Travis Scott might have been that alien the US government talked about capturing the other day. “UTOPIA” clearly isn’t from this world.




5. SKITZO (Ft. Young Thug)

This s**t really is “SKITZO” (The song changes faces more than Vivica Fox).

In 1997, a 6:06 song was considered normal. In 2023, a 6:06 song is considered long as s**t. The good news is this: “SKITZO” feels like three songs, so that 6:06 breezes by. In the first portion of the song, Travis Scott and Young Thug go back and forth over this uptempo, darker-than-Reggie Jackson beat. While the former gifts us with a hella catchy hook, the latter drops perhaps his best verse in three years.

At around 2:30, “SKITZO” turns into some outer space, spin-around-with-a-bat s**t (Which I’m sure Mike Dean is responsible for). In this portion of the song, Travis Scott keeps it a stack about his lifestyle and raps like part of the rent is due.

At around 3:32, “SKITZO” turns into a hard-hitting club banger that will remind you of random drink spills and sloppy asses shaking on a dance floor. In this portion of the track, Travis Scott carefreely rides the booming beat like he said “f**k the rent.”

At around 4:45, “SKITZO” turns into a lyrical banger that gives me Jay-Z, “The Prelude” vibes. In this portion of the track, Travis Scott calls out his naysayers using a very laid-back rapping style. This is my least favorite portion of the song.

People who still pay for CDs will appreciate this free 4-for-1 we just got.



4. I KNOW ?

To prepare for UTOPIA, I listened to both Rodeo and ASTROWORLD. “I KNOW ?” could’ve ended up on the former.

In “I KNOW ?,” Travis Scott switches his flow, tone, and demonic levels effortlessly and frequently. I love that he approached the song this way because the beat that drives it is on some starry, sleek, let-your-mind-wander type s**t.

Surprisingly, there are a bunch of solo Travis Scott tracks on this album. In my humble opinion, “I KNOW ?” barely clears them all.

3. CIRCUS MAXIMUS (Ft. The Weeknd & Swae Lee)

“CIRCUS MAXIMUS” is not just music; it’s a full-blown experience. 

Do you know what “CIRCUS MAXIMUS” reminds me of? Some classic Kanye West s**t, somewhere in-between Graduation and the album with the front cover featuring a naked Amy Robach and TJ Holmes. The production alone will blow you away (It’s on some heart-pumping, cinematic, outer space-like s**t). I love that Travis chose to use a subdued, robotic rapping approach to the song, while it’s The Weeknd’s smooth, angelic vocals that will have you on cloud 9. As for their lyrics, they will make anyone but Hunter Biden believe they can achieve anything in the world.



2. MELTDOWN (Ft. Drake)

“MELTDOWN” is the grittiest and darkest track on this album. America needs its enemies not to hear this s**t; it might provoke them to push their red buttons.

So, “MELTDOWN” has two faces, and both are darker than Reggie Jackson’s (I bet you didn’t know Reggie Jackson would be referenced twice in this album review. I like to keep you on your toes).

In the first portion of “MELTDOWN,” Drake sounds like a supervillain who enjoys spooking women that just crossed the border from America to Canada. As for Travis Scott, he sounds like the smoothest electrocuted player on the planet (He literally sounds like he stuck his hand in a socket and cool at the same time). People who appreciate horror movies and hip-hop music (Which is practically everyone in the world) will be drawn to this part of the song.

In the second portion of “MELTDOWN,” Travis Scott spits hefty, trill, and reckless bars over an uptempo and booming club beat. Folks that like getting elbowed in packed clubs will f**k with this portion of the song.

Drake and Travis Scott are undefeated when it comes to BOGOF (Buy one, get one free) tracks. 




Raise your hand if you were caught in Travis Scott’s spell while listening to this song (B*tch, put your hand up).

I love how this song builds up. I love how it blooms. The invigorating hook is amazing. Travis’ robotic vocals stabilize the myriad of vibes the instrumentation gives off, and the beat drop is perfectly nailed. The synths are fantastic, and the melodies sound hypnotizing. The quick snippet of Travis’s daughter adds a nice touch. The song ends on some confusing s**t, but I still love it. Can you tell that I love this song?


1. HYENA (4/5)

2. THANK GOD (Ft. KayCyy) (5/5)

3. MODERN JAM (3.5/5)

4. MY EYES (Ft. Bon Iver & Sampha) (3.5/5)

5. GOD’S COUNTRY (4.5/5)

6. SIRENS (Ft. Playboi Carti & Sheck Wes) (4.5/5)

7. MELTDOWN (Ft. Drake) (5/5)

8. FE!N (4.5/5)

9. DELRESTO (ECHOES) (Ft. Beyoncé & Bon Iver) (4/5)

10. I KNOW ? (Ft. 21 Savage) (4.5/5)

11. TOPIA TWINS (Ft. Rob49 & 21 Savage) (4.5/5)

12. CIRCUS MAXIMUS (Ft. The Weeknd) (4.5/5)

13. PARASAIL (Ft. Yung Lean) (N/A)

14. SKITZO (Ft. Young Thug) (5/5)

15. LOST FOREVER (Ft. WESTSIDE GUNN & James Blake) (4/5)

16. LOOOVE (Ft. Kid Cudi) (4.5/5)

17. K-POP (Ft. The Weeknd & Bad Bunny) (4/5)

18. TELEKINESIS (Ft. Future & SZA) (4/5)





This album is supposed to be heard in Planetariums. If you don’t have access to a Planetarium, listen to the s**t on the roof of an NBA arena.

Travis Scott’s ear for music is fantastic. He has always done an outstanding job of making music that sounds just as good in your earphones as it does at concerts. With that being said, I truly believe listening to UTOPIA through your earphones won’t do the album complete justice. Throughout the project, Travis toys with random sounds, tones, vibes, and energies (I mean this in almost a spiritual way) that I feel you need to hear and feel with people who are just like you or want to kill you. Like, bro, I can’t fully enjoy “SIRENS” in my dirty and boring-ass room; I need to hear this song in a damn escape room with 20 strangers. 

Let me get this out of the way immediately: This album’s production is unbelievable. Every sound we’ve ever dreamt of, heard in clubs, at zoos, at all-inclusive resorts, and even at Chuck E. Cheese, is featured on this album. Seriously, I want to give every person involved in the production of this album a handshake and some money from my savings account.

I love how Travis Scott puts A-list artists in positions to succeed, reminiscent of Kanye’s approach. In UTOPIA, not only do A-list artists like Drake, Beyoncé, 21 Savage, SZA, and Kid Cudi shine in their respective songs after being given the perfect platform to do so, but I also appreciate the opportunity to hear up-and-coming artists like Rob49 and Teezy Touchdown showcase their talent. However, I must admit that I didn’t enjoy the Bad Bunny and The Weeknd feature on “K-POP” (“K-POP” is the only song on this album that sounds basic).

Do you know what’s crazy about Travis Scott’s albums? His raps aren’t super memorable, but they are so damn needed. It’s almost like riding in a plane: Even though you know computers are doing most of the work to get you to your destination, I’m not flying without a f**king pilot. In fact, I’m applauding the pilot after we land for ensuring a smooth ride and avoiding any mishaps. Similarly, in the case of UTOPIA, the production and guest features act as the computers, while Travis Scott serves as the absolutely perfect pilot. He knows when to take a backseat, when to turn up the aggression, and when to hit us with some catchy melodies. Also, his robotic sound meshes perfectly with the futuristic production. Let’s all appreciate Travis Scott, ladies and gentlemen.

I think UTOPIA lived up to the hype…

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