In a genre oversaturated by “up and coming” artists and “rising stars,” it takes something unique to own the title of number one hip-hop album. Travis Scott has taken the top spot by force with his second album “Birds in the Trap Sing McKnight.” After his stellar debut “Rodeo,” Scott had high expectations for his sophomore album. Stylistically, “Rodeo” is overflowing with strong basslines, deep synths, and party anthems. While it was received positively,”Rodeo” left room for improvement.

Scott’s second album had a release plagued by delays and complications. However, it still found itself at the top of the Billboard 200. To put it simply, “Birds in the Trap Sing McKnight” is more polished than”Rodeo.” Where “Rodeo” has many strong sections, it seems that many pieces in a single song are independent of each other and never quite come together. “Birds,” on the other hand, is a cohesive album whose songs all fit together like a puzzle.

“Birds” still has Scott’s signature basslines and synths, but this time, they sound more finished. Anyone can make a simple two measure synth. Scott, however, has refined the quality of his productions to create sounds that truly envelop the listener with auditory art.

While it may not be obvious the first time you listen to him, Scott’s main musical influence is Kid Cudi. Scott’s admiration for Cudi can be seen through his slow tempo and relaxed musicality. However, Scott falls short in his imitation of Cudi by his use of autotune. But it’s not a bad thing. Scott utilizes only a small tinge of autotune compared to many of his peers, and it does not detract from the quality of the album. While many see the use of any amount of autotune to be negative, Scott uses it in a way to improve his sound.

Scott has always been criticized by his weak lyricism. In “Birds,” while his vocabulary has certainly expanded, his weakness still shows. His songs are filled with trite subjects and are still influenced by his heavy partying. Scott’s rhyme schemes remain basic and are occasionally nonexistent which interrupt the already lacking flow of many of his verses.

Fortunately, in almost every song Scott has managed to cobble together one or two redeeming lines. Although his command of the English language could use some improvement, his strong musicality makes up for it.

While Scott is capable of holding his own as an artist, it is commonplace in hip-hop for an album to be full of features. Scott selected his companions for his album very well. Each guest adds something that Scott lacks such as stronger raps, heavier trap sounds, and superior vocals.

In addition, big names like Kendrick Lamar, Young Thug, and Bryson Tiller add appeal to “Birds” as a whole and attract listeners who may have otherwise passed on Scott’s album. While Scott is respectable by himself, his features provide a new dimension to his sound.

In the end, “Birds in the Trap Sing McKnight” is a far more ornate production than “Rodeo” and truly shows the potential and progress that Scott has made in recent years. His improved synths and marginally enhanced lyricism are evident throughout the album and make a big difference. While there is still room for improvement, fans have a great piece of art to keep them occupied until Scott’s next album.