The Houston rapper once again manages to surpass the magnitude of the previous album thanks to a rich production and a host of talented collaborators.
If the K-Pop extract, with Bad Bunny and The Weeknd, disappointed you, know that it is, in our opinion, the worst song from Utopia. Yes, its melody is catchy, but the other 18 tracks on Travis Scott’s fourth studio album are far more generous musically.
The record opens with a sample of Proclamation by prog rock band Gentle Giant followed by a boom-bap beat – which we love. The table is set for a trip of one hour and thirteen minutes with various atmospheres.
The always filtered voice of Travis Scott ensures the cohesion of the whole. We have always seen it more as an instrument that adds to the atmosphere rather than a tool to deliver a message. The 32-year-old artist’s focus and themes are limited and there’s no point complaining about that. The marriage between its flow and the rhythm is generally happy. Trav is sometimes able to increase the pace, as on the second part of My Eyes.
Transitions within the same piece are always a pleasure to hear and there are a few on Utopia. Meltdown lacks the impact of Sicko Mode, but is still another great collaboration between LaFlame and Drake. The latter took the opportunity to throw a few spikes in the direction of Pusha T and Pharrell. “Since V [Virgil Abloh] not around the members done hung up the Louis [Vuitton]. Pharrell, however, contributed to the production of the energetic Looove on which Kid Cudi affixes a magnificent exclamation point.
Thank God, Skitzo and Lost Forever are other examples of pieces with brilliant rhythmic variations. The music for the latter is the work of James Blakes and Alchemist – two of our favorites – then Dom Maker. The same Blake composed with Metro Boomin the conclusion Til Further Notice, one of the most beautiful songs on the album.
21 Savage also delivers his second verse of the album. Other guests include first Beyoncé who carries Delresto (Echoes) on her shoulders, with a helping hand from Bon Iver.
The Weeknd also participates, with Swae Lee, in Circus Maximus, which is very similar to Black Skinhead by Kanye West. The influence of Yeezus is also audible throughout Utopia. Note also the presence of Playboi Carti, Homixide Gang and Sheck Wes on the mesmerizing F¡en then Future and especially SZA on Telekinesis.
On the production side, the list of collaborators is long, but, although we clearly hear the signature of Guillaume Emmanuel de Homem-Christo – half of Daft Punk – on Modern Jam or that of Boi-1da at a few moments, Utopia is really the work of Travis Scott and Mike Dean. The latter added his touch to four beats and mixed the entire album. The legendary musician played an important role in the career of Jacques Bermon Webster II and, in our opinion, the pair have cobbled together the best offering of Travis Scott’s already impressive discography here.
