BY There’s no such thing as a Travis Scott project without a little bit of a delay. After his website supposedly crashed, Travis Scott finally has blessed the universe with another offering in the form of a project appropriately named Days Before Rodeo, a free album of sorts leading up to his highly anticipated debut studio album, Rodeo. The circus that was the release of his debut mixtape Owl Pharaoh in 2013 had early fans of Scott being dragged through supposed release date after release date, yet when it finally dropped, it’s effect was felt. Tip-toeing the lines between several influences, Owl Pharaoh was trap-heavy but ambient, intense vocally but at points soothing with melody, and sonically was littered with an array of futuristic synths and muddy, distorted bass lines.
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Owl Pharaoh not only served as an impactful introduction to the previous enigma of Travis Scott, but it also proved to be a shapeshifter of sorts for hip-hop and impacted the culture heavily in 2013. Emedia piano lessons. This sort of gothic, futuristic trap music had it’s influence spread to the year’s biggest projects like Yeezus and Magna Carta Holy Grail, but also indirectly set up the spike for artists like Young Thug, Metro Boomin, and even Migos to push their sounds towards sonically similar boundaries.
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Rodeo Travis Scott
After the abrasive, intense sounds of Owl Pharaoh, not only did it make the culture support it as one of the best mixtapes of the year, but it left everyone wondering what would come next. With Days Before Rodeo, that question finally has an answer. Travis Scott’s latest project wastes no time picking up where he left off, as “The Prayer” starts with a skin-itching, eerie, sonic landscape as he slaps us with an array of intense, intricate bars. It’s this infectious, brain-scrambling instrumentation that bleeds through the whole project, such as the Young Thug and Rich Homie Quan assisted almost-western anthem “Mamacita” and the Big Sean flanked banger, “Don’t Play”. The latter includes a flawlessly integrated 1975 sample that sets up the hook perfectly, as the beat swoons and sways to match the tempo of Travis’ and Sean’s verses. It is early into this project that the tone is established, and it’s hit after hit after hit.