![]() ![]() ![]() The track, however, is one of the most entertaining on the album. Young Thug has little to offer on “Pick up the Phone,” and the same goes for Kendrick Lamar’s presence on “Goosebumps.” Kendrick Lamar seems to fade in the spotlight of his own greatness as his verse on “Goosebumps” pales in comparison to his usual standards. The sound is again trippy and energetic, but it is overall a derivative song with little to offer the listener who wants more beyond the surface level drabble about the drug-filled, party lifestyle the Scott dwells on. The track “Biebs in the Trap” is layered with metaphorical meaning, but stumbles lazily in conveying something deeper. The female voice is soothing and contrasts well with its vibrating, dizzying qualities, with Scott’s. While it is unconventional, it is also painfully repetitive. ![]() “SDP Interlude” is more of an experiment. “Way Back” is grounded in deep vocals that resound from the back, creating a slow, yet exciting sound that is fresh in comparison to the relatively derivative lyrics. Two songs that stand out are “Way Back” and “SDP Interlude.” Both feature fascinating sounds and create an almost psychedelic head space for the listener, something Scott excels at. Scott’s music, although enjoyable, trippy, and at times thrilling, is ultimately a little hollow and too lofty. This was true for Rodeo, and it remains true for Birds in the Trap Sing McKnight. When discussing Scott’s artistry, it seems that his content doesn’t quite go deeper than the surface-level-cool and the excitement of the sound. Although Rodeo had its undeniable downfalls, it was a well-crafted albeit artful and experimental album from the Houston born hip-hop artist. Travis Scott makes a resounding return after his debut album Rodeo with his sophomore release Birds in the Trap Sing McKnight. ![]()
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