Let’s face it: Travis Scott’s 3rd studio album, Astroworld, is one of the most hyperactive, hexing albums of 2018. I’m here to answer a really simple, yet compulsive, question:

Is Astroworld “just hype?”

Short answer: Hell no, chief.

How I Review Albums

You caught me, I’m a Travis Scott fan. I review albums I feel a connection with.

I try to discover my own interpretations and nuances.

Album reviews of mine can end up either good or bad… mostly good though, I won’t lie to you. Seriously though, why would I thoroughly / repeatedly listen to an album I know I have no chance of liking?

Come on, now.

What I look for: sonically, what’s happening at the surface. I don’t really give much of a shit about the background or “historical homage” side of things. I won’t recognize every reference, double meaning, sample, or feature.

I love music, but that’s not my job here — this ain’t a history lesson.

1.) STARGAZING

Enter the polychromatic atmosphere frantically, meticulously branded by Scott and his team. Astroworld has always been a part of the narrative. In an interview with Zane Lowe, Travis mentioned “this was always supposed to happen,” even way back in the midst of the Rodeo era.

“Stargazing” is a portal into Travis Scott’s intoxicating, psychedelic world.

Rollin’, rollin’, rollin’ Got me stargazin’

Off top, this feels like a nod to Cudi (see his song “Rollin”). Astroworld’s spacey, crude concept reminds me of Big Brother’s Man on the Moon; the vibe lives on.

However, this is a new galaxy— much darker, sporadic, and snapping.

I’m pleasantly surprised by the conception of Astroworld. My inklings and expectations for this album were met with full force, forming a solid fuckin’ moon rock at first listen.

“Stargazing” is maybe the most pivotal, engrossing tracks in the mix.

F*@king Switch

The beat-switch within the opening track is so deliberate, it almost pushes you back (like a rollercoaster). Immediately, it felt like a glacier shift. Here I am, hooked by another one of Travis’ bass-lines — between the drums and the hectic synth lead, this shit rolls.

Lyrics

Of course I expected a powerful verse upon the neck-twisting turn. Lyrics are considered to be the weakest link for Travis. Most of his criticism comes from his lack of depth and creative word play.

It’s a fair argument I think, but…

The writing on this album is every bit elaborate, witty, and sharp.

The verse following the switch on “Stargazing” feels like dropping the gate at the Derby — it gets rowdy, astronomical, improbable, diabolical, whatever you wanna call it. As a writer, I’m impressed with these lyrics. From a word-choice perspective, it’s genius. For example, Travis raps:

Got the keys into my city, Now she know the rides

The phrase “know the rides” sounds exactly like “notarized.” Instances of double entendres are all over the place in Astroworld.

2.) CAROUSEL

In this first leg of the album, anyone with a hint of music savvy understands the magnitude of these guest features. To hear Frank Ocean and Travis Scott swap bars is a pump of both pleasure and adrenaline. This is an interesting dynamic, these two.

I feel like both artists work like chameleons — they have rare ability to morph, adapt, and change suit to fit the soundscape. They’ve done it alongside the Migos, Calvin Harris, Major Lazer and now here they are spitting back and forth about therapists, black skies, and flashes.

And when Frank Ocean sings “the speeeeeed got old…”

I felt that.

3.) SICKO MODE

Oh shit Drake!…

Sike. Honestly, this feature didn’t surprise me. It was nothing compared to the previous, “Carousel.”

Truth be told, when Drake started in on “Sicko Mode,” I got sad. Scorpion was 39 tracks long and I’m sort of “sick” of Drake’s vibe and flow at this point on this album.

So when the song caved in and did a backflip at the minute mark, I lit up. It didn’t feel right to have Drake “take the cake,” so to speak. It only felt right when Trav planted his foot and took handle — this is the Sicko we wanted.

This is apparent: the production on Astroworld is unique, erratic, and forward thinking. For this song to start off smooth like creamy JIF peanut butter, crumble and distort in the middle, then revive with an uptempo, hard hitting beat… it’s like what more can you ask for?

It’s Drake and Travis Scott.

“Out like a light,” this track is sick forsure.

4.) R.I.P. SCREW

After the opening trifecta shot of morphine, the 4th track embraces more melody and vocalization; Astroworld’s pieces are well-placed.

Worth noting, the lyrics on Apple Music are a little shaky. I’d take them with a grain of salt. Apple Music says this for track 4:

This GS you see, smooth like man

But I heard:

This shit S.U.C. smooth like mane

Whose right? I don’t know.

I’ve learned to just listen and interpret the words however I see fit. Much of the writing on the album feels purposefully tricky, like it’s supposed to have double meaning, so I’m just going with what registers in my mind.

5.) STOP TRYING TO BE GOD

*CUDI HUM ALERT*

Again, the lyrical content feels deeper. No “It’s Lit!” or “Strayup!” on this one. It’s about love, finding your way, and keeping your circle tight.

You won’t succeed tryna learn me Stick to the roads in my journey Stay outta court when you got the attorney She say she love, but want to really burn me

I can get down with some meaningful, poetic lines. Every vocal on this track is pretty much flawless too.