Travis scott utopia tattoo2/29/2024 ![]() Westside Gunn’s trademark ad-libs fuse with Scott’s own on ‘Lost Forever’, another tune that jumps around and seemingly shouldn’t work, but does. Yung Lean and Dave Chapelle contribute to the beautiful ‘Parasail’, perhaps the closest the album comes to helplessness rather than rage. He’s got The Weeknd on ‘Circus Maximus’, a song driven largely by a classic Abel Tesfaye pop beat, but also with a huskier, almost Popsmoke-esque quality to Scott’s own work on the song. It is paced to perfection, Scott’s apathy in the choruses contrasting the intensity of the album and serving as something of an interlude ahead of ‘Topia Twins’, with 21 Savage.īig names keep coming. The Beyoncé and Bon Iver-featuring single ‘Delresto (Echoes)’ – the most star-studded moment on a star-studded record – flows brilliantly into ‘I Know’, another of the standout tunes on Utopia. West was also involved in the making of Utopia, but is not credited on ‘Sirens’. ‘God’s Country’ pulls to-and-fro, making for almost uncomfortable listening, while ‘Sirens’ has a sound reminiscent of Kanye West in recent years, post-Pablo – with bravado, discontent and shock factor in sound. The final minute of ‘My Eyes’ is populated with a dense, rapid-fire Scott verse that contradicts and compliments the Sampha feature. There’s a definite James Blake feel to the tune, but it is actually British vocalist Sampha who lends his wonderful voice to the first half of the song, with Blake’s vocal and production credits all reserved for the latter part of Utopia. ‘My Eyes’ is another stand-out track which comes in early. It’s a bit of a shock, certainly not how you imagine the return of Travis Scott, but the chant soon fades and Scott comes in with a pair of lively, high-quality verses of his own. A distorted, jagged voice almost chants “It can change, it can stay the same” as it opens. The grungier nature of the record is clear from the brilliant album opener, ‘Hyaena’. ![]() In the otherworldly soundscapes that Scott and his team of A-list producers create in the scope and ambition of the record in the supporting cast that Scott enlists to feature on the album in its accompanying cinematic offering and also simply in its extensive 75-minute run time. It’s a title he reaffirms with Utopia, far and away his best release to date. Somewhat forgotten, among the tragic and tabloid noise that’s engulfed him, has been Scott’s position as psychedelic rap’s biggest star. He’s had two children with one of the world’s most famous women, cemented his status as one of this generation’s biggest musicians, and been at the tragic centre of the Astroworld festival incident, where ten people died in a crowd surge. Read our Utopia review.Ī lot has happened to Travis Scott in the five years since he released Astroworld. It is, undoubtedly, his finest album yet. The result is ambitious, bold and unpredictable, murkier than its predecessor, but immeasurably more engrossing as a result. Travis Scott’s Utopia has been years in the making.
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