Since Travis Scott’s successful “Astroworld” released back in 2017, his music releases have been sparse. Other than a couple small side projects, nothing but anticipation, drama, and tragedy has filled the time between his last two studio projects. Along with a star-studded, albeit, forgettable single teasing the new album, my skepticism was present throughout the rollout of “UTOPIA.” Despite my reservations, however, Scott has pushed himself musically to give “UTOPIA” its own identity, instead of being an “Astroworld” 2.0.

With the explosive intro that is “HYAENA,” the landscape is painted out to be rugged, with its clipping, distorted drum samples and plucky guitar riffs. The rest of “UTOPIA” describes Scott’s world of late as a dystopian fantasy. The glamorous “THANK GOD” includes Scott accounting on his life, celebrating its chaotic nature, while “MY EYES” is a moment of introspection, as Scott reflects on his career.

Tracks on “UTOPIA” range from experimental to right in Scott’s lane. The dance-inspired “DELRESTO (ECHOES),” with Beyonce’s feature holds a stark contrast with “MELTDOWN,” where Scott and collaborator, Drake, remake the magic of their last collaboration “SICKO MODE,” showing that lightning can strike twice in the same place.

Its unimaginative cuts, however, is what sets this album back in its quality. Tracks such as “SKITZO” or “CIRCUS MAXIMUS” both feel like renditions of old material in their own way. The former feels like an “Astroworld’’ leftover, while the latter sounds like a rip-off of a Kanye West song off of “Yeezus.” However, unlike “Astroworld,” “UTOPIA” usually keeps things fresh by switching up styles in its production, being more akin to Scott’s debut studio album “Rodeo.” If anything, “UTOPIA’’ exceeded my expectations.