travis scott birds in the trap sing brian mcknight

Both of these are so painfully high school that they'd be unforgivable if Scott wasn't so notorious for being a sensitive soul.

'Relieve my heart of malice,” he utters in the Kid Cudi-featuring ‘Through The Late Night’ or “I get those goosebumps every time when you're not around,” he says on ‘Goosebumps’. Lyrically, Scott is an undeniable sadboy and that rings true here in large portions once again. He hasn’t just masked his missteps, he’s completely replaced them with a 53-minute record that rarely loses focus and constantly feels like something that is driving itself. In fact, that’s perhaps not giving Scott his due. Almost a year to the day after that release, the 24-year-old returns with ‘Birds In The Trap Sing McKnight’, and whether purposely or by chance it’s a body of work by someone who sounds like he’s scrutinised his own material and papered over the cracks. It had all the ingredients to build upon ‘DBR’: the auto-tune, the glitched drum loops, the smoky atmosphere, the catchy half-sung, half-mumbled hooks, but for whatever reason ‘Rodeo’ felt half-baked.Īfter spending so much time working with West, a noted perfectionist, it was perhaps odd Scott’s debut album was so clumsy, and ham-fisted. But where ‘DBR’ flourished, ‘Rodeo’ itself - Scott's first proper full-length - seemed to falter. 2014’s ‘Days Before Rodeo’ was full of the post-‘Yeezus’ machinisms that Travis Scott himself was mostly responsible for engineering on West’s 2013 record.

Travis scott birds in the trap sing brian mcknight