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Travis scott birds in the trap sing1/2/2023 Swarming basslines and sluggish beats likewise form the rhythmic foundation, with gauzy and tickling keyboards adding sweetness to Scott's hedonistic hooks. of Scott, who remains deeply into heavy accessorization and proclamations of dominance, as well as punctuations with affirmative exclamations cast in dehumanizing pitch alteration. The album's deepest verse by a great measure, it has no discernible connection to Scott's surrounding rhymes of cocksure nonsense. Among the present is André 3000, who drops by on "The Ends" to recollect the infamous rash of murders that struck his city during his early childhood. Released almost exactly a year after Rodeo, Birds in the Trap features little development, though the large company Scott keeps is quite different, and Metro Boomin is noticeably absent. 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. Scott creates a new environment for all featured artists and brings out a new side in each of them, yet the rookie stands out in a project crowded with seasoned elites.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. Kendrick comes in unexpectedly with flows from “Untitled Unmastered,” creating interesting textures.ĭespite Scott’s limited thematic content, “Birds in the Trap Sing McKnight” is a solid sophomore album. In “Goosebumps,” Scott sings and raps cockily over an ethereal dream-like instrumental, “Yeah, we gon’ do some things, some things you can’t relate / Yeah, ’cause we from a place, a place you cannot stay.” He creates and exudes superiority, asserting his place as an important figure in the hip-hop game. In “Birds,” Scott manifests dual musical ideas and switches between emotions seamlessly. The 14-track album is an emotional roller coaster, a step up from Scott’s unorganized freshman album “Rodeo,” full of too-long tracks with dramatic changes halfway through. This juxtaposition creates a dichotomy of conflicting emotion: You want to dance and simultaneously drown in your own misery - a staple of Scott’s sound. Forest, a poppy instrumental is juxtaposed with a heavy chorus including vocals by all three artists. With Scott’s opening bar being “Nightmares, high life, sleepy, night night,” drugs become the only recurring theme in “Birds.” Although he lacks any sort of overarching message in his music, Scott communicates his drug-addict persona as something he struggles with. Underground rapper Nav brings a generic rap sound to “Biebs in the Trap.” Fortunately, the catchy hook and Scott’s charisma pull out Nav’s half of the song from being a trap anthem, where Scott and Nav do not hold back from drug references. It eventually grows into a metallic symphony with overdriven guitars and swelling violins.ĭespite their variety, each contributor on the album manages to hit a traditional triplet flow or auto-tune rap similar to the sound that Future pioneered. “Way Back” transitions from an uptempo track into a “808s & Heartbreaks”-sounding track. Overall, each track on “Birds” blends seamlessly into the next due to smart executive production by Scott himself - a dark, detuned synth extends throughout. A smooth transition into “Way Back” follows. On first listen, you may not even recognize that André 3000 is rapping. In the first track “The Ends,” Scott abstains from his usual auto-tuned vocals in exchange for some solid rapping. ![]() Scott is known for his delinquency and wild stage presence, and those mannerisms emerge out of the dark trap stew that he hosts in “Birds.” After the success of his debut album “Rodeo,” Travis Scott delivers grunge-trap and dark textures on his second studio album “Birds in the Trap Sing McKnight.” Heavily criticized as under-developed, the 24-year-old Scott establishes his place in the hip-hop scene with “Birds.” Despite appearances by big names like The Weeknd, Young Thug, Cassie, Kid Cudi, Swizz Beatz, Bryson Tiller, André 3000 and Kendrick Lamar, Scott maintains the spotlight on this album.
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