Album of the Year #44: Travis Scott - ASTROWORLD - HipHop | HipHop Channel

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Album of the Year #44: Travis Scott - ASTROWORLD - HipHop

Album of the Year #44: Travis Scott - ASTROWORLD - HipHop

Album of the Year #44: Travis Scott - ASTROWORLD

Posted: 10 Feb 2019 10:22 AM PST

Artist: Travis Scott | Album: ASTROWORLD

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Background by /u/Kitchen_Ur_Lies

Drop Astroworld.

Travis Scott only had one task after dropping his sophomore album 'Birds In The Trap Sing McKnight.' Announcing the title of his third LP before releasing Birds, he set the stage for his most clamored work to date. At this point in his career, he already made the palatial Rodeo, opened for Rihanna on her ANTI Tour, and had a top 20 hit with Antidote. Birds was placed before Astroworld as a holdover, for he mentioned in interviews that it is the true successor to Rodeo. And for that, he stressed composing the project over time, disappointing fans that expected it to land within the same year as Birds. As Scott moved into making 2017 his most colossal year yet, he locked in on a lengthy run of features across projects ranging from Migos' Culture to SZA's Ctrl. This cultivated growth in his already enormous fanbase, and he went on tour with Kendrick Lamar for his DAMN Tour to boot.

While waves were being made for him musically, along the way he found himself smitten with Kylie Jenner after Coachella of that year. This proved pivotal in his raps, as she was the inspiration for the lead Astroworld single, Butterfly Effect. While the lyrics appear motivated by MDMA use and an affinity for cars, it was named after their matching butterfly tattoos. Touching on the butterfly effect, their relationship would pan out to their first child together with Stormi a year later. As a further drive for Travis to finish work on the LP, it seemed like ages since the initial reveal. The anticipation increased tenfold once he previewed the opening of Stargazing on his Snapchat. Appearing as the first true taste of Astroworld, he would go on to perform the first half of this song at subsequent shows in the coming months. The months slowed to a crawl with no word on when to expect the album drop, flooding the internet with "drop Astroworld" comments. The only indicator came in June when a demo of Houstonfornication leaked, but unlike other leaks, it was swiftly dissolved by UMG, hinting that it would appear on the project soon. Anticipation and anguish ceased once Travis himself announced the release date on July 31st, and the following Friday the world finally returned to Astroworld.

Review by /u/Kitchen_Ur_Lies

Clocking in just under an hour with 17 tracks, Travis relays his largest influences from growing up in Houston; Screwed Up Click and Six Flags Astroworld. While his background is the rapper-producer route, he enlists an ensemble of lauded producers across varying genres to encapsulate his ideas of bringing the park back through music. Along the way, we're given samples and nods to the Houston and Southern rap scene, particularly from DJ Screw affiliates. No matter if you're looking at the day or night cover, the focal point is Travis himself, acting as the entrance to the park. This pays homage to the rollercoaster 'Texas Cyclone' at Astroworld, and we can assume more of the rides directly inspired some of the tracks on the album.

Beginning our day at the park is Stargazing, the perfect introduction to the atmosphere of "thrills and chills." An otherworldly beat marked by cooing synths lead into 808s flared with heavy kicks and rattling snares, invoking an infectious pattern for Travis to vocalize over. Immediately we're hit with references to the Houston scene by, "sipping on purp, feelin like the Barre Baby." Name-dropping Big Moe, Travis uses the moniker for lean that became prevalent when Barre Pharmaceuticals created the first promethazine and codeine infused cough syrup. Big Moe was a member of the Screwed Up Click and used lean references throughout his career as it became a part of his lifestyle, coming up off freestyling on DJ Screw mixtapes. His style of rapsinging could have arguably played an influence in more artists today including Drake, so it's nice that Travis gave him a nod to shine light on his legacy. These allusions can be found across ASTROWORLD as Travis commutes the experience of growing up in the Houston area through the prism of trap beats inflecting sensory moments. Stargazing is no exception, ending its introductory section by removing the kicks off Travis crooning into an intermediary phase meant to mimic the effect of a rollercoaster climb. And if you couldn't pick that up, he sampled live coaster screams to get you there. Right as you accept this, the track cuts to quickly paced unearthly keys in what seems to be panning snares, going completely left field from the first half. Starting the trend of "beat switches" throughout this album, they can be best interpreted as the auditory equivalent of rollercoaster thrill elements, which we'll delve deeper into later in the tracklisting. For the time being, Travis wastes no time over this electrifying instrumental and recounts the repertoire of his live shows by, "packing out Toyota like I'm in the league / and it ain't a mosh pit if ain't no injuries / I got 'em stage divin out the nosebleeds." His concerts have been known to be some of the most energetic performances in rap in recent years, and with the increased following he's gained, he now books entire arenas. After such a dynamic opener, we continue the momentum while we transition from a coaster to Carousel.

We open with a live endorsement from Big Tuck, another Texas rapper who played a role in molding the soundscape Travis imagined for this album. Only changing the phrase from "swag school" to "Astroworld," he borrows the intro and sample from his song 'Not A Stain On Me', which incorporates a Beastie Boys sample from 'The New Style' of just the group hollering. Reworking this to gradually build in volume, sequentially adding 808s, and panning the balance from left to right makes the sample become something more than its initial inclusion. The panning chiefly delivers the theme of a carousel in that the audio traverses across your ears, but not to the atrocious levels of the abysmal 8D audio fad. Using that to set the stage, we're abruptly introduced to a new voice at this point in the record with Frank Ocean delivering a slick chorus. Upon release of the album, the features were unlisted on streaming services and digital copies to act as a surprise for the first listen. These surprises supplemented the theme park aesthetic, pushing the listener to anticipate the next guest. And this would prove to be pivotal on the follow-up, packed with the most twists and turns on any ride yet.

The formidable and transcendent Sicko Mode solidifies Travis' expertise in curating anthems thus far. Blaring synths akin to Stargazing's intro seem to guide us on a familiar route, until an "Astro" blips from the most popular rapper on the planet. Judging off the enthralling synths, this seemed like the least likely entry for Drake other than the eponymous title from someone who's said "sicko" on tracks before, but that only complemented anyone's astonishment that he would even show up on the album. Travis is aware his audience has been enamored by transitions in his songs, but the first bend on Sicko Mode has him using the rare dime turn with success. With Drake out of the picture, Travis shines in relaying his journey up to this point by citing his Nike deal and having his first child through the means of a Notorious B.I.G. sample and a Jamba Juice nod. Bringing Screwed Up Click back to light, he weaves Swae Lee's saccharine voice through lines from Houston native Big Hawk. Brother of Fat Pat, together with DJ Screw and Lil Keke, the four came up as pioneering members of the culture embedded in Houston rap. The inclusion of his vocals amplify the track's importance in bolstering Travis' curation ability and in delivering interest to Houston's hip hop roots. This ride isn't without other well-known nods, tossing in 2 Live Crew's "don't stop, pop that pussy", as he glosses over the 305. And after two verses where we're comfortable with Travis riding the beat, stammering synths maneuver into our second shift. Considering Drake has taken Tay Keith everywhere with him in 2018, a stop to Astroworld wasn't out of the question. Recapping the full excursion, the progressive increase in BPM with each piece serves to exemplify the coaster methodology found across the record. Accounting for each soundbite and placement, it should have come out cacophonous and grating, instead driven and thrilling. While he put this shit together acting as the glue, Travis makes the next tune about DJ Screw.

With back to back Swae Lee features, the melodic portions of Astroworld begin to take form. DJ Screw was the integral influencer in sculpting the Houston scene because of his chopped-and-screwed technique. While this track didn't employ this method on the album version, when listened in sequence its slower tempo exudes the slowed effect. Where they compensate is by repeating lines in tandem, as the chopped portion of the name relates to echoing individual soundbites. One of Travis' most lauded works, 'Drugs You Should Try It' was rumored to have a sequel on this album by its original producer FKi, who only maintains production on this song and 5% Tint, hinting that this may be the next iteration of that sound. But I would personally hope the evolution of Scott's work dips further in the direction of the upcoming culmination that is Stop Trying To Be God.

Rightfully the longest track on the project, it takes its spot as a long winding coaster absorbed with enveloping the rider in vivid relaxation rather than any shock factor. Assessing the individual components intended for greatness in conjunction, it seems like a combination we don't deserve. Kid Cudi's iconic and rich hums, paired with Stevie Wonder's soulful and poignant harmonica, layered over James Blake's sultry yet grandiose voice, makes this the sublime time for Travis to tackle the most arduous subject across the entire record. As a general ode not intended for any figure in particular, he reflects on the rift between celebrities receiving godlike worship and said celebrities intending to be a deity themselves. While your fans may "love you", "it's never love no matter what you try." The public's perception is fickle and only hinges on your success, unlike the people who loved you before the fame and will continue to do so whether you succeed or fail. Recounting "fuck the money, never leave your people behind" and "always keep your circle tight", it's clear where he stands on maintaining a god complex. Celebrities typically aren't focused on bettering the lives of their worshippers, lending credence to the notion that they did not create commandments. Parlaying into the harmonious bridge provided by Blake, "Is it the complex of the saint that's keepin you so, so, so still?" The goodwill nature of the saint is brought into question, as that's a complex task to expect from a human. While an artist may believe their voice has a lot to offer in terms of bettering society and individual lives, that's being laced with the toxic infatuation of being worshipped. Once confronted, the figure is further told by Blake "did you see the void in the past? And can you ever see it coming back?" As a cyclical element embedded in those with star power, the lust for worship is to be resolved with true love not brought about by the fame and fortune. And besides the point, the whole track is carefully crafted with pleasing quirks in the inflection of certain lines, particularly "cause they did not create commandments," topped off by the intertwining of Blake's crooning over Wonder's wonders on the harmonica as a sentimental outro to such a heartfelt track. I have full reason to believe this is the most complete song is Travis' whole discography, and it's a pleasure coming back to every time.

It becomes jarring landing in the middle of No Bystanders with Sheck Wes and Juice WRLD leading the chant to fuck the club up. We're still listening to a Travis Scott album, so there shouldn't be any shortage of club bangers, and this is no exception. Its placement becomes natural when Skeletons segues in to provide relief from the energy. If we're still at Astroworld, I'd describe it as the point in your day between rides to grab some food and catch the sun setting over the park in a warm haze. The sole Tame Impala production is clear, with psychedelic elements teetering as several voices creep in and out. The credits on this track almost match up to STTBG, with Parker, The Weeknd, and Pharrell all lending their vocals to enhance the atmosphere budding off the trippy instrumental. The Weeknd in particular appears on the subsequent ballad Wake Up, loaning his vibrant voice to both the chorus and bridge with pleas to his lover.

5% Tint makes use of one of hip-hop's most iconic piano melodies from Goodie Mob's 'Cell Therapy.' Most interpolations thus far have hailed from Texas based acts, and this sample is indicative of Travis' love for Atlanta, considering he works with many Atlanta based artists today in shaping the current trap scene. Interpolating "Who's that peeking in my window? POW, nobody now," Travis warns the stranger first that he's equipped with the M4, showing a bit more restraint than the whole group. Each chorus contains high-pitched autotune moans overlaying the main vocals, almost like obscuring the main attraction with smoke and mist. This smoothens the transition to the outro of an angelic voice embedding itself within the chopped and screwed chorus. These vocal tricks aren't limited here, as they come into play on NC-17 as well. Evoking the eeriest beat yet, I'd imagine this taking place in a haunted house of mirrors. The demonic pitch on the autotune combined with the dark piano riffs present a sense of hopelessness as you're making your way out, and 21 Savage compliments this ethereal vibe.

Astrothunder touches on Travis' conflict on his current life goals and desires. He's stuck between the life you desires of fame, fast cars, and fortune, while feeling he needs to create meaningful experiences as the father of his daughter Stormi. This one is best explained by listening knowing that it's sponsored by Thundercat basslines and John Mayer on the guitar, making it the perfect song for distancing from everything at any point. In the park setting, it'd be best compared to Astroway, which took parkgoers for a scenic experience. And even though it can't extend all the way to Yosemite National Park, we still make a stop there for one of the catchiest songs on the tape. Guitar strums and pan flute melodies set the backdrop for Gunna to lay his signature cadence effortlessly to introduce Travis' verse. Scott's affinity for Cudi's music comes into the foreground as he bridges the next chorus with hums over the mesmerizing instrumental, adding slight reverb to enhance the experience. This is where Gunna and Travis share the chorus, as they build up to the lofty denouement, NAV's verse. Only here is where we discover the full context of the recording, being that Travis and Gunna indeed rented a private jet to make it to Hawaii, not to mention he is in possession of credit cards to which our pupils have never shared light with. But for real, glad they bumped up the volume cause past the memes it threw off my listening every time.

Now Can't Say offers one of the flashiest and unexpected spectacles yet, a newcomer from Houston with a standout verse. While most of the project was careful to outline the role the previous generation played in cultivating this sound, Don Toliver comes in on this track to show that they have new talent lined up. WondaGurl and London Cyr come together in producing a sinuous, undulating beat perfect for a drug-fueled chronicle on some Houston nights. As Travis tapers off letting us know the vibes are wavy, we get a chopped-and-screwed rendition of Fat Pat's verse from 25 Lighters blending with Don Toliver tuning in. Fat Pat is as aforementioned was the brother of Big Hawk, also a member of the Screwed Up Click, but was sadly murdered far before his potential peak. Nonetheless, this provides a physical moment showing how Travis is merging the gap between the older generation and the next one up. I've seen Toliver's verse compared to prime T-Pain or Akon, or even Goodie Mob's own Cee-Lo. I'd say it's a mix of all of the above and more, adding his own flair here and there, creating individual loops in this coaster.

The follow-up 'Who? What?' strikes similar chords to NC-17 and Carousel just now with looping drum patterns instead of piano riffs or hollers, also including a pretty sweet Takeoff verse. Butterfly Effect's inclusion is funny to me, because I doubt even Travis knew that that was the first single he'd release off Astroworld at the time of its initial launch alongside 'A man' and 'Green & Purple.' Houstonfornication takes the themes of Californication's sex, violence, and celebrity and adds on Travis' other problems he needs to address over another looping instrumental reminiscent of a house of mirrors. Coffee Bean is possibly the steepest departure from anything found on any previous works save for Owl Pharoah. As a track dedicated to his partner Kylie Jenner, Travis responds to any backlash they faced as a couple in the spotlight. Interestingly, he uses his own sound bite of "this is all" almost in a chipmunk soul manner, having it as part of the beat and in the foreground at the end of sporadic lines. Comparing themselves to Bonnie and Clyde, he transitions on and off the coffee bean with each chorus to indicate his internal strife. Kylie is a social media magnate, and Travis prefers to be out of the spotlight and in front of the camera, explaining the lines "stressing over award shows, she's stressin over her wardrobe" and "I've been going through a lot behind this glass tint." As the song progresses, it incorporates an orchestra string section and synthesizer, branching this song out from the rest of the album. As his soft-spoken rhymes indulge in the symphony, "this is all" recurs to notify the listener of the album's inevitable end, which occurs satisfyingly.

Astroworld became a phenomenon instantly, topping the Billboard 200 for two weeks to the dismay of other artists dropping around that time. His pure sales of the record came in second place for any project in 2018, and he enjoyed a Hot 100 presence with his first chart-topper Sicko Mode. The fanbase backing didn't slow down with just the music, as he embarked on a sold-out arena tour with his Cactus Jack signees, including his first festival. Astrofest took place on the old grounds of Six Flags Astroworld, keeping his seal of faith to bring the park back. Remaining members of the Screwed Up Click were invited and performed at the event, tying the Houston scene into the forefront of his younger fanbase. The accolades since dropping the album substantiated the quality made over the two year wait, and it has undoubtedly been Scott's most pivotal point in his career yet.

Favorite Lyrics by* /u/Kitchen_Ur_Lies

Packin' out Toyota like I'm in the league

And it ain't a mosh pit if ain't no injuries

I got 'em stage divin' out the nosebleeds

  • "Stargazing"

This shit way too big, when we pull up, give me the loot (Gimme the loot!)

Was off the Remy, had a Papoose

Had to hit my old town to duck the news

  • "Sicko Mode"

First rule of war, you find an act on her

You can't win a trophy or a plaque off her

But never turn your back on her

Cause they did not create commandments

  • "Stop Trying To Be God"

Gotta take a long drive up the hill

Gang too wavy, move like Navy Seals

I'm too wavy, think I need a Lyft

Chicago baby, she just wanna drill

  • "Can't Say"

Just keep droppin' them bombs, you should probably save your breath, yeah

We ain't gone play the steal, why you tryna funk the flex, yeah

  • "Houstonfornication"

I'm just bad, bad news

Good thing, the two

Bonnie and Clyde, the money and who?

  • "Coffee Bean"

Talking Points

  • Where does this rank in his discography?

  • Did the wait substantiate the work, or were you left expecting more?

  • Would you like to see there be a third work in this light, with Rodeo and Astroworld as the first two parts in a trilogy?

  • This album cemented Travis as one of the most popular rappers currently, do you think this steam can materialize in another focused project like Rodeo, or will it chase hits like Sicko Mode?

  • Is there any dream collab that Travis hasn't done yet?

  • Sicko Mode or Mo Bamba?

submitted by /u/Kitchen_Ur_Lies
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[DISCUSSION] 61st Annual Grammy Awards Discussion Thread

Posted: 10 Feb 2019 09:23 PM PST

Now that the awards are over, we've decided to have a discussion thread instead of having individual posts about results or speeches.

Full list of winners

Drake Speech

Cardi Speech

Link to game thread

Discuss below, if there are any more relevant links, let us know and we'll include them in the body of this post.

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Offset announces that his debut album will be released 2/22

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When did that 808 hihat become a standard sound in hip-hop and r'n'b?

Posted: 10 Feb 2019 10:23 PM PST

Pretty much the title.

I was listening to some older hip-hop (not old-old, just Late Registration old) and started wondering when that 808 hihat become the norm. It's mostly a very similar sounding sample and a very similar pattern. A good example of the most generic use of this is Post Malone's Congratulations. Other examples would be Logic 44 More (pretty much most of the Bobby Tarantino stuff), Schoolboy Q X (ft. 2 Chainz, Saudi), Drake Nice for what, Lizzo Truth Hurts, you get the idea.

Is there a specific year/artist/album that lead to this sound being so present in today's music?

Also, if the answer is obvious or you disagree with my taste in music, I'm sorry.

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Smooth Sunday. Post your smooth tracks here.

Posted: 10 Feb 2019 04:43 PM PST

Kinda late, but we still here. You know what to do.

submitted by /u/ThugginOnTheInternet
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Tory Lanez Finds Dax, Bullies Him, Dax Says Sorry for Diss Track He Dropped Today

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Chief Keef - I Just Wanna ft. Mac Miller

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Dave & J Hus - Samantha

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James Blake - Tell Them (feat. Metro Boomin & Moses Sumney)

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Sunday General Discussion - February 10th, 2019

Posted: 10 Feb 2019 09:12 AM PST

How about that Apex Legends

Zip up hoodies or overhead?

Baklava is the most underrated dessert

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Pitchfork Classic Reviews : Prince Paul - A Prince Among Thieves | 8.7

Posted: 10 Feb 2019 09:13 AM PST

[FRESH] Tobe Nwigwe - BOUNTIFUL.

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