The elusive underground rapper turned mainstream sensation, Yeat, has dropped what might be his most cohesive and technically ambitious project yet.
A sequel to his summer 2022 project, Lyfe, Aftërlyfe takes more risks and leans more into the weird, unknown world that Yeat thrives.
The first few songs: “No more talk”, “Shmunk”, “Bettr Off” and “Rav3 Party” feel like the nightclub scene in the movie Blade. The production is dark, surreal, and exciting as if the underworld had its own Rolling Loud festival.
What enhances the production is Yeat’s use of zainy and outlandish adlibs, sometimes it’s hard to distinguish what sounds are his voice and what sounds are digital samples. This can be heard on “Bettr Off” as his autotuned crooning cascades over the beat in the background, like a flood breaking out of a dam in slow motion.
On this album, Yeat also utilizes two of his many vocal deliveries in the form of alter egos, those being “Kranky Kranky” and “Luh Geeky”. “Luh Geeky” is a voice that features on the song “Narcoticz from his early 2022 album 2 Alive, a high-pitched devil that sits on Yeat’s shoulder and repeats everything he says.
“Kranky Kranky” on the other hand, is a more aggressive delivery, that has been featured on songs like “Hey” and “Twizzy”. These voices and alter egos add a great deal of depth and versatility to the album and make up for Yeat’s lack of lyrical prowess. His spontaneous energy and weird delivery keep the album fresh and entertaining even after multiple listens. It’s like every time you listen to it you find a new quirky vocal or adlib that gets stuck in your head for the rest of that day.
An extreme high point for me is the song “Split”. Yeat almost goes into a lyrical frenzy that feels like he’s getting faster and faster with every bar he spits, like some kind of Percocet-powered treadmill. The hook is incredibly catchy, as he chants “I want Bentley, I want money”, as a spoilt child possessed.
However, despite the album’s highs and unpredictability, the album does have some songs that genuinely serve no purpose and don’t advance Yeat’s sound or the album quality. Songs like: “Bad Bend”, “Mean Feen” and “7 Nightz” are incredibly filler-esque and just add unnecessary minutes to the album’s runtime, however, this isn’t a new problem with Yeat LP’s.
Another downfall is Yeat’s songwriting ability. Now before you moan and groan and say, “but Yeat’s music isn’t about lyrics it’s about the vibes”, yes that’s true, but Yeat’s music could be made a lot greater if he talks about personal things every once in a while. Even artists like Young Thug and Future have songs with strong lyricism where they get more personal, i.e., “Codeine Crazy” and “Daddy’s Birthday”.
Score/Good (+): Yeat’s album is meant to be purely fun, and that’s exactly what it is. Anticipating how strange Yeat will be on each song is fun and entertaining, and keeps the listener constantly engaged.
[I rank album on a scale of: Poor, Mediocre, Good, Excellent, Outstanding]
[a “+” means a high end of the given score and a “-“ means the low end of the given score]
Written by Jake Campbell