Honorable Mentions:
The Artscience Remixes-Robert Glasper x Kaytranada Die Lit-Playboi Carti Saturn-NAO Redemption-Jay Rock Whack World-Tierra Whack
10.) ONEPOINTFIVE-Aminé
Following up from his 2017 rookie season and debut album Good For You, Aminé released ONEPOINTFIVE, a self-proclaimed LP/EP/Mixtape/Album; a rather misleading label, but genius marketing tactic. In the video, he explains how the margins of official releases are basically more narrow now in the world of music streaming. "[m]ixtapes are albums and albums are mixtapes. Niggas call they albums mixtapes 'cause if [it] flops, it's an EP. Nah, that's like a b-side, bro." With this explanation, we recieve the latest effort by the 503 rapper with some clarity. Off-rip, we're greeted by the authoritative narration from Instagram comedian and black diva Rickey Thompson. His comedic expression of self-confidence is an overarching theme throughout the album; sorry, I meant LP/Mixta.. you know what I mean. “DR. WHOEVER” doubles as the first track on the 13-song album and the most introspective. Aminé vents to his therapists—yes you, the listener—about his private life and the mental health woes he deals with on the daily. A figure in the new age of youthful hip-hop, Aminé’s idiosyncrasies make up the affable rapper’s person, and he doesn’t shy away from airing out his feelings when necessary. After breaking the ice with vulnerable rhymes, we traverse through a batch of whimsical loosies that feel unfinished, but polished enough to slap together. Songs like “BLACKJACK”, “CHINGY”, and “RATCHET SATURN GIRL” are the categorical bass-thumping freestyles, where Aminé spits as if he’s an underdog. The pop-induced hip-hop he’s known for—the bright sounds and rather teenage bars—was proved otherwise with the aforementioned tracks. But don’t let Aminé fool you. He still catered to his niche audience with tracks like “REEL IT IN” and “CANTU”; the bright sounds and rather teenage bars we’re accustomed to. It seems as this was Aminé’s placeholder in the 2018 fiscal music year, but I sense a more complete, concept album forthcoming in the new year. Favorite tracks: REEL IT IN, WHY, TOGETHER 9.) TESTING-A$AP Rocky Any album that causes me to calibrate my speaker system upon first click is special. Sonically, A$AP continued the stylistic choice and beat selection his discog’ is known for, but Yeezus’d that shit. The leftovers from his 2015 release AT. LONG. LAST. A$AP were starting to wear thin for fans and TESTING’s rollout became increasingly hype. A month prior to release, Rocky teased a medley of the album’s single and intro “Distorted Records” & “A$AP Forever” on The Tonight Show. Peculiarly, the stage was aligned with crash-dummies and scientists conducting experiments on Mr. A$AP himself; a symbolic move alluding to the album’s title and Rocky’s experimental take on the project. The album generally was underwhelming to the larger demographic of hip-hop critics, but I was keen to the production value TESTING boasts. Whether it was drawing inspiration from European sounds & culture, recruiting the 90’s dance music legend Moby for a melancholy sample, or displaying virgin flow patterns to test out on the tracks, it breathed surrealism. A week before the release date, LAB RAT was streamed live from the artist’s Youtube page. In the video, Rocky takes an artistic approach that is rather uncanny in hip-hop and did his best guinea pig impression to immerse himself into the thematic avenue of TESTING. There are moments of awkwardness because of his unorthodox choice of using a Black Mirror-type reenactment to roll out a new project, but in its entirety, I have to give credit for the elegant stylization that Rocky consistently supplies. The consequences in viewing this project in relation to his previous works is troublesome. Often used as a fool-proof gauge to measure musical evolution, I can understand why the abundant amount of modest receptions from critics position TESTING into the long live/last era. But it does the album an injustice if reviewed solely compared to his past body’s of work. Purely looking at track by track and how they fit into the project’s Avant-Garde exterior, it’s burying any other ‘Lil’ rapper’s crying/yelling passion project in the art of musical composition (cc: 6ix9ine). My last statement may be selfishly unfair, but TESTING is quality music from a quality artist who makes quality art. There may be glimpses of mediocrity emblazoned into certain tracks, but objectively, the whole record could stand firmly on its hind legs. Plus, the album’s follow-through was cut short for its unfortunate release date being in the midst of the approaching Kanye Wyoming albums. It's worth heavy consideration to re-listen and re-envision the artistic palette of Pretty Flacko, while also reimagining the cover art’s pixelated textures being repurposed into grimey flows and grainy beats. Also, Skepta was on the album; ‘nuff said. Favorite tracks: A$AP Forever REMIX, Changes, Buck Shots
8.) KIDS SEE GHOSTS-Kids See Ghosts
2018 will probably reign infamously as the year Kanye lost his damn mind. The irrational political lukewarm takes and familiar antics, that aren’t necessarily new to ‘Ye, we’re positioned under a light of suffocating judgment were some of the key parts to Yeezus’ downfall. After Kanye announced the blueprint to G.O.O.D Music’s 7-song album boot camp in Wyoming, we were gifted with 5 albums solely produced by the rapper in the opening weeks of summer. The second of them all, KIDS SEE GHOSTS, birthed a official moniker for the legendary collaborative duo of himself and Kid Cudi. Championing themselves as a band, Kanye invited Cudi to vacation to the Equality State in hopes of recreating the creative algorithm used for their 2010 My Beautiful Dark Twisted Fantasy sessions in Hawaii. The end product? Solid. If it weren’t for Cudi’s signature hums and return from rehab, I think my ranking would be unfairly high to just hear Kanye audibly shout gibberish on a track like “Feel the Love”. Before I get carried away with my disdain of Kanye’s erratic behavior in this creative period, I want to highlight why I like it. The right amount of sampling was key to my impression of the album’s success. Utilizing samples from guys like Louis Prima, Kurt Cobain, and Marcus Garvey, it breathed life again into Kanye’s production discography. Along with the samples, Cudi’s therapeutic use of humming saved the album thoroughly. My favorite record has to be “Cudi Montage”. The way they flip the grungy guitar riff from Kurt Cobain’s song “Burn the Rain”, is brilliant. Pairing Mr. Hudson’s echoes with Cudi’s blues and Kanye’s message “lord shine your light on me / save me please”, it’s beautiful. Favorite Tracks: Cudi Montage, Reborn, Freeee (Ghost Town Pt. 2)
7.) Milky Way-Bas
If you look up Dreamville’d in Merriam-Webster, you’d find the definition of this past tense verb to mean “build a following with the artist, produce quality music, and don’t rush it”. Ok, I’m lying, but if you applied this word correctly in the right context, it would make a lot of sense. Started by one of hip-hop’s Goliaths, J. Cole, the label is known for its careful releases and quality music that isn’t considerate of massive record labels’ one-size-fits-all method. Take Cole for an example, his issues with singles and radio play led him to reflect on the artist he originally set out to be and set the pillars for the uncompromising attitude they have towards connecting with the fans through music that means something. Even if that means taking your sweet time. Bas, a 31-year old rapper and tri-citizen of Sudan/France/USA, came with an album that sets the standard in how Dreamville makes music. After two albums and redshirting a couple years, Bas continued to develop his craft and shadowed Cole on the road. Perhaps he was a product of his productive environment or did some soul searching, Bas found it on Milky Way. On the eve of the album's release, Bas took to Instagram to detail his passion behind the project. “It’s been two and a half years since Too High To Riot. I’ve spent the better part searching for ground...[t]his album is about finding ground.” The Sudanese rapper has done his fair share of research which allowed him to make an album that comes from self-love and self-acceptance. Receiving placements from son ami (‘his friends’ in French), Bas relied on his worldly view and experiences to be felt in the music. On “Spaceships + Rockets”, we travel to “Sudan in the summer”, while bouncing to the song’s traditional African drums. In “Tribe” with J. Cole, we vacation down to Miami’s Little Haiti neighborhood, vibing to a sample of Brazilian guitar strums and percussive instruments, redefining hip-hop beats. And before we finish our musical tour, we head an hour north to “Boca Raton”, partying with Bas & A$AP Ferg to the sounds of samba provided by Seattle resident and producer Sango. As I’m finishing this review, I went and bought tickets to Bas’ next show. You should too. Favorite Tracks: Sanufa, Designer, Tribe
6.) EVERYTHING IS LOVE- The Carters
Just as Kanye and Cudi finally established themselves as Kids See Ghost officially, Beyonce and Jay-Z fashionably listed their marital binding name as the couples official moniker when performing alongside each other. The Carters did the unthinkable on a cool, summer night in London: they dropped an album the same day it was announced. After gracing the UK on their On the Run II Tour, Bey & Jay cunningly left the stage with grins that signaled to an “oh shit” moment about to happen. It resulted in the release of the visuals to “APESHIT”, concluding with monstrous white letters spelling out “album out now”. A stunt so dangerous that it’s almost criminal, cemented these two as the greatest living artists. EVERYTHING IS LOVE was the combination of therapy and prophetic preaching on common themes of generational wealth, fame & love, and black pride. Billed jointly as hip-hop/r&b, each spouse took up their roles to cater to everyone. If you’re outside of the Beyonce or Jay-Z fandom, then you’re already a lost soul. This album included Beyonce’s soft but firm vocals and Jay’s seasoned rap prowess. If anything, Beyonce might’ve taken the helm as she even crossed into Hov’s lane, spitting a quick 16 bars here and there. Jay said everything he had to say on 4:44, so his contributions felt more like a ‘happy wife, happy life’ type of effort. But don’t get me wrong, Jay-Z’s field day is most rapper’s best verse they’ve ever spit. The Carter’s largesse is revealed throughout, paying forward the tips & wealth to their kins and anyone that wants to boss up; a double entendre of sorts. Something that Jay-Z is educated in. Riding this wave of artistic evolution, Jay started rocking a nappy-headed fro signifying that his repurposed, unbothered, peaceful psyche is now entering a fruitful future of love and prosperity alongside his queen and children. *Freeze frame*. But what is hip-hop if you don’t talk your shit? Impressively, the superstars are worth a whopping 1.2 billion(!) and show no remorse in regards to their superiority over the music business and anyone in their lane. On “HEARD ABOUT US”, wifey & hubby take turns reminding folks of their status. If you don’t talk for yourself, then someone else will. And negatively. At this rate, Jay and Bey might be knocking on Barack and Michelle’s door to displace them as the nuclear black couple. Favorite Tracks: HEARD ABOUT US, BLACK EFFECT, SUMMER
5.) Outside-Burna Boy
The Nigerian Lord (Oluwa Burna). Grandson of Fela Kuti’s manager. Port Harcourt’s Bad Boy; a few titles Burna dons when convenient. This story begins where Drake’s mixtape More Life ends. Originally slated to contribute a full track for the project, Burna was relegated to the waning seconds of “Get it Together” featuring Jorja Smith, an English lass and peer to Burna. The Drake song avoided proper accreditation for the South London rapper, so Burna used the full-length for the intro track on his album. After Drake’s culture-vulturing album dropped, Burna finally released Outside 10 months later. I try to limit blasphemous statements within my writing, but the similarities between Afrobeat aficionado Fela Kuti and Burna are scary; I mean, Burna’s headlining record “Ye” samples the late, great Fela. The specialty of Burna’s music is that he draws inspiration from his Yoruba roots, Fela Kuti Afrobeat, and even adopts the UK grime slang. It’s the perfect combo. Speaking in a mixture of pidgin and Yoruba, Burna Boy is the epitome of a ‘bad boy’. If he’s not smoking on loud, he’s probably prancing around on stage adorned in chains, shirtless, and laced with bright festive colors, while his dreads swing gracefully in tandem with the crowd’s murmuring of every song. No really, he doesn’t even have to sing. Outside is the introductory album for non-Africans to enjoy, just as much as the latest Drake album. It’s digestible, fun, and offers Afropop sounds that fit into pop music’s archetype. On “Streets of Africa”, Burna playfully raps over an ice cream truck beat, disproving the ‘Africanisms’ that are ingrained in western society, viewing Nigeria and Africa in general as just poor and uncivilized. The line “how could I not be happy all day?/I'm from the streets of Africa” is a mood and a half for Burna’s rich love for his home. On “Ph City Vibration”, he dives deep into his history of living in the River States of Nigeria, exuding with love and passion for a city that birthed him. Burna bounces between a pocket of dancehall rhythm and using a rap cliche of repping your troubled upbringing in your hometown, producing a song that would have you shaku shaku at the club. Admittedly, I don’t know half of what he’s saying but I still sing-along like I do. On “Calm Down”, Burna links up with the East London producer JAE5, layering his broken English with vocal riffs on a more relaxed beat, sampling the most perfect “dooh, dooh, doohs” you’ve ever heard. He has the potential to be world renowned in the coming year. Look out for Oluwa Burna; he’s conquered Africa and Europe already. Who knows what continent he’ll take over next. Favorite Tracks: Ye, Ph City Vibration, Koni Baje
4.) Black Panther: The Album-Kendrick Lamar
2018 will be a cultural milestone in Black culture, with the film release of Marvel’s Black Panther. The predominantly black cast, Black representation, and Black heroism is significant to the black community, as it shines a new light on African Americans and gives hope to the future generations. Alongside director Ryan Coogler’s epic superhero film, was an official soundtrack album, executive produced by Compton’s finest: Kendrick Lamar. Still riding the high off his Grammy award winning masterpiece DAMN., it seemed farfetched to expect a K Dot project in the new year. There was no hesitation from Kendrick, as he agreed to produce the album after watching an early film cut. If you thought Coogler had a laborious time, trying to live up to Marvel’s standards of filmmaking, think about Kendrick occupying the role as music curator. Recruiting his label mates and friends, offering words and adlibs when necessary, and capturing the essence of the film in a stand alone body of music; don’t fret, he killed that shit. The film’s music composer, Ludwig Göransson, set out to incorporate the authentic sounds and instruments from different African tribes in Senegal and South Africa, aiming to score the film with a realistic touch of ancestral sounds. With his arduous musical journey taking place before the soundtrack was built, the two artists carefully selected the pieces of drum patterns and native instruments to be sampled in the album’s slew of neo-hip-hop songs. Additionally, Kendrick enlisted the help of South African artists Babes Wodumo, Sjava, Yugen Blakrok, and Saudi for a more inclusive approach to getting the album just right. On the track “Big Shot”, producers Cardo and Cubeatz use celestial tribal hollers and catchy African pan flutes as the base, layering trap drums and hip-hop hi-hats on top to provide a Pan-African tune for Kendrick and Travis Scott to rhyme over. Another hypothetical worry Kendrick may have had while recording is if it would come out corny or not matching the level of cultural impact the film had. But it’s far from being kitsch. The dopest part of the album’s all-star cast is that it features many different African-Americans artists that each has their own familial ties to Africa. The magnitude of their contributions is substantial because each artist is interpreting their version of what it means to be black. Whether it’s Future/Jay Rock/Kendrick spitting bars tougher than Wakandian vibranium on “Kings Dead”, or the Bay Area ‘Real Bois’ SOB X RBE gassin’ their verses on “Paramedic”, providing narration to Killmonger’s Oakland upbringing, or Vincent Stapleton/Yugen Blakrok/Kendrick militarizing their words in the raging anthem that is “Opps”, synchronizing the music to T’Challa’s POV. The artists’ raw emotion and energy radiate on each track, a vital bone of the album’s skeleton. Regionally speaking, Kendrick found artists that range from the West Coast, up to the Bay, down South, up North, and even overseas. Kendrick’s Batman signal attracted the optimal bunch with a vast amount of skill sets and sonics. Considered an Afro-futuristic piece of work, the cultural significance is just as influential as the music itself. Musical soundtracks for films are usually tacky because of their poor mixing of stray songs from contrasting artists, but Black Panther’s medley of music intertwined beautifully to represent a proud moment in Black history. Wakanda forever. Favorite Tracks: Big Shot, Paramedic, I Am
3.) KOD-J. Cole
On the 4/20 release of KOD, J. Cole articulately speaks on hip-hop’s new era of outlandish behavior, but does so in a cathartic tone. The album’s acronym title was deciphered to mean Kids on Drugs, King Overdose and Kill Our Demons. Cole, who is a habitual hermit at this time in his career, resurfaces with thought-provoking music that he’s always been about. On 2014 Forest Hills Drive we learn about Cole’s home and adolescence and on 4 Your Eyez Only, Cole raps from the outsider’s perspective. Pivoting thrice, Jermaine finds the appropriate amount of musical expertise paired with lyrical sermons that serve up a platter of rude awakening and personal experience for the next young artist to pay attention to. 2018 was overpopulated with ‘Lil’ rappers & face tattoos, lethal lean overdoses, and an abundance of negligence in securing proper wealth. Feeling dispossessed between being that same struggling rapper camping out in the rain for a shotty attempt to get signed by Jay-Z and reaping the benefits of executive status in hip-hop, slowly being labeled as an “old head”, it was a moment of clarity for the North Carolina rapper. Using his platform and musical talents to provide the truths of the cut-throat music business, he paid it forward with constructive criticism. His ruminating intellect hid a 3-step plan in the album’s acronym: Kids On Drugs is the realization of the system’s persuasive tactics to encourage drug abuse, or irresponsible spending, in solution to the accumulation of man’s issues. King Overdose is the acceptance of his own personal abusive choices, succumbing to the same choices the kids make in suppressing their negative emotions. Lastly, Kill Our Demons is the organic, head-on approach to alleviating humans’ frailties, while searching for the root of it all and questioning the core. However, this doesn’t end at drug addiction. Wealth and greed are pertinent in the overarching conversation. If you press play on “1985 (Intro to "The Fall Off")”, you hear the KOD template being recited. Cole’s confronting tone paints the picture of the viral Soundcloud rapper, sympathizing with their ignorance. Continuing his stern callout, he recalls a time when the money, drugs, and fame was once new to Cole and the reckless behaviors were out of indulgence; “[a]ll these niggas popping now is young/Everybody say the music that they make is dumb/I remember I was 18/Money, pussy, parties, I was on the same thing.” It’s the most fruitful advice from a man that takes interest in black prosperity, especially in hip-hop. But for most of the colored-hair scoundrels, that advice needs to be delivered candidly, matching your message with the aggression of a black dad that is about to retrieve his belt for some disciplinary whipping. At this point as well, Cole’s weathered career has privileged him to release albums, with no features, and gain platinum status; a Herculean achievement for the Born Sinner. Expecting a featureless album, a mysterious name appears on both “The Cut Off” and “FRIENDS”: kiLL edward. As gullible as concerned fans could be, Cole couldn’t trick us as it was discovered that it’s an alter ego for the rapper. Adopting the name from his troubled step-father and affixing his vocals to a slower pace, Cole once again creatively uses the character as a figure that represents destructive habits. In the chorus of “The Cut Off”, kiLL edward calls out for chemicals to alleviate the pain. J. Cole is rare in this cold world. He cares, he hurts, he offers advice but not without first swallowing the pill himself. KOD deserves to be the best rap album of the year, but may be edged out because simpletons can’t handle his art. Favorite Tracks: Kevin's Heart, ATM, “1985 (Intro to "The Fall Off")”
2.) DAYTONA-Pusha T
Def Jam’s promotional tactics are probably strong enough to have Lil Pump elected as president. The digital marketing and excessive merch loudly stating DAYTONA as the ‘best rap album of the year’. Word of mouth and unwavering confidence is ingenious from the Virginia rapper. Going on promo runs, performing live for almost three quarters of the year, and joining the Wyoming sessions with Kanye are all reasons that he’s a Grammy frontrunner in the Best Rap Album category. Originally thinking he completed his intended vision of the album, Pusha altered his plans when Kanye offered to produce the album and invitation to the G.O.O.D Music 7-song album program. At this point, he enjoys the luxury of time being on his side, reaching new creative heights with his music. This resulted in naming the album after Daytona watches, his favorite, and submitting 7 tracks that each could be the designated single. This is a treat for music critics, concisely arranging the absolute superior products in the rapper’s arsenal, but it’s also enough to get to the point. Pusha understands his ceiling is lowered for his niche audience clinging to the drug dealing references and cocaine chronicles, so he pushes into the unknown. Poaching the followers of Yeezus Christ and appealing to the indifferent hip-hop listeners, the combination of beef, bars, and beats are the recipe to DAYTONA’s admirability. Without dissecting the Pusha T vs. Drake beef too much, “Infrared” drops obvious subliminals to the Canadian 6icko, using the title as a metaphor to not being able to see the real in Drake. Killing two birds with one stone (no pun intended), Pusha slings rhymes as lucid as his drug dealing days. Not exactly making the album cut, but Pusha dropped “The Story of Adidon” days after his album release, following up Drake’s smug reply. Basically, a sinister man unsheathed a juicy surprise that another pop star has been keeping a secret: PUSHA REVEALED DRAKE HAS A BABY. Not to stray too far from DAYTONA’s greatness, but god damn. Pusha’s 2018 has been him having his cake and eating it too. If those combo of beef and bars isn’t enough, Kanye pumped life into each track with stimulating samples, ringing off crisply off any speaker. It’s perhaps the finest quality of beats to bars ratio in the G.O.O.D Music 7-song album catalog. I expect a Grammy win Pusha T for the sheer amount of doing things right on this album. Favorite Tracks: Come Back Baby, If You Know You Know, What Would Meek Do?
1.) ASTROWORLD-Travis Scott
*This description is originally from my previous review, written a little after the album’s release date. Edited for clarity and additional thoughts* If there was ever a time where I felt like I’ve experienced the culture of a city without even have ever traveled there, listening to ASTROWORLD painted me the picture of a hazy Houston summer. Upon the release of Travis Scott’s third studio album, I had to calm my over-hyped expectations. I attempt to separate my ‘Stan’ bias from this review, but I apologize if I run on a tangent about why he’s the heir apparent in the long line of succession from Jay-Z to Kanye to Cudi to La Flame; again, I’m sorry for my lack of professionalism. Let us proceed to this flawless project. I think it’s better fitting referring to the rapstar by his legal name, Jacques Berman Webster II, when dealing with a record that connects so close to home, but I’ll be flipping back and forth. Jacques’ A&R and “[a]ir traffic controller” Randall “Sickamore” Medford, recently had a sit-down with Rolling Stone magazine, discussing the groundwork laid down and detailing La Flame’s creative process. He explains that the record was actually started before Jacques’ sophomore release Birds in the Trap Sing McKnight, and was intended to follow after his debut studio album Rodeo. Sickamore says that “[t]he first album, Rodeo, was kind of his journey from Houston to L.A. This album is like, what do you do after you get the whole world? You go back home. The concept was, this is his journey back to Houston. He wanted this whole thing to be a Houston album;” This quote feels like a co-director's cut of sorts that is common for feature films, but not studio albums. However, that insight is more than enough detail for you to grasp the conceptualization that their side had put countless hours into developing. Right off the rip, we’re greeted with the the track Scott has live-teased in the past couple months,"STARGAZING", which showed a close semblance in style to tracks off his sophomore album. It wasn’t until the classic hip-hop beat change where La Flame absolutely spazzes. He’s been a forerunner in the melodic-type of hip-hop in recent time but flexes his lungs in what sounds like a 2-minute freestyle. This led me to drop my preconceived notions of ASTROWORLD being just a Birds pt. 2 (which I was lowkey fine with), and immerse myself into the story’s narrative that unfolds, but with more expression. In tracks like "R.I.P SCREW", "5% TINT", and "CAN’T SAY", Travis displays Houston's appeal to listeners and fans alike. Paying homage to the late Houston legend DJ Screw seemed inevitable, but it’s not only about the past for him. He dually recruits the youthful Houston artist Don Toliver to trade verses on "CAN’T SAY". Travis has earned the position of Houston’s ring bearer but understands the responsibilities that come with it. In the simpler times of young Jacques Webster, Texan rappers had probably instilled a unique, southern identity in his developing mind, but also offer hope to a teen who had dreams to make it big one day. In the case of Don Toliver, Travis is paying it forward by signing a promising artist to his label Cactus Jack Records. Besides grasping Travis’ illustrative concept through his words and references, the sound shouldn’t go unnoticed. Absorbing the music in sheer amazement on the first listen, I simultaneously followed along to the credits list and was constantly questioning how deep this project goes into developing Travis’ artistry. The variety of artists outside of the mandated number of Texas influences, is insane. Who knew that The Weeknd, Stevie Wonder, Sheck Wes, and Tame Impala could all be involved on one record? I know, neither did I. One of my early personal favorites was "SKELETON" because of the oozing synths produced by Tame Impala, which weaved together 3 very different vocal styles of Pharrell, The Weeknd, and Travis himself. This collaboration seemed like the last piece of the puzzle finally being stamped down to create a soundscape that escapes reality. This track was one of many that had a transcending effect, offering a guided tour of the revitalized Astroworld theme park that Travis has built from the ground up; yet, it doesn’t extrapolate too far from Travis’ arsenal of 808’s and catchy ad-libs. Travis is coming to terms with his notoriety. The issue is, how does one man not crumble under the increasing pressure that is unavoidable in these times? Having a baby with near-billionaire Kylie Jenner, princess of the infamous Kardashian family, doesn’t exactly ease the tensions; but Scott? He’s different. At least he says. His crew of friends and confidants seem to ground the rapper, not letting him spiral out of control like other artists, who have been victim to this level of stardom. On the 5th track "STOP TRYING TO BE GOD", Travis cautiously warns himself—and others (Kanye?) subliminally—on how the addictive state of omnipotence isn’t suited for mortals; either way, it doesn’t matter. Travis Scott’s version of Astroworld is a sanctuary for all the like-minded ragers to feel a sense of belonging and an invitation to join him in harmony, experiencing the musical euphoria that ASTROWORLD prescribes. Favorite Tracks: STARGAZING, ASTROTHUNDER, SKELETON
0 Comments
Leave a Reply. |
|