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His vocals have become more entangled with autotune, a detriment to the quality overall, while the lyrics and deliveries haven't seen much improvement. Other notable spots for different reasons go to Nav, Toronto emcee, who puts in great work on 'Biebs In The Trap,' even if he sounds an awful lot like Madeintoyko, and Bryson Tiller, on 'First Take,' for being the most generic Alternative R&B singer I've heard in my life.Īs for Travis Scott himself, he's almost never a pivotal force here, something to be expected given his low lyrical expectations. The latter track especially, and if you distance yourself enough, the album as a whole, can be seen as the closest successor to the Man On The Moon legacy. Elsewhere, Kid Cudi appears on 'Way Back' and 'Through The Late Night' doing exactly what you'd expect Cudi to do, while Scott essentially pays homage to him. It's just their quality is at an all-time high, and their competition on Birds an all-time low, that these two verses represent the best of the bunch here. 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.
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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. Around this time last year, I decided to take a glance at Rodeo in my quest to understand Trap and its appeal.