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Scott didnt seem prepared for any of it no one should have to be.
His flustered response turned into defensive posturing as civil and criminal cases progressed.
This is a precarious time for his fourth album,Utopia,to land.
Scotts vision for a perfect world isnt expressed very clearly.
(His Fortnite icon is difficult to come by in part because it was only available for a week.
His merch is an easy flip; his kicks almost never sit.
His film wasnt easy to get into on opening night; there were commemorative shirts if you did.
you might buy a replica of theUtopiabriefcase that was handcuffed to Traviss bodyguard.)
Pink Floyd played songs from its early albums in 1972sLive at Pompeiifilm.
A sample fromTodd Rundgrens Utopiafeels curiously absent here.
Scott wants to both showcase a wider sonic and emotional palette and appease the ragers.
Though the flows are manicured and melodic, the bars stumble over the albums cross-purposes.
But that kind of candor comes and goes.
This guy would much rather be rapping about something expensive.
The Chicago rapper and producer, whom Scott began collaborating with onCruel SummerandYeezus, is the albums North Star.
It would be reductive to callUtopiaaYeezusrehash, though.
Delresto (Echoes) with Beyonce offersUtopiaa bit of dance-floor dynamite from the singers sequinedRenaissanceera.
At one point, you hear Traviss take on a Detroit flow.
Elsewhere, he trades verses with Westside Gunn over an Alchemist beat.
While the rage comes naturally to Scott, the reflection can feel feigned and forced.
His discography is a snow globe where the party never ends, and hes not trying to break it.
Too much money is tied up in this endeavor for it to do anything other than expand.
Switch up the product, and your customers might cop from someone else.
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