Evolution, by definition, is the development of something simple into something more complex. In the world of music, evolution is often key to keeping the experience rewarding for the artist and listener alike.
The last couple of years rapper Travis Scott has been undergoing his own slow personal evolution, shifting from Kanye West wannabe to a rapper with his own signature sound and identity. After years of underwhelming mixtapes, Scott finally found smash success with his 2015 studio debut “Rodeo.” Hopes were high for Scott’s perpetually delayed sequel project “Birds in the Trap Sing McKnight” as fans were eager to see how he would continue to evolve musically.
Unfortunately, after listening to Scott’s new LP, “evolution” may not be the word to describe it. If anything, “Birds in the Trap” feels as if Scott is treading stagnant water, occasionally drifting back towards the rough waters of some of his earlier mixtapes. This doesn’t necessarily make “Birds in the Trap” a bad record, just disappointing.
One facet Scott doesn’t disappoint in is his ability to create an encompassing atmosphere for his listeners. Scott wraps each song in an imposing, over-dramatic tone that is undeniably his own. Unfortunately, this often results in the byproduct of Scott lingering in his comfort zone for too long. A large handful of songs on “Birds” suffer from this effect, blending too easily into the background as if they were audible wallpaper. Tracks such as “Way Back” and “Coordinate” are too unengaging and forgettable.
Scott’s lowkey, emotionless delivery exacerbates this problem, acting as the glue holding together a mosaic of unstimulating trap beats. His verses are delivered tightly, but are often simple to a fault. Lines are presented with importance and grandeur despite being shallow. Dramatic anecdotes of sleepless nights and drug use are quickly abandoned in favor of the next similarly irrelevant line. This lack of cohesion leads one to believe Scott’s rhymes are crafted through a beginner book of hip-hop mad libs.
Scott has never been the flashiest of rappers and this fact is made evident all throughout the album. A majority of tracks hold at least one feature from one of Scott’s peers, who almost always show him up in every way possible. Whether it be Andre 3000 on album opener “The Ends,” Kendrick Lamar on trap ballad “Goosebumps,” or Young Thug on album standout “Pick up the Phone,” Scott is consistently overshadowed. In this fashion “Birds in the Trap” almost works better as a showcase for other artist’s talents rather than a display of Scott’s own technical ability.
Perhaps the best compliment that can be given to the album is that it’s accessible. The albums reliance on big auto tuned hooks and loud bass-driven beats which propel the tracks forward are perfect for the more mainstream and casual listener. The variety of fun guest features mixed with Scott’s own drab, inoffensive bars will no doubt find it’s ideal place in plenty of bars, clubs and parties all around the country.
Ultimately, Scott has created an album that forgoes evolution for the uninspired familiar. The high-points fall before the clouds and the low-points aren’t too far down. On “Birds in the Trap Sing McKnight” ambitions are left behind, earth is left unshattered, and the most interesting thing about it is the long, word-salad title.
