His production is notable for injecting punk energy into icy, ambient beats culled from the chopped and screwed rap of his native Houston-all with a dash of Kid Cudi's lo-fi vibe and Kanye's artful grandiosity. Travis Scott, who was born Jacques Webster, has been rapping and making his own beats since he was 13. How people feel about this shit.”ĭo you feel a responsibility to say something to him? When I ask Scott about his relationship to his mentor's fluctuating political views, he says, “Everyone's entitled to their own. Like countless other Black men, Scott grew up influenced by West's music, but unlike the rest of us he went from fan to protégé to basically brother-in-law. And the track operates on one of those dark, untranslatable frequencies for which Scott is often the interpretive medium, whether he's laundering a mood for sneaker brands, indefinitely delayed sci-fi blockbusters, or his own personal heroes. The production is guttural and raw and haunting-uniquely Travis. That Kanye tapped Travis for “Blood” is telling.
Between the new record and West marching in the streets with Black Lives Matter, it seemed as if the old Ye was coming back to us. They recorded it earlier this year at West's ranch in Cody, Wyoming, and it was released with a convulsive music video from award-winning visual artist Arthur Jafa, who spliced together footage of Black Lives Matter protests, doctors treating Black patients having difficulties breathing, a dancing Breonna Taylor, a jogging Ahmaud Arbery, Grand Theft Auto, and West's Sunday Service Choir. The track feels like a return to the abrasive edge that informed Yeezus, Ye's most sonically challenging album, which is also the foundational core of Scott's warped sound. Three days before we meet, Scott and his mentor Kanye West dropped “Wash Us in the Blood,” a dark new single that happens to be the most overtly political record Scott has appeared on. “We've been through this for how many years? It's a fight that we've been fighting for, and it seems no one wants to give us this result we've been looking for-for years-and our voices need to be heard.” “It's a point where there has to be some acknowledgment, like, ‘This shit is not cool,’ ” he says. Scott has felt the urgency of the moment and has been moved by the outcry against police brutality. We are in a moment of serious reckoning during a critical election year, and it's all happening amid a global health crisis that has erupted into a civil war against basic science. Federal stormtroopers have landed in cities across the country while protesters are maimed for marching against racial inequity under the order of a president who has demonized Black Lives Matter groups. These days, to be Black and brown in America feels like living in a dystopia. And as people, we don't want nothing from each other but just to see each other happy.” “We got buildings, flying cars,” he continues. As just humans.” Scott's utopia has crazy, futuristic highways and “ fire” engineering and design classes. He sees “a place where we could just all sit across from each other and one side stops looking at the other side and where we all realize we're equal. He lights a second blunt and begins pacing the room while laying out his idealized future. What does utopia look like? Feel like? Sound like?
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Suddenly, the rapper who calls himself La Flame is in full Rage Mode-his eyes are tightly shut, and he's flailing his limbs to the beat and spinning in circles around his studio.
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He leans in close to the speakers to confirm he's playing the correct version before he launches into a series of high jumps. In person, as onstage, he's all energy and instinct, a ball of id that might get injured from stage diving off a lighting rig. Travis Scott's description of Tenet also happens to be a convincing working thesis for describing Travis Scott himself. “I can't even explain it,” Scott says when I ask him to tell me anything about the film. “His insights into the musical and narrative mechanism Ludwig Göransson and I were building were immediate, insightful, and profound.” The track is still untitled at the moment (and is currently known as “Travis mix 16”), which is a fitting accompaniment to an indefinitely delayed film that no one knows anything about. “His voice became the final piece of a yearlong puzzle,” the director tells me over email. It's Scott's first foray into writing music for a film, but his contributions, says Nolan, were crucial. The track is for Christopher Nolan's enigmatic thriller Tenet, and it sounds like a brain-liquefying trip through time and space.
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