Ending the year with a Quavo and Travis Scott album is fitting, considering 2017 seemed to be the year of collaboration projects for hip hop. Travis and Quavo are pioneers of their specific sounds, so evidently, this was going to be a huge release. They’ve become so massive within their own artistic lanes, that they even decided to give themselves alter egos. Quavo nicknames himself Huncho, while Travis proclaims himself to be Cactus Jack.
I’ve been a huge fan of their past collaborations, whether it be on the ultra-melodic two-part track, “Oh My Dis Side,” or the very buoyant hit single, “Pick Up the Phone.” They had a certain chemistry that is rarely found amongst the trap sub genre. Naturally, I became enthusiastic about both artists teasing this album on their respective social media accounts. Finally, Huncho and Jack gave us the Christmas present that every rap fan was waiting for.
Initially, a lot of diehard Travis fans have criticized his work recently, saying that he’s not as experimental as what he once was; specifically on his first studio album, Rodeo. While I agree he brought a fresher Houston sound to that project, I still strongly believe that he continued to capture that nocturnal vibrancy on Birds in the Trap Sing Mcknight. Sure, he may have shied away from using more beat switch-ups on his second effort, but his balance of melody and tone, as well as his energetic production, created a tight and consistent sophomore follow-up.
Even with fans on Twitter continuing to denounce Travis’s artistic choices on Huncho Jack, Jack Huncho, I felt like he was the better half of this record. Oddly enough, there were times where it looked like Travis brought the best out of Quavo, but then there were other moments where it seemed like Quavo was making Travis seem like a generic trap rapper.
For example, I wasn’t surprised with my enjoyment in the very bouncy and flamboyant fourth track, “Motorcycle Patches,” as I later found out that Travis produced that one himself. The energy and excitement he brings on his verse and the chorus reminded me a lot of his early days as a producer trying to make a name for himself.
Even with four producers credited on the final track, “Best Man,” it still felt as if Travis used his deft hand in helping to create these gorgeous background melodies on top of the tropical beat. Quavo even pushes his own boundaries, and brings a certain resonance that many Migos fans have probably never heard before. Once again, Cactus Jack uses his creative prowess to help an artist leave his comfort zone. It was moments like these that had me reminiscing about the times when Travis guided Kanye out of his visionary tailspin that he seemed to be in prior to releasing Yeezus back in 2013.
As great as these moments were, there were equally as many instances where Travis seemed to accept Quavo’s knack for making recycled, and bland trap music. Songs like, “How U Feel,” Huncho Farm,” and “Dubai Shit, ” all had potential with interesting sampling in the beginning, but failed in keeping me engaged throughout the entire length of each track. For every intriguing start to a song, there would be flat choruses, and boring flows following it.
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I will say that Takeoff’s feature was perfect for the third track, “Eye 2 Eye,” as he brought life to an otherwise forgettable Travis and Quavo appearance. This was also a reminder of how much better Huncho is with his other two partners in crime. As successful as Quavo and Travis has been together, what makes Migos so effective is how their contrasting sounds really mix well. It was a treat hearing Takeoff, and eventually Offset later on in the album, because the constant autotune did get tiresome at points.
As banal as some of these tunes can be, I’d be lying if I said there weren’t aspects that got me excited for Astroworld. If Quavo put you to sleep on some of his verses, then Travis was there to wake you up with his lively post-chorus on “Where U From.” Even on the overly-simplistic “Saint,” Travis brought this aggressive and vigorous presence on the song, reminding me of “the ends” on Birds.
Sure, there were times on this project where Travis had me wondering why he decided to contain his otherwise innovative mind; but then there were many instances where he brought a good deal of nostalgia for his fans while showing he’s the same Travis who created the classic Rodeo. As for Quavo, he did everything that we expected from him. People will either love his approach, or hate it. Part of me thinks that Travis is holding back for a grand finale in his discography (he’s said in interviews that he might go to college after his third album), the other is hoping that he doesn’t settle for anything. We’ve seen what he could do with songs in the past, so people shouldn’t be too worried about him. Travis isn’t done yet. There’s speculation that he’s been working with Tame Impala and Stevie Wonder for Astroworld, two of music’s most melodic talents in today’s industry. If that isn’t enough to get excited, then I don’t know what is.
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