The critical line on Scott has been, at least since 2014’s Days Before Rodeo, that it’s strange that his influences are also his peers, and that he is, at best, decent at the things Quavo or Young Thug or Swae Lee are great at. People love Travis Scott and, if you’re looking at it sideways, it’s easy to discount just how much. There’s a tier of stars beneath that, the ones that rule our attention for weeks or months at a time, for whom eventual superstardom is up for debate. So who are the new superstars? Music is as divided as ever by variant understanding of what music is supposed to be like, and maybe only Drake really transcends that variance on a consistent basis. Kanye West … I’m a little tired of talking about. 2 behind Astroworld, which was spending its second week at no. This year, a Jay-Z and Beyoncé surprise drop was upstaged by a 5 Seconds of Summer album, Nicki Minaj’s Queen came in at no. “Today’s rising generation of pop stars,” critic Jon Caramanica wrote in a recent New York Times essay, “has never known a time in which Kanye West-or really, Drake-wasn’t the most progressive, creative, and meaningful performer working in the mainstream.” Hip-hop is what pure pop was, and the old guard is beginning to phase out. What you think of as pop music-pure pop music-is now a subgenre. LeBron James, who skipped onto the stage alongside Travis and Drake at the Staples Center in October, didn’t seem to mind.ĭrake brought out LEBRON and TRAVIS SCOTT for SICKO MODE (via mellany_sanchez/IG) /aeqRFQUlEA- Overtime October 14, 2018 In other ways-the aforementioned Drake verse, the death-drop transitions, Tay Keith fucking these niggas up -it’s one of the most exciting rap songs of the decade, even if it felt a lot like cheating.
#Travis scott 2018 album full#
In some ways “Sicko Mode” is the full realization of a concept that took root on “ Drive,” from Scott’s 2013 mixtape Owl Pharaoh-a jumpy scan through the local rap stations while doing 30 mph over the speed limit on surface streets. And just as the Drake-featuring intro picks up into a full gallop and the wonky fun-house trill ticks over, the song lurches forward into even weirder territory, and morphs two more times after that. “Sicko Mode” is decidedly un-hit-like: its runtime exceeds five minutes, there’s no hook, and it features three discrete ideas loosely stitched together. In May, Billboard locked in some tweaks to its chart metrics as part of “a global push to measure streams in a revenue-reflective and access-based manner.” This means, in English, that radio play isn’t as important as it once was, and, functionally, that hits will continue to bubble up from strange places, for reasons that won’t be easy to pin down. Of Travis Scott’s rap-as-Instagram-Explore-page ethos, but also of a strange and disjointed year for pop music in general. Let’s just say the brain-conquering delirium of “Sicko Mode” was a culmination.
1 single, the birth of his daughter, and the city of Houston’s recent proclamation that every November 18 henceforth shall be known as “Astroworld Day,” 2018 was, inarguably, the biggest year of Travis Scott’s career. If you take the almost-accolades for his August release, and add his first no. “We celebrating three Grammy nominations.” Those are: best rap album, best rap performance (“Sicko Mode”), and best rap song (also “Sicko Mode”). Later in the show, Scott asked his longtime DJ OG Chase B to scratch off the music, and the crowd to extend their middle fingers in vindication. It was the second of back-to-back sold-out shows for Scott’s Wish You Were Here Tour at the 17,505-capacity venue, propping up his third and most accomplished album to date, Astroworld. He opened up the mosh pit, but he didn’t jump in. The outstretched hands of concert goers shouting themselves hoarse and dizzy in excitement, bathed in the glow of red LEDs, just sort of looked like a sea. Not the Red Sea-this was at the Forum, in Inglewood, where the seawater inlet of the Indian Ocean is not. Speaking of ragers before Christmas, last week, I watched Travis Scott part a red sea. If you consider that concert photo from last year, the one where he’s holding the mic stand above his head, and then consider the way he herks and jerks and leaps around on stage, he’s like a character in his own claymation Tim Burton movie: Cactus Jack Skellington in The Rager Before Christmas. His hair on a recent Rolling Stone cover simultaneously defies explanation and really completes his look. Should we start with how Travis Scott looks? He’s tallish and ropey, nowadays usually draped in the expensive versions of the things people wear to cybergoth dance parties.
0 kommentar(er)
