G.O.O.D. Music scion gets less-than-good reviews…
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[2.33]
Micha Cavaseno: Theoretically Travis Scott raps and produces. Except he only made one beat on his album, and it wasn’t for this. He’s rapping here, except I’ve heard this song about 10 times and never understand what he’s doing beyond generic Wiz Khalifa and Kid Cudi biting and no content whatsoever — oh, and some dubbed out effects courtesy of the legendary Mike Dean. Travis Scott might be arguably one of the worst things in rap as he’s gotten away with not having to do anything on his songs.
[0]
Megan Harrington: For obvious reasons, this sounds a fair amount like Kanye did on Yeezus. One point of interest in hearing Travis Scott’s official, label-funded debut was to hear how he compared with his own chalk outline. And I think the chalk outline sounded better. It’s not that Kanye brought more to his version of Travis Scott, but that forcing Scott to cater to a concept reigned him in and made his approach effective. Here he’s sprawling, badly in need of an editor or a point.
[4]
Will Adams: Hey man, save some reverb for the rest of us, won’t ya? That’s probably what’s making your song clip in multiple spots.
[3]
Alfred Soto: Watch-me-type-a-QUICK-review. Emphasizing the penul-TI-mate syll-A-ble.
[3]
Thomas Inskeep: His syllabic emphases are really, really obnoxious (leaning on the last syllable of each line), his insistence on referring to women as “bitch” and “ho” is offensive, and this song is so monotonous as to resemble nothing so much as watching a hamster on a wheel.
[1]
Sonia Yang: The frosty autotune and use of dead space between vocal lines are nice touches, but otherwise this is just a hedonistic swirl of sex, drugs, and sex while on drugs.
[3]