Houston’s very own, Travis Scott, released his third studio album, Astroworld, this month that has already received critical acclaim and chart-topping success. A montage to a long lost amusement park from his hometown, Astroworld pulsates as a collage of celestial imagery, superb production and a dazzling psychedelic world that’s curated through Scott’s lyrical talent and euphoric vocals.

Undoubtedly one of his strongest albums to date, Travis Scott’s creative approach and surreal artistry has risen the 26-year old emcee to mainstream dominance, recording along side the likes of Kanye West, Drake, Migos, The Weeknd, Nicki Minaj, Frank Ocean and others.

A self-proclaimed singer than rapper, Scott’s preferred auto-tuned style offers a trippy-sounding and cloudy vibe to his music – two components that allow listeners to be lost in a hallucinating penumbra of unexpected musical arrangements, mesmerizing sound and alluring lyricism. Scott’s mastery in the studio is shown exponentially on Astroworld and it’s an approach that allows for an excellent listen from start to finish.

On the opening track, “Stargazing,” Scott crawls over a beautifully spellbinding production that’s both inviting and haunting - an experience that opens listeners to a euphoric and illusionary sound that cascades throughout the record.

Travis Scott showcases his continued dominance in social media and pop culture with the hit record “Sicko Mode” Feat. Drake. Drake’s savvy flow and witty bars, mixed with Scott’s smooth rhyme play, work beautifully over a multi-faceted beat that’s both catchy and inviting.

“Stop Trying To Be God” - By Travis Scott, Featuring Philip Bailey, James Blake, Kid Cudi and Stevie Wonder on harmonica Directed by Dave Meyers (c) 2018 Epic Records, a division of Sony Music Entertainment. With Cactus Jack and Grand Hustle.

The extravagant and charismatically pleasing, “R.I.P. Screw” highlights Scott’s artistry with a potent and gorgeous aesthetic that meshes among groovy hypnotic chords. While Scott’s collaborations with John Mayer and Thundercat on, “Astrothunder,” illustrates the young producer’s depth with genre-trending ingredients that’s euphorically decadent and elegantly refined.

On the passionately spicy, “Wake Up,” Scott teams up with The Weeknd for a soulful R&B track that’s ripe with auto-tune finesse, romantic honesty and steamy finishes. Scott also rolls his pop endeavors on the heavy vocal, “Stop Trying To Be God,” where Scott crawls though an auto-tuned entrenched vibe that’s backed by Kid Cudi's addictive humming and Stevie Wonders signature harmonica

Scott turns up the heat on the trap hits, “Butterfly Effect” and “Houstonfornication,” that enhances his illusionary and bugged-out approach with stellar execution and a complex tailored flow.

Scott closes out his impressive record with “Coffee Bean” - a critique on his unexpected child and relationship differences with Kylie Jenner. The song displays Scott at the peak of his game with an honest display of lyrical bars; deep cut arrangements and formidable storytelling that allows Scott to bare all humility. A segment that reigns throughout Scott’s archaic funhouse-obsessed concept.

With a neon display of cosmic sounds, strobe-influenced arrangements and absorbingly complex vocals, Travis Scott’s, Astroworld, is a magnificent achievement that’s warm, inspiring and precise. Scott’s skillfully curated sound, both through production and voice, allows this project to be a pleasing aesthetic that bustles with sticky creativity and impressive musical command. As hip-hop continues to raise the bar on expressive, unique and genre-binding music, Travis Scott pushes further. He stands atop as the ringleader of his own visionary and abstract musical carnival – a circus that we’re all paying top dollar for.

Add Astroworld to your summer playlist today.

Travis Scott

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J. Cole's new album, "KOD," is a profound critique, and tailored exploitation, on the consequences of addiction in our society.

The North Carolina emcee, whose transition from hip-hop hitmaker to hip-hop activist, followed up 2016's, "4 Your Eyez Only," with a superb record that accounts for Cole's experiences with addiction seen through the windows of his own personal struggles.

Across this 12 piece epic, however, Cole also finds room to tackle some of America's other controversial and polarizing subjects – including the government's response to gun violence, depression/anxiety and the hypocrisies of Black America & urban culture. There's even room for a "lil" beef with today's trap stars and emo-rappers, as Cole also addresses the state of hip-hop with the genre's future artists.

On "KOD" (or depending on how you wish to decipher the acronym - "Kids on Drugs," "King on Drugs" or "Kill our Demons"), Cole encourages listeners to steer away from drugs through the polarizing storytelling and expressive lyrical ability that harbors his own personal battles with addiction during his childhood and adult life.

On "Once an Addict (Interlude)" Cole's vulnerability takes whole when he opens a window for listeners to view some of the emcees most intimate challenges. The song speaks on his mother's addiction with drugs and alcohol and their frictional relationship during his upbringing. Cole also addresses his own addition, both personally and professionally, on "Breakdown;" while also poised with relying on drugs to escape from his opportunistic friendships on "The Cut Off."

Cole also touches upon his success in contrasts to the misfortunes that surrounded his former circle on “Friends.” He combines this concept of guilt and blessing with a stance on how success can be misleading. On “Brackets,” Cole enlightens listeners to re-think about the fruits of their labor and the effects of taxation on our urban communities. Cole offers us a little humor, however, where he references one of Richard Pryor’s old stand-up skits at the beginning of the song, offering another perspective on how money is viewed in our society. While on, "ATM," Cole shows us his own perspective on money and it's lack of importance due to its a temporary void.

And what’s a Cole world without songs about love, sex and infidelity? On “Photograph,” Cole’s swag and tenacity on the mic discusses the mirage of love in the digital age where online-dating sites and matchmaking apps remain apparent. Cole also issues an exposition on infidelity and selfishness with, “Kevin’s Heart,” which is titled from Kevin Heart’s cheating scandal. The song dictates the lack of appreciation men have for a faithful woman and the emotional consequences that are conveyed.

At the album’s conclusion, Cole’s song, “1985 (Intro to “The Fall Off”),” set’s off another heated commentary and lecture on hip hop’s mumble and emo-rap culture. This critique is specifically geared to the longevity and sustainability of emcees set in a genre-trending sound. With warnings of fiscal irresponsibility, a falling off sound, and ultimately, the lost of an audience, J. Cole’s shots at today’s youth speak to his experiences of how rappers have risen and fallen over the course of his career. With Cole’s on going feud with this new form of hip hop, this song allegedly aims at such charting trappers such as Lil Uzi Vert, Smokepurpp and Lil Pump, who have also had words for Cole in the last year.

J. Cole mastery on “KOD” illustrates again how persistent Cole’s dominance has been in the game today. With enduring storytelling, daring vulnerability and profound empathy, the Dreamville emcee forces us to reflect on the gifts that we take for granted.

From the painful consequences of America’s drug epidemic to the hypocrisies that are endured throughout our urban communities, Cole’s activism, through lyrical brilliance and prolific expression, makes “KOD” one of the most daring and intriguing albums of 2018 so far.

Along with stern commentary on today’s rising emcees in the trap/emo-rap space, as well as an onslaught on man’s infidelity, Cole continues to be the exceptional voice for today’s hip hop generation.

Listen, steam and download “KOD” on all digital streaming platforms today.

J. Cole

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Travis Scott Ascends On His Own Psychedelic Musical Carnival With "Astroworld"

J. Cole Tackles The Consequences of Addiction on "KOD"

The Fox and King | Music, Branding, The Bronx, Est. 2011