travis scott birds in the trap sing brian mcknight

Sure, songs like “sdp interlude,” which stands for “smoke some, drink some, pop one” and “through the late night” will fill the playlists of all-night ragers from coast to coast, but songs like “the ends,” the haunting, Andre 3000-assisted opening track, reveal a deeper side to Scott that is rarely, if ever, seen. This is music made with late night drives in cars and excursions to the seediest clubs in mind.īut Scott brings a little more to the table on Birds in the Trap than what critics have come to expect out of him. Scott has made a career so far out of making songs that are heavy on the bass and light on morality and not much else changes here. This is music for night owls and ne’er-do-wells.

The message is made loud and clear from the get go: this is not music for do-gooders. The ominous signs of things to come start with the album cover, where a winged Scott sits on top of a throne, his face covered in a cloud of smoke. The “Antidote” rapper, whose sound falls somewhere between the braggadocio of Kanye West and the tortured, self-consciousness of Kurt Cobain, swings back with a vicious left hook on “Birds in the Trap Sing McKnight,” his heavily anticipated sequel to 2015’s “Rodeo.” And true to form, the Missouri City, TX, native spits bars that are equal parts celebration and somber soliloquy. Travis Scott is quickly becoming one of hip-hop’s most iconic voices.

Travis scott birds in the trap sing brian mcknight