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It's easily the track with the most pop appeal on Scott's second full-length. "Pick Up the Phone" functioned as the lead single off Thug's JEFFERY, and it sensibly reappears here, buried in the latter half, de-emphasized yet not quite a tacked-on bonus. It does not store any personal data.Titled after one of Quavo's lines from the chirpy summertime 2016 hit co-billed to Travis Scott and Young Thug, this fitfully hypnotizing follow-up arrived after numerous delays, toward the end of the year's third quarter. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin.
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Necessary cookies are absolutely essential for the website to function properly. It’s the kind of music that is all about mood, and atmosphere, and if you are able to push past the content to the feeling it evokes, Birds in the Trap Sing McKnight is worth the time. Scott has embraced his style, warts and all, and his go-for-broke energy actually makes this a pretty great rap album. Young Thug shows up on Pick Up the Phone, and whilst his subject matter is no more innovative, his delivery is so much more creative: “got screws in my mouth, I’m just preppin’ it / I’m f***ing this cash up, I’m not celibate”.Įven then, in spite of its problems, there’s an intangible “something” about Birds in the Trap Sing McKnight that makes it more of a success than Rodeo. His guests perpetually show him up, as well. Furthermore, Scott’s delivery is so laid back and distorted that it’s near-impossible to find any humanity in it. The words rhyme appropriately, and there are some hooky pronunciations hidden in there, but the lines are essentially meaningless. Here’s a sampling of some lyrics from Scott’s verse on beibs in the trap: “bite me, ride me, strike me, indict me / snipe it, swipe it, rapper, trapper”. It really has to be said that Scott is a pretty terrible rapper. Those stories are where the album falls down, unfortunately. The production on the ends conjures up images of storm clouds and gothic castles, imposing sonic architecture for Scott to hang his stories of hedonism on. It shouldn’t work, but through a decent pair of headphones, Scott’s world envelops you, and creates a truly immersive sensation. The beats take what should be a refined, subtle sound and turns it up to 11, caking everything in clipping distortion and compression. His style is essentially a roided-up version of Lex Luger’s thumping menace, filtered through Kanye West’s maximalism. Scott’s main strength is his ability to wrangle numerous different producers into one coherent sound. Luckily for Scott, he dedicates enough to his sound, and he has a strong enough melodicism that he just about gets away with the album’s issues. His beats, whilst enjoyable and distinctive, are generally very derivative, and Scott’s lyricism and rapping abilities are questionable at best. The album wasn’t without its share of detractors however, and said detractors will likely have the same issues with his new one. Travis Scott is one such challenge.īirds in the Trap Sing McKnight is Scott’s follow up to the incredibly divisive Rodeo, which mixed luxurious, gothic beats with robotic, autotune rapping to surprisingly entertaining effect. Frustratingly, there exists music which challenges the effectiveness of this criteria, somehow managing to be strong and entertaining without fulfilling any of it. Just how important is substance to music? How important is originality? Performing skill? Listening to a lot of music, one develops a set of criteria by which they judge it, like looking for depth of emotion, or creative soundscapes.