Travis Scott has been a bit of a buzzword for the last few years in the hip-hop community. After signing with Grand Hustle records and landing production spots on both G.O.O.D. Music’s Cruel Summer and Kanye’s Yeezus, people became curious over Yeezy’s newest disciple. “Who is Travis Scott?” some asked. Following 2 EPs and several delays, Scott makes his grand entrance on the debut LP Rodeo. But, upon completion, both new listeners as well as adamant followers of the young rapper may still be asking, “Who is Travis Scott?”
The Houston native finds his sonic residence in the growing Atlanta trap scene. Rodeo marks an addition to the catalog of trap music’s ever-evolving style—a genre that has grown past its locale and into an integral part of current hip-hop culture. Scott’s direction on Rodeo is decisively meticulous; rather than storming the gates atop a bucking bronco, he puts us in first gear and takes his time cruising. Where many trap stars feel inclined to rush in as many bangers as possible, Scott has something bigger in mind, leading us through the expansive landscape of Rodeo’s production. The ride is lengthy and retains a chilling atmosphere from start to finish. Beats feel drenched in filters, chugging along faintly as each snare pops in comparison. The muffled rhythms retain a hazy cognizance, as when Scott and Juicy J stumble through “Wasted,” or during the alluring hypnotic refrain of “Pornography.” Beat switches feel natural, the way the second half of “Oh My Dis Side” decelerates to a swaying R&B stupor is as smooth as it gets. The addition of some obscure instruments adds a lovely flavor to Rodeo as well—the piano lick on “90210,” the surprising psych-rock intro to “Piss On Your Grave,” and Toro y Moi’s synths on “Flying High” bring an artisan depth to Rodeo that is a highlight of its own.
Rodeo’s stellar production is, in part, thanks to the enormous list of producers involved, but Scott also brings an all-star cast of artists to the table for his features. While the lineup is intrinsically appealing, the sheer amount of talent Scott recruits for his debut is the source of its greatest weakness. An artist’s first major unveiling is meant to be a showcase of talent; not just the ability to make good songs, but the ability to handle things without the training wheels on. When your first record is half-filled with features (mostly-high profile artists may I remind you), a lack of credibility begins to loom overhead. 2 Chainz and Juicy J deliver expectedly slick bars on their respective tracks, whereas the highlight pop songs “Nightcrawler” and “Pray 4 Love” are at their best when Swae Lee and The Weeknd take the reins. Even “Piss on Your Grave” feels like the most Kanye song ever, a track that could easily be a Yeezus leftover. In almost every case, Scott gets overshadowed by the stadium acts he brings to his house show. It’s a shame too, because Rodeo actually attempts to please on a more personal level as Scott analyzes the drug-induced life he has prescribed for himself. But all of the glitz and glamour that radiates from Rodeo puts emotional connection on the backburner so the stars can shine that much brighter.
Rodeo is all-around a good album, but I’m hesitant to say it’s Travis Scott’s album. Scott has a knack for pairing up beautifully with his contemporaries, but a jack-of-all-trades is a master of none. Scott has a bit of an identity crisis at hand, but I believe he has all the means to find his niche. Rodeo is solid, but at the expense of its creator. I can only hope his next release gives me a reason to point and say, “This is Travis Scott.”
Rating: B—
