Houston rapper Travis Scott delivers some of the best work of his career with his highly-anticipated third studio album, ‘ASTROWORLD.’

Only a select few, highly-anticipated albums tend to generate a significant buzz these days.  While it’s usually the biggest artists in the driver’s seat, sometimes a rap album, not released by Drake, comes along and creates a frenzy.  That’s the case with ASTROWORLD, the highly-anticipated third studio album by Texas rapper, Travis Scott.  After previously reviewing Scott’s previous two albums, I’ve been mixed – perhaps not as ‘all in’ as some of his biggest fans.  That said, I love his left-field, experimental spirit, which is highly effective on this adventurous, colorful, and enjoyable LP.

“STARGAZING”

“Rollin’, rollin’, rollin’, got me stargazin’.” “STARGAZING” kicks off ASTROWORLD superbly, divided into two parts. There are a number of multi-part songs that incorporate beat/production switches.  The first part is more extraterrestrial – think out space – while the second part is more trap-oriented. Notably, on the first half, Travis Scott is drenched in autotune among other vocal effect, while on the second he’s sounds clearer and more straightforward.

On “CAROUSEL,” the first notable uncredited guest appears in Frank Ocean, who performs the chorus as well as the third verse (“Bitch, I’m too cold, too cold / See my breath visible”).  Perhaps this isn’t the smoothest Ocean has sounded, but his distinct tone blesses the record nonetheless.  Of course, why should he sound smooth – “CAROUSEL” is chocked-full of drugs and excess.

“SICKO MODE”

The five-minute-plus “SICKO MODE” is indeed ‘sick,’ featuring three distinct parts, all marked by their own distinct production.  Part one is short and sweet – an intro essentially, mostly sung by Drake. Travis Scott arrives in all his glory on the lighter, groovier second part. Continuing the who’s who of the uncredited, Big Hawk and Swae Lee assist. Drake returns for the third and final part, delivering a killer hook, followed by a pretty tight, energetic verse.  It’s a lot of Drizzy, but Travis Scott at least concludes his own epic record with respectable rhymes – nothing mind blowing.

Scott is all about Houston and its rap movement on the lush, luxurious “R.I.P. SCREW.”  Besides sampling DJ Screw, Swae Lee makes his second appearance on ASTROWORLD, performing the intro, and the first verse.  As for Scott, he drops a wild chorus, drizzled in vocal effects (yeah, you’ll be reading and hearing this a lot), before reining himself in on his verse, which also mentions the late, great Pimp C and Lil Flip (“Nothin’ beatin’ home like ‘mane’ / In the Screw tap zone like ‘mane’ / I got Pimp C on the phone like ‘mane’ / Flip say platinum, don’t do chrome like ‘mane’”).

“STOP TRYING TO BE GOD” 

“Stop tryna be God Almighty / F*ck the money, never leave your people behind, yeah / It’s never love, no matter what you try.” “STOP TRYING TO BE GOD” definitely ranks among the crème de la crème of ASTROWORLD.  Travis Scott is totally team anti-god-status/anti god-complex, which have been prevalent in the hip-hop community.  At one time, god-status was ‘trending’ in hip-hop music.  It hasn’t disappeared, but rappers have also moved to other things.  The star power continues to impress with Kid Cudi and legendary Earth, Wind & Fire singer Philip Bailey appearing on the pre-chorus and chorus (“Hmm, hmm / Stop tryna be God”).  Arguably the best uncredited guest features comes courtesy of hip-hop’s ‘it boy,’ James Blake. He sounds fantastic as he sings the inquiring bridge.  “Is it the complex of the saint / That’s keepin’ you so, so still?”  Also, there’s a Stevie Wonder feature (harmonica primarily).

Rising rapper Juice WRLD appears on “NO BYSTANDERS,” which is a banger contrasting the more prudent “STOP TRYING TO BE GOD.” Sheck Wes is also prominently featured, including the assertive, repetitive hook. It’s not deep, but it’s both enjoyable and memorable. The brief “SKELETONS” expands the personnel – Pharrell Williams, Tame Impala, and The Weekend. Scott has only one verse, but he makes it worthwhile with his sex-speak.  With such a small contribution from The Weeknd on “SKELETONS,” he returns prominently on “WAKE UP,” performing the sexed-up chorus, and later, the second verse. While Travis Scott drops a respectable verse as well as the chorus once himself, The Weeknd is the main attraction.

“5% TINT” 

“Who’s that creeping through my window? (my window) / ‘Fore you come outside, I got the M4 (M4).” After so many guest features, Travis Scott delivers the rare solo moment on ASTROWORLD. “5% TINT” features awesome production from the jump (FKi 1^st), led by the beat as well as the piano.  While Scott is tough, he also successful exhibits his eccentricity and left-field sensibilities. Unsurprisingly, the smooth, club joint “NC-17” is sexually-charged – “Me and my bitch, I swear we like the same sex.” 21 Savage guests on the second verse, and he is a perfect match for this laid-back, minor-key banger.

Following “NC-17,” ASTROWORLD loses a bit of its luster.  It’s still ‘good,’ but perhaps not as dynamic as the best of the best. Both “ASTROTHUNDER” and “YOSEMITE” keep things short and sweet.  “ASTROTHUNDER” is another solo track, but notably features production from BADBADNOTGOOD, John Mayer, and Thundercat among others. Two quote 2 Chainz, “It’s a Vibe”. Gunna (chorus) and NAV (outro) join Scott on the chill, mellow, “YOSEMITE.”  Don Toliver appears on “CAN’T SAY,” performing one of the choruses and the second verse.  It’s catchy and well-produced.

“WHO? WHAT!”

“WHO? WHAT!” isn’t starkly different from anything else on ASTROWORLD, but it never hurts bringing Takeoff and Quavo along for the ride. “BUTTERFLY EFFECT” is pleasant, easy-going, and inoffensive.  Travis Scott has a solid flow, and benefits from a catchy hook.  Again, he reps for Houston on the smooth, mellow penultimate record, “HOUSTONFORNICATION.” “COFFEE BEAN” is a cool, incredibly awesome way to close out the LP.  Not only is Travis Scott ‘on,’ so is producer Nineteen85 with incredible production (ah, those sweet strings).

Final Thoughts

All in all, there’s plenty to like about ASTROWORLD.  Arguably, this is the best album by the rapper. Personally, it’s the first Travis Scott album I’ve been enthusiastic about.  While there is a group ready to call this effort ‘the second coming,’ that’s a bit of an overstatement.  As good as ASTROWORLD is, there are some less intriguing songs in the back-half of the album. There’s nothing bad or egregious mind you, but put the less intriguing up against the best – “STARGAZING,” “SICKO MODE,” or “STOP TRYING TO BE GOD” among them – and they pale in comparison.  Still, the rapper’s best work in my opinion.

Gems: “STARGAZING,” “SICKO MODE,” “STOP TRYING TO BE GOD,” “NO BYSTANDERS,” “5% TINT,” “NC-17” & “COFFEE BEAN”

Travis Scott • ASTROWORLD • Epic • Release: 8.3.18

Photo Credit: Epic