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Andre 3000 rears his head on 'The Ends,' causing a vivid verse about the 1980 Atlanta child murders to be, by far, the most introspective aspect of Birds, while Kendrick Lamar incorporates elements of his past, in an uncomfortably parched vocal set, on 'Goosebumps.' Surprisingly, or not, these are the two worst verses from Three Stacks and Lamar in recent memory. Their results are spotty, but also indicative of Scott himself. Scott is no stranger to artist inclusion, and here he runs the gamut between Hip-Hop legends and relative unknowns. Ironically, it's Birds' worst, that being 'Sweet Sweet,' a bland and shoddy filler track. Adding to that factor, out of the 14 songs here, only one lacks a guest. It's clear the Houston emcee is fearful of silence. The rest is split half between Thugger's "Yhea!'s," and the combination of every featured artist here. There is a revolting amount of quips spewed between the lines, and only about half are Scott's own. Speaking on that last one, Birds can be seen as the penultimate ad-lib record. On Birds, he pushes these limits even further, grabbing the atmospheric production of GOOD Music, Kid Cudi himself, along with his assisted persona, and countless Thugger ad-libs. Few will deny he's a trend-hopper using the progressive ideas of Kanye West, Kid Cudi, and Young Thug to his benefit by forming a slick, southern version of the three combined. Spreading himself far too thin, Birds, for all the hype surrounding it, sputters due to a severe lack of polish, a retreat to old tropes, and an absence of noted tracks.Īs was the case with Rodeo, regardless of its surprising quality, Travis Scott lacks a true identity. Scott, with fans and some critics in tow, darted from one artist to the next, as evident by the nauseating string of leaks we've seen over the past month, causing Birds In The Trap Sing McKnight's rollout to be one of the worst in recent memory. Flash forward a year and things have changed quite drastically. An album with a balanced mix of catchy bangers, pristine production, and unique perspectives despite Travis Scott's general conventionalism, Rodeo saw what would happen if Trap was taken seriously and not as a means to stay relevant with constant, churned out releases. You could realistically argue that it was the first Trap album I genuinely enjoyed, having passed over numerous Young Thug, Future, and any number of run-of-the-mill trend-hopper releases. Turns out, against all odds, even the ones the album itself was counting, Rodeo was better than it had any right to be. They all pass in a slow-motion blur.Around this time last year, I decided to take a glance at Rodeo in my quest to understand Trap and its appeal. Among the others on the guest carousel are Kendrick Lamar, Kid Cudi, 21 Savage, and Cassie. This time, Scott co-produced only one track, another Weeknd collaboration, and it easily slips into the album's scheme with its serpentine menace and lightweight lyricism. Only on "Guidance," through scuttling drums granted by DF, is there a significant shake-up. Swarming basslines and sluggish beats likewise form the rhythmic foundation, with gauzy and tickling keyboards adding sweetness to Scott's hedonistic hooks.
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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. 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.