Other highlights on the project include “Dubai Shit,” which opens with a beautiful, unexpected feature from Swedish rapper Yung Lean and “Saint,” where the rappers revel in the fruits of their labor: “Lookin’ at this mansion I bought / It just came with fifteen rooms and a vault.” Travis raps about his days on the streets of his hometown Houston, where he earned his stripes as a musician. One of the standout tracks for me was “Motorcycle Patches,” which features a pulsing bass and one of the catchiest hooks of the year. The rappers trade bars on most of the songs, covering topics from the burden of fame on their shoulders to the weight of the jewelry flooding their wrists, necks, teeth, fingers, heads, shoulders, knees and toes. This ominous artwork, contrasted with the bright colors of the rappers’ outfits, set the mood for the opening track, “Modern Slavery,” which begins with a soulful Otis Redding sample before Quavo’s first lines, “All these damn chains, modern slavery / But this ain’t 1800 so they paid me.”
The two rappers wear grim, twisted expressions, and resemble zombies who just ran through the Gucci store. The cover is barren, with a white background and thin, black lines used to create the setting of a desert and a distant cityscape, with Travis and Quavo in the foreground. Thompson, having illustrated the covers of books such as “Fear and Loathing in Las Vegas,” evoked his trademark spookiness in the artwork. Steadman, best known for his work with American author Hunter S.
HUNCHO JACK JACK HUNCHO ALBUM ARTWORK PROFESSIONAL
21, made a bold choice for their project’s cover art, enlisting the help of professional illustrator Ralph Steadman. Travis Scott and Quavo, the rap heavy-hitters who paired up on “Huncho Jack, Jack Huncho,” a collaborative album, released Dec. In contrast to other artistic mediums like painting, an album’s cover art reflects its music, evoking emotions and setting the tone before you press play. One of the best parts of any album is the artwork.
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