In yet another rap collab that dropped as 2017 came to a close, not to be upstaged by fellow Migos member Offset, Quavo recruits a kindred spirit in Travis Scott for a solid but unsurprising effort. The two stick to exactly what they know and exactly what they’ve been doing for the rest of the year, and since they are more similar in terms of artistry than many collaborative projects over the course of the year, it seems like the album doesn’t have much to offer that we haven’t already heard before.
While I personally wanted to hear more bars and less mumbled, autotuned crooning that the two have become known for, Huncho Jack, Jack Huncho shows two artists who are as understanding of their audience as they possibly could be, delivering a select few great moments in a sea of mediocrity.
The project opens with its most immediately catchy song in “Modern Slavery”, which features a more energetic trap beat than most of the generic offerings on the rest of the project and features Quavo “shaking his demons off” and then “dipping his dreams in sauce”. The shorter length of the track, as well as the multiple delays on the project, makes me think that the logistics of the project did not come together as well as most, since this album basically exists solely due to internet hype on Twitter. I wish it had gone on for longer.
The only features on the project come from fellow Migos members Takeoff and Offset, and it really speaks volumes to how well Migos work as a trio, since the distinct voices they bring to their respective tracks really breaks up the monotony here. Scott and Quavo are almost indistinguishable here, not playing off of each other at all or complementing each others’ strengths because they essentially do very similar things on each track.
The tracks “Dubai Sh*t” and “Best Man” stand out as well, the former demonstrating the quotable, goofier side of their respective rap personas (if you can ignore the similarities to Drake’s More Life highlight “Gyalchester”) while the album closer “Best Man” offers something a little different from the trap sensibilities and rhythmic adherence to rather straightforward beats. The collaborators express their brotherhood and tell some stories of their early friendship over Young Thug producer Wheezy’s more spacey, ambient beat that accommodates their melodies better.
Scott and Quavo’s more freeform, flowing style doesn’t contrast as well with more dynamic beats, since almost all of the energy of the track is lost when a beat calms down due to the rappers not explicitly sticking to a solid rhythmic pattern. While there is certainly appeal in the style, as evidenced by the two rappers’ enormous popularity, after a slew of collaborative projects that only served to amplify artistic aspects that weren’t as prominent on solo work, the safe approach to this project didn’t sit as well with me. Too much of the project sounds like an amalgamation of just about every track Travis and Quavo appeared on over the course of 2017, using the same flows, same beats, same adlibs and same lyrical content and even some of the same punchlines.
Quavo’s voice is the hip-hop universal solvent at this point, and Travis Scott at his most energetic can be truly invigorating, but it is clear that there wasn’t a high degree of effort put into this project, not wanting to delay its release to 2018. There are certainly moments to enjoy here – these two have exploded into the public eye recently as they continue to shape exactly what modern hip-hop sounds like, and this can be partially credited to the strength of their prolific collaborations – but usually, their presence is a welcome juxtaposition and different perspective to a track by someone with a completely different approach. These artists aren’t as one-dimensional as this project makes them seem.
Favourite Tracks: Modern Slavery, Moon Rock, Best Man
Least Favourite Track: How U Feel