SuppliedTravis Scott’s latest offering Birds in the Trap Sing McKnight offers a glimpse of what that world could look like with its digitized tone, graphic effect of the synthesizers and experimental use of 808’s. Scott showcases an intricate ability to curate a sonically collective masterpiece albeit with an improved balance between ambition and quality.
The 14 track album crafts a moody, surreal soundscape which, when coupled with Scott’s penchant for incorporating seamless transitions in his songs, could communicate maximalist intentions however the reverse is the case. The “Antidote” artist showed a maturity from his previous work, stripping most of the music of eccentricities.
While Scott isn’t renowned for his lyrics, there seems to be a level of maturity and sometimes frustrating minimalism in the lyrics on this record: “Would it be unlawful to spend a honeymoon in a brothel and share pics from the camera…” Scott doesn’t really flesh out the contents of his verses, so most times they end up coming off as empty or unfinished. But this lyrical simplicity creates a compelling dynamic — it evokes a particular curiosity that adds to the overall aesthetic of this record.
The album’s guest appearances strengthens the record, building on components which Scott lacks. Every collaborator’s individual strength is placed to complement Scott’s weaknesses, from Andre 3000’s effortless narrative and Kid Cudi’s emotive melodies to Cassie’s sensual vocals and Quavo’s inventive rhyming “hell nah don’t discriminize”.
Andre 3000 delivers an intimate and vivid narrative encapsulating his relationship with women and religion and detailing his emotional scars from the 1979-81 Atlanta child murders whilst borrowing the cadence of new trap on the ends. Kid Cudi, who is Scott’s idol, shows up on two tracks: Way Back and through the late night with his famous hums and vocal manipulations to elevate these songs to the vortex of drug induced abandon.
Scott’s strength as a producer is shown in the success of cohesiveness of these songs despite the diverse background of the collaborators. He shines in his overall control of these songs despite the contributions, showcasing his ability to curate and set the tone and vibe of each song. We see this in the despondent, reflective feeling on the ends and the celebratory but dark scenery on through the late night.
Ultimately, the whole record, a vessel of synthetic, melancholic vibes transported me to the hazy, drug-filled world of Scott and whilst there he didn’t necessarily bring me into the confines of his mind but showed me glimpse and pieces of his life. This is his best work yet.
