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There are few emerging artists more polarizing than Travis Scott, he of the dual deals (Grand Hustle as a rapper and G.O.O.D. Music as a producer) and the punk rock antics, a progeny who is continuously changing shape. One minute he’s, the next he’s. The rager has made a living parlaying aesthetics into musical capital, but there’s value in his ability to repackage styles and sounds into something that requires little to no unpacking. After releasing a solid buzz-building free studio album, Days Before Rodeo, last year, Scott follows it up with his long-awaited major debut, Rodeo, a master class in the pyramid scheming of rap industry politics. Travis Scott studied carefully at the Kanye West School of Maximalism, where sounds are expensive and songs are sumptuous with rich, interlocking details and meticulously selected guests. Since releasing his debut EP, Owl Pharaoh, in 2013 (and perhaps even before) he’s been honing a sixth sense for emphasizing gravitas.
Days Before Rodeo Full Album
His greatest trick is making songs feel big and important. But Scott has cobbled together a composite identity to compensate for lacking his own. He’s quickly earned a rep as a shameless biter, an aesthetic bender with no regard for ownership or authorship—a claim given credence by Rodeo’s second single, the Swae Lee-imitating 'Antidote'. Program kerja kepala sekolah smk doc. This has become the enduring criticism of Scott’s work so far: That he’s a skilled impersonator posing as a creative, a mime playing puppetmaster. (There are at least three alleged reports of creative theft, which led to in Deadspin.) But this narrative overshadows the more glaring holes in his music. Travis Scott isn’t good at rapping—he often bawls out clunky phrases that dawdle into banality ('Always hit the gas like I broke wind')—and his self-proclaimed status as an auteur isn’t dictated by his own talent, but by the talent of those surrounding him.