Cycles in Sonics: The Vinyl Resurgence and Travis Scott’s Utopia
“The eternal hourglass of existence
is turned upside down again and again,
and you with it, speck of dust!”
Graphic Designers: Christine Jung & Katie Zhu
The long-awaited release of Travis Scott’s fourth studio album, "Utopia," has garnered widespread acclaim and significant media attention for the multi-faceted rapper-producer. From basking in adulation to being mired in controversy, Scott is no stranger to the full spectrum of celebrity life, and “Utopia” is no different. The project left a sour taste in the mouths of Pitchfork reviewers who label it an “empty spectacle,” and Scott “the ultimate hooligan,” while also receiving praise with many drawing the ever-flattering “it sounds like Kanye” card. All the while, Scott is imploring us to finally take him seriously as misdirects like the countless features peppered throughout save him from actually having his values or experiences interrogated.
However, another superficial, underthought project with atmospheric instrumentals was never going to cut it. In the wake of the Astroworld tragedy, when even longtime fans began to expect more than mosh and psychedelia from the artist, it seems he missed the chance to connect.
What Scott did not miss was another chance to cash in. In the days leading up to the album, Scott made his directorial debut, with the release of the plotless Circus Maximus documentary. However, the film is more music video than found footage, serving as visually indulgent fodder made to accompany the “Utopia” soundtrack.
That’s not all though, because, alongside its digital drop was the release of the “UTOPIA LIMITED EDITION BOX SET” — a robust one-inch-thick gray box containing a two-disc vinyl pressing of the album and a unique T-shirt. Initially priced around $80, this collectible now resells between $100 and $400. While the elaborate packaging may be a departure from the simplistic days of affordable single records, Scott's venture taps into a broader trend: the quest for tangibility.
In an era dominated by streaming, physical albums — particularly vinyl — have begun to transcend beyond simply being listening devices. They've morphed into statements, treasured artifacts, and embodiments of the music industry's past. This is great for Scott and other artists who, in past years, have been forced to rely more on live performance than record sales.
Nevertheless, there is more than meets the eye when it comes to the new generation’s penchant for vinyl. Two decades ago, with Napster in its heyday and streaming on the rise, there was a move back toward physical listening, much like the one we’re seeing today. The difference? When streaming was in its infancy, it was mostly niche, indie artists pressing their music to vinyl. This created a state of active listening, where fans could purchase physical copies of their favorite music while supporting its creation.
This felt especially in bounds amongst rockers whose jangly guitars and rough vocal performances were already tried and true on vinyl. Fast forward, and artists, irrespective of genre, mirror this trend. Yet, for Scott, whose music is inherently digital, the vinyl incarnation feels somewhat disingenuous. The allure of the analog, intrinsic to vinyl, seems paradoxical for Scott's electronically rendered symphonies.
While streaming boasts convenience, engaging with "Utopia" on vinyl requires deliberate effort. Indeed, without a turntable, it's inaccessible, and playing it devoid of venue-grade subwoofers or over-ear headphones almost seems irreverent, but such is the allure of the vinyl experience. This is not to say that the digital age is the end of “real” music or that Scott is an untalented hack, but rather a testament to the fact that physicality and fidelity do not always go hand in hand.
This underscores Scott’s hunger for increased credibility. Vinyl’s historic reverence offers artists the chance to punch above their weight. Scott hopes we will listen and harken back to a golden age of music. For him, "Utopia" on vinyl isn't just about sound; it's about staking his claim in the pantheon of music legends.
Since its release in July, Scott has moved onto new things, specifically a collaboration with none other than Air Jordan to create what is being called the year’s “hypest golf shoe.” It seems Scott will not quit until his fans can feel him permeating through every form of media. He seeks ubiquity in the cultural soundscape without anchoring his essence. A quest for omnipresence without truly being present.
Strike Out,
St. Louis
Writer: Kam Reo
Editor: Ali Koenig
Graphic Designers: Christine Jung & Katie Zhu