The cookie is used to store the user consent for the cookies in the category "Analytics". This cookie is set by GDPR Cookie Consent plugin. These cookies ensure basic functionalities and security features of the website, anonymously. They all pass in a slow-motion blur.Necessary cookies are absolutely essential for the website to function properly. Among the others on the guest carousel are Kendrick Lamar, Kid Cudi, 21 Savage, and Cassie. This time, Scott co-produced only one track, another Weeknd collaboration, and it easily slips into the album's scheme with its serpentine menace and lightweight lyricism. Only on "Guidance," through scuttling drums granted by DF, is there a significant shake-up. Swarming basslines and sluggish beats likewise form the rhythmic foundation, with gauzy and tickling keyboards adding sweetness to Scott's hedonistic hooks. of Scott, who remains deeply into heavy accessorization and proclamations of dominance, as well as punctuations with affirmative exclamations cast in dehumanizing pitch alteration. The album's deepest verse by a great measure, it has no discernible connection to Scott's surrounding rhymes of cocksure nonsense. Among the present is André 3000, who drops by on "The Ends" to recollect the infamous rash of murders that struck his city during his early childhood. Released almost exactly a year after Rodeo, Birds in the Trap features little development, though the large company Scott keeps is quite different, and Metro Boomin is noticeably absent.
It's easily the track with the most pop appeal on Scott's second full-length. "Pick Up the Phone" functioned as the lead single off Thug's JEFFERY, and it sensibly reappears here, buried in the latter half, de-emphasized yet not quite a tacked-on bonus. Titled after one of Quavo's lines from the chirpy summertime 2016 hit co-billed to Travis Scott and Young Thug, this fitfully hypnotizing follow-up arrived after numerous delays, toward the end of the year's third quarter.
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