wes and Juice WRLD (the latter of whom you may recognize from the recent hit song “Lucid Dreams”), and I actually really loved Juice WRLD’s appearance here. His vocals are very smooth and gorgeous, and he has some great interplay with Travis, who provides another fun, energetic vocal performance. I wasn’t really super crazy about Sheck Wes’s hook at first, but it grew on me because I really dug that it really added to the vibe of the song, and I do like the energetic production on this cut. I can see it being a really fun turn-up jam that I’ll want to come back to in the future.
SKELETONS (FT. PHARRELL WILLIAMS, TAME IMPALA & THE WEEKND): A much shorter track than several others on the album, Travis nonetheless teams up with several big artists, such as Pharrell Williams, Tame Impala’s frontman Kevin Parker, and of course, frequent Travis Scott collaborator (and one of my favorite artists) The Weeknd to deliver a very ethereal, psychedelic track that feels very numbing and woozy. Travis drops a few very clever bars on this cut, The Weeknd comes through with some smooth autotuned crooning here, and though Pharrell and Parker’s vocal contributions are minor, they do help add an extra layer to this very trippy, exhilarating cut.
WAKE UP (FT. THE WEEKND): Travis knows how much his collaborations with The Weeknd slap, so naturally, he had to bring in the Starboy himself for another track. Can’t do any complaining about that. This song seems to be inspired by their relationships (Travis’s with Kylie Jenner, and The Weeknd’s much-rumored on-and-off relationship with Bella Hadid), and it takes some very interesting, different directions, with some really fascinating guitar plucking driving the production. The Weeknd’s vocals are gorgeous as always, and I think Travis shows some solid vocal range, as he switches between his typical flow and his autotune-assisted falsetto here, making for another great collaboration between these two.
5% TINT: Another dark jam that makes references to the Slim Thug track “Still Tippin’,” Travis once again makes reference to drugs, sex, and cars on this one. It’s obviously not a super lyrical song, but that’s fine in this case because I really dig the very sinister, creepy production that really plays to Travis’s strengths. It definitely feels like, after “Birds In The Trap Sing McKnight,” Travis isn’t taking any prisoners with this release and he’s not afraid to be unconventional. And again, Travis shows that’s got quite an ear for hooks and solid auto-crooning. Really dig this one!
NC-17 (FT. 21 SAVAGE): A more explicit track in comparison to the other songs on the album (not that the others haven’t been explicit, but this seems more explicit given that the title, which refers to the highest possible rating a film can receive in America, and an indication that no one under 17 may see the film), Travis brings back 21 Savage for this cut, and while that does worry me because of how one-note 21 can be, I was surprised by his guest appearance on “Birds In The Trap Sing McKnight,” so I walked into this cut more hopeful. And, right from the jump, I really liked the very nocturnal, somewhat scary production and Travis’s very energetic performance here. And, admittedly, 21 Savage’s performance is pretty fun as well. Gotta say I’m really loving Travis’s direction with this album!
ASTROTHUNDER: The shortest song on the album, this one has a title that apparently references famed bass guitarist Thundercat, and his influence can be seen a bit here: the production is very bass-driven, and it’s got a really cool groove to it. The song as a whole is also very high-energy, with fast-paced synths and a pretty catchy beat as well, and Travis’s autotune filters on his vocals make for one of his most interesting vocal performances on the record. There’s not a whole lot to say about it because it’s pretty short, but it’s definitely a really amazing track while it lasts, with very cool production and vocals that make it a great banger.
YOSEMITE (FT. GUNNA & NAV): Travis references the Yosemite National Park in California throughout this track, and he also brings in guest artists Gunna and his frequent collaborator…*sigh*…NAV. You’d think with an album as hideous as “Reckless,” NAV would just burn out, but…I guess if you’re signed to XO (and I guess since NAV and Travis frequently collaborate), he’s gonna at least get more guest verses…lovely. Anyway, this one has some surprisingly guitar-driven production that once again shows Travis’s solid ability to try different things, and it’s also got a very fun chorus from Gunna. Travis’s auto-crooning also remains pretty interesting throughout this one, and admittedly, I know it’s a meme about how quiet NAV’s vocals are on here (the vocals were fixed on Spotify, but I did find the original version on YouTube so I see why people were mad), but honestly, I’m not mad about it because his appearance is short enough that it doesn’t stale out like it does on his other songs, and it fits for the song while it lasts. Overall, this definitely could’ve gone wrong, but I’m glad it didn’t.
CAN’T SAY (FT. DON TOLIVER): Travis talks all about getting high and picking up women on this track, while also paying homage in several ways to Houston hip-hop through samples (notably of "Swang" by Trae tha Truth) and a guest appearance from Houston up-and-comer Don Toliver. I really love the hook on this one, and I think Travis really shows off his vocal range on this track, slipping between his regular voice and his head voice very nicely. I also like the somewhat grunge-inspired feel of the song, and I definitely dig Don Toliver’s very powerful, emphatic vocals on his hook and verse. I’d definitely love to hear more from Don in the future, and I’m glad he’s not the only highlight of the song. It feels like everything works well together on this cut, and I really love it!
WHO? WHAT! (FT. QUAVO & TAKEOFF): I can only hope this single doesn’t blow up because we’re gonna be hearing Offset say, “do it look like I’m left off ‘WHO? WHAT!?’” in interviews. I kid, I kid. In all seriousness, the final track on the album to have a feature sees Travis bring in Quavo and Takeoff from Migos to keep the drug-induced fantasies alive. Here, Travis brings us right back down the dark avenue, keeping the very nocturnal vibe that’s made him such an interesting artist, and I once again think his auto-crooning is very strong here. Quavo and Takeoff don’t appear quite as often, but Quavo’s vocals mesh well with Travis’s, and Takeoff has some fun rapid-fire flow throughout his verse.
BUTTERFLY EFFECT: The leadoff single from this album, Travis brings in several double-entendres here, referring to his “butterfly doors” on his Lamborghini, while also referring to the “butterfly effect” that leads to small things having big impacts on the future. Once again, this one is a rather dark-sounding track, and it also has one of the most captivating hooks on the record. It’s got some very chilled, but still hazy, production, and it once again sees Travis jumping nicely between his regular voice and his head voice. Honestly, I haven’t listened to “Watch,” so I can’t say if I’m disappointed in that being cut, but I can say I’m glad Travis decided to include this single on the album because it’s definitely an infectious and really fun one.
HOUSTONFORNICATION: A more personal cut, Travis talks here about his home city of Houston, Texas, while also talking about the acts of debauchery that he would get himself involved in during his youth (that’s where the “fornication” part of the title comes in). I love how eerily this one sounds, with very dark, nocturnal instrumentals that not only call back to many of the strong tracks on “Rodeo,” but also hook better than a lot of the tracks off of “Birds In The Trap Sing McKnight.” I also love Travis’s more fast-paced flow on this one, and his auto-crooning remains very smooth, and he sounds rather chilly as he talks about his youth. It’s a really awesome, infectious cut that I definitely think I’ll be coming back to in the future.
COFFEE BEAN: This is a track that’s been getting a lot of discussion, as it appears to be a “tell-all” track for Travis, who gets personal and talks not only about his relationship with Kylie Jenner, but also discusses the child that he had with her. It’s a track that basically sees Travis at his most vulnerable, bearing it all and revealing all of his insecurities. I love how Travis even changes things up a bit even on the final track, bringing some production that seems more inspired by boom-bap, and I love his emotional performance on this one. Furthermore, I know that Travis isn’t much of a lyrical artist, but I find his lyrics on this track to be some of the hardest-hitting bars that he’s written on any of his albums. It’s a fantastic finisher to this fantastic album.
Overall, outside of the fact that waiting let me hear the revised version of NAV's vocals, I’m legitimately ashamed that I waited over a week to review this album because I really think this is Travis’s best record to date. After the disappointment that was “Birds In The Trap Sing McKnight,” I was worried that, even if Travis bounced back, he wouldn’t quite be able to reach “Rodeo” levels again. Instead, he went even higher than “Rodeo,” experimenting with a lot of different sounds and going back to the very weird, trippy direction that made that album a success while keeping things fresh, especially in comparison to “Birds.” And beyond that, I think he also kept his vocals very interesting by experimenting with things like jumping into his falsetto and trying out some fresh flows and different lyrical themes, and I also think he brought in a lot of very interesting features, too. Even some of the features I was the most skeptical about (like NAV, for example) ended up coming through nicely, and all in all, I think this was Travis’s weirdest, and most entertaining album to date. I’m sure most of you have already listened to it, so I’m sure I don’t have to recommend it if you already have, but if you haven’t, do yourself a favor! It’s definitely worth it.
Favorite tracks: Honestly…all of them. I really loved each track on this one!
Least favorite tracks: None of them! There was no one song I disliked!
Rating: Excellent
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