Maya Delilah is a 24 year old R&B singer/songwriter from London, England, United Kingdom who introduced herself in the summer of 2020 with her debut EP Oh Boy & later It’s Not Me, It’s You the next fall. Both of which were welcomed to mixed reception, signing a joint deal with Blue Note Records & Capitol Records roughly 12 months later. 2 & a half years have passed since & she’s ready to take herself to new heights on her debut album.
“Begin Again” minimally begins her Blue Note debut hoping nothing changes whenever she rewinds to a certain point in her life whereas “Look At the State of Me Now” hooks up some mellow ass guitar work singing about everyone taking a look at how she’s doing currently. “Man of the House” experiments with country-pop reveling in the domestic potential of new love prior to “Maya, Maya, Maya” delving further down the introspection topically.
Meanwhile on “Jeffrey”, we have Maya taking a backseat vocally making way for an acoustic guitar & some organs to prominently take over the spotlight just before “Squeeze” brings a funkier vibe to the table telling her lover to never let her go. “Actress” samples the late Curtis Mayfield singing that she’s on the verge of losing control & getting lost, but then “Did I Dream It At All?” hops over these pianos to address the theme of despair.
“I’ll Be There in the Morning” starts the final leg of The Long Way Round by taking inspiration from an unpleasant experience she once had while the acoustic “My Balloon” apologizes to this individual for keep pulling them back to her. The western-tinged “Necklace” sings about feeling as if 2 worlds are intersecting & being a realist while “Never with You” ends by admitting her fear of growing old.
The Long Way Round compared to her early EPs feels like combination of so many parts of her since she’s so influenced by different genres, people, places & experiences that it’s always felt hard for me to fit my music into a consistent sound or mood. It took her a long time to realize that it’s a beautiful thing to have a body of work that explores so many different influences. It brings her intimacy, ability, inspiration depth & lightness into 1 striking debut.
Skaiwater is a 24 year old rapper & producer from Nottingham, England, United Kingdom who began in 2019 off their debut EP After God Fear Eve. The 4ersona member would go on to put out 3 more EPs along with a mixtape & a couple of full-length studio LPs, the most notable being their sophomore effort #Gigi from last summer under GoodTalk Records & Capitol Records fully realizing on the potential that was shown on their earlier material. 7 months later, Skai’s looking to prelude their 3rd album with their 5th EP.
The intro “pop” brings together trap, pop rap, alternative R&B, rage, pluggnb & industrial hip hop telling their bae that they’ve been hustlin’ extra hard for her as of late whereas “feral” talks about being the one to find a reason to run away. “by the moon” expresses the fear of losing the woman they’ve seeing currently just before “wolf” featuring Rada talks about a chick who hasn’t slept in 4 days falling in love with the drugs they doing not even knowing either of their names.
“You don’t feel the same.” reaffirms the love they still has for this woman & suggesting she must think they’re a clown when they’re far from it just before “maria” addresses an individual with that very name wanting to own their heart. “ur song” is a tribute to their soulmate loving her for the way she is just before “manicinamerica” ends the the EP by confessing they’re far from sober wanting to hold Mia in their bleeding arms & asking if they can be a home to their partner.
Young Skai managed to push themself artistically back in June & they prelude the next LP in their disposal with what’s definitely the most I’ve enjoyed an EP from them. The production takes the UK hip hop sound & fuses it with pop rap, plugg, jerk, electropop, trap, alternative R&B, rage, pluggnb & industrial hip hop once more leveling up their pen-game like Skai did previously.
Cyn is a 31 year old singer/songwriter from Michigan whom Katy Perry signed to her Capitol Records imprint Unsub Records in the summer of 2017. Her debut EP Mood Swing came out in the fall of 2019 & has since been working on her official full-length debut studio album, dropping off a total of 7 singles ever since. However, she’s finally ready to make her biggest artistic breakthrough yet after her mentor’s latest offering 143 was critically panned a couple months ago.
“Losing Sleep” happens to be this dance-pop inspired intro track singing about her being unable to sleep as of late whereas “I Don’t Care” works in a bit of a pop rock vibe instrumentally showing off the curls in her hair without any fucks to give. “Lemons” embraces the pop sound fully refusing for her free fall down your hill to stop while “Be Like Her” pulls from the original theme for AEW Collision on the Discovery Global-owned TNT network “Saturday Night’s Alright (For Fighting)” by Elton John feeling envy towards another woman.
As for “House with a View”, we have Cyn singing on top of this trap beat that she wants to live out in Malibu with a significant amount of wealth just before “Drinks” goes for a bit of a cavernous pop flare altogether consuming alcohol to get her mind off her man being pissed. “Los Angeles, No Offense” apologizes for being a bitch during a party over this pop rock instrumental detailing her preference for Michigan instead of California leading into the stripped-back “Where Do All the Diamonds Go?” keeping her mind stuck on a thought that doesn’t serve her.
“Love You Like I Want To” turns the pop rock influences back up singing that she didn’t do anything wrong whatsoever wishing this individual’s ex would calm down, but then the jangly “Hard to Love” asks this person that Cyn’s no longer seeing why he’s acting like she’s difficult of deserving affection. “Crazy” pushes towards the conclusion with this catchy pop joint unable to put a finger on this woman’s insanity & “Growing Up” wraps up her debut promising you’ll take your time when it comes to that topic.
Starting the deluxe run, “The Smiths” has this catchy & fun pop rock vibe throughout paying homage to the Manchester indie pop band of the same name while the empowering ballad “Sweet” sings about still being here regardless of people writing her off for noticing her flaws & firing low blows. The final bonus track “Sink Your Teeth in Your Tongue” is a final pop rock joint telling her ex to stop sending texts to her new man, pointing out him leaving a hole in her heart & him never making the time for her.
If you’re like me & this is the first time you’re hearing of Cyn, you’re gonna want to give Valley Girl a listen because I definitely see why Katy Perry gave her a record deal since she’s easily the best artist on Unsub as of right now. The production here is a lot more detailed than 143 was pulling from dance-pop, alt-pop, pop rap, trap, pop rock & electropop matched with songwriting & vocals that come off as witty, clever & emotional.
The Cure are a well regarded post-punk/goth rock band from Crawley, West Sussex, United Kingdom consisting of bassist/keyboardist Simon Gallup, keyboardist Roger O’Donnell, guitarist Perry Bamonte, drummer Jason Cooper, guitarist Reeves Gabrels & frontman Robert Smith. They’ve made some of the most essential music within both subgenres like 17 Seconds, Faith, Pornography, The Head on the Door, my personal favorite Disintegration, Wish & even the eponymous effort that Ross Robinson produced. 16 long years later, they’re back together for their 14th album.
“Alone” starts by fusing goth rock with dream pop & ethereal wave drawing it’s inspiration from the Ernest Dowson poem “Dregs” whereas “& Nothing’s Forever” is a slow & string-heavy number singing about a promise Robert made to be with someone on their deathbed. “A Fragile Thing” crosses over into alt/goth rock turf with additional influences from drean pop & baggy music clarifying there’s nothing you can do to change the end, but then the gloomy “Warsong” sings that we’re all born for war.
To get the 2nd half going, “Drone:Nodrone” easily stands as the catchiest & most upbeat moment on the entire LP from a musical standpoint acknowledging a tumultuous relationship just before “I Can Never Say Goodbye” passionately laments the death of Robert’s brother Richard for 6 minutes. “All I Ever Am” sings about way love turns out every time from his perspective will never be enough & “Endsong” wraps things up with a 10-minute epic of a closer inspired by a starlit night that reminded Robert of a similar evening in 1969, stargazing in the back garden with his father when Apollo 11 landed on the moon.
The goth rock/post-punk icons return after an over a decade dealing almost exclusively in death, dying & the relentless march of time inspired by David Bowie’s 26th & final album ★. The songs move slowly & many go on for minutes before Smith opens his mouth. No pop hits, no hooks & really no fun. It’s also some of the band’s most engrossing work, a statement that like most great Cure songs can’t be taken lightly.
This is the 5th studio album from Portland rapper Yeat. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. Coming off his 5th mixtape Lyfë couple summers ago alongside Aftërlyfe & the experimental 2093, he’s back to rep the Lyfestylë.
“Geek Timë” is this rage-inducing opener with Yeat boasting that he hits with the 10 instead of the 5 whereas “STFU” takes the Memphis route instrumentally sampling “Test My Nutz” by 2 Low Key to talk about being outside with the rag. “They Tell Më” heads back towards a hypertrap direction even though it’s one of the more repetitive moments lyrically, but then “Heard of Më” maintains a rage vibe altogether thanks to both Internet Money Records in-house producer Synthetic as well as venny talking about being geeked up like a God.
Moving on from there, “Speedball” sticks to the signature sound that many have come to know him for gettin’ this motherfuckin’ bag carryin’ a Glock by side in the process leading into “U Don’t Know” keeping the rage beats going leaving everyone who eventually tried him dead. “Orchestratë” has these prominent horn sections throughout that I found myself enjoying running it back up every weekend just before the sinister “Bë Quiet” featuring Kodak Black talks about being way too rich.
“The Costës” continues the dense, buzzing synth work with repetitive chord progressions & melodic synth leads wantin’ to know what y’all need so he can do the opposite while “Go2Work” featuring Summrs finds both SlayWorld members over a hypertrap instrumental comparing themselves to demons lurking during the evening. “Gone 4 a Min” suggests that maybe he’s bad for his own good throwing it back to Ye or the Nazi formerly known as Kanye West’s 4th album 808s & Heartbreak with the beat while the synth-driven “Forever Again” asks a dead man walking if he remembers him.
As for “On 1”, we have Yeat turning the rage back up shrugging off the lyfestylë is what others wants to be instead of them thinking they actually be living it out here while “Flytroop” maintains a hypertrap aesthetic dissing Lil88. The bassy “Eliminatë” talks about not needing a lamp or light since he already knows where the fuck he’s at while “Lying 5 Fun” flexes that he’s on a new level as further justified by 2093 & everyone else thinking he was done hooking up more synthesizers & hi-hats.
“New High” featuring Don Toliver psychedelically finds the pair dropping braggadocio while the synth-trap crossover “So What” admits to being fried. The title track featuring Lil Durk energetically sees both of them rockin’ out while “God Talkin’ Shhh” addresses everyone who thought of him as a pilgrim. “Lyfë Party” asks shawty if she’s being real on top of promising shit hasn’t changed & “Fatë” ends with him ridin’ with the windows down in this bitch.
Starting the deluxe run, “Project Lyfestylë” is this siren-heavy dedication to his Field Trip Recordings & Capitol Records imprint Lyfestyle Corporation while “For Lyfë” asks if anyone would want to do this with him for the rest of their lives. “Night Come” talks about feelin’ himself since he’s high as Hell at the moment & wanting to know why you so basic over more synths & hi-hats while the raging “5Brazy” featuring Quavo on the remix interpolates “TURNMËUP” spazzing out.
“Barbarian” futuristically dares y’all to come out & fool his squad with all them sticks they’re carrying while the blaring “Gravëyard” talks about Lyfestyle party wanting everyone to come on in & bring a friend. “Gonë” sticks to his hypertrap guns suggesting that he could be trippin’ while “Style Lyfë” showing off his flytroop status once more. The final bonus track “Back Thën” ends the deluxe complexed between not wanting to be alone & those who won’t leave him alone.
2093 marked a stylistic departure from Yeat since he took on more of a industrially experimental hip hop sound in comparison to rage & if you were disappointed in that previous LP even if I think it’s the best thing he’s ever done, you’ll probably find yourself preferring Lyfestylë. The production mainly returns to the hypertrap sound that made the Portland star a household name with additional elements of pop rap & experimental hip hop showing off a handful of new obsessions whether it be telling lies, gazing with wonderment at lights, threatening to cut people’s heads off like the Red Queen.
Katy Perry is a 39 year old singer/songwriter & television personality from Santa Barbara, California who started in 2001 by releasing a Christian rock album under her birth name Katy Hudson. She later signed to Capitol Records for the sophomore effort One of the Boys & 3rd album Teenage Dream launched Katy into international superstardom. PRISM, Witness & Smile were all released to mixed reception & some of the singles building up the Unsub Records founder’s 7th LP here had me interested.
“Woman’s World” starts with what is easily one of the worst songs that I’ve heard all year uglily mutating dance-pop, synthpop, synthwave & hi-NRG despite the themes of female empowerment whereas the poppy trap duet “Gimme Gimme” featuring 21 Savage finds the 2 getting lustful. “Gorgeous” featuring Kim Petras gives off an electro dance-pop flare shouting out the girlies for looking stunning just before “I’m His, He’s Mine” featuring Doechii works in elements of pop rap, Atlanta bass, contemporary R&B & trap getting possessive towards their lovers.
Meanwhile on “Crush”, we have Katy singing over a house beat about falling in love leading into “Lifetimes” going dance-pop, garage house, diva house, Euro House & future house paying tribute to her daughter Daisy. “All the Love” maintains the house vibes instrumentally accepting that love wasn’t for her until Daisy came into her life prior to “Nirvana” expressing Katy’s desire to be taken to a spiritual place of perfect peace & happiness through her current partner through sexual intimacy.
“Artificial” featuring J.I.D nears the conclusion of 143 in the form of this dance-pop/pop rap hybrid wanting to know who’ll save them from losing their minds while the song “Truth” demands transparency within a relationship even if it hurts her over an atmospheric trap beat & I can definitely tell that she’s referring to Russell Brand. The closer “Wonder” ends the album the eponymous wonder in everything no matter the age & no matter the circumstances that the wonder finds itself in.
Starting the deluxe run, “I Woke Up” is this happy go-lucky dance pop tune singing about having another day not doing the relatable theme of life not being promised any justice while “Has a Heart” tries way too hard to preach it’s message to the world of sharing the prospect of love to one another. “No Tears for New Year’s” embraces a synth-pop vibe refusing to let anyone cry soon as New Year’s Day begins & the final bonus track “OK” finishes by remaining optimistic ahead of the 2024 presidential election.
It’s crazy to think that the same woman who had damn near every single song on her major label sophomore effort like “California Gurls” featuring WWE Hall of Famer Snoop Dogg or even “E.T.” featuring Ye or the antisemitic Nazi formerly known as Kanye West has now given us what many including myself are now regarding as the worst body of work in her entire discography. I have no doubts that she wrote it from a sincere place since it’s named after what she calls her angel number, the biggest flaw here is the production playing catch-up to the dance party trends.
This is the 3rd EP & major label debut from Japanese-American up-&-comer Molly Santana. Originally a streetwear influencer, the Fontana native began making music in 2021 by releasing her debut EP Molly’s World as well as her debut mixtape Neptune & her 2nd EP Mélange. Her eponymous full-length debut studio album just came out this spring to moderate reception, resulting in her signing a joint deal with Victor Victor Worldwide & Capitol Records. 5 months later, she’s continuing to apply pressure on Masonic Musik.
Supah Mario & Synthetic of Internet Money Records’ psychedelic trap production on the opening track “Greenlight” is actually a fun way of kicking things off talking about not wanting to take it slow with her lover on top of turning the world into her brand new speaker whereas “Want” works in some hi-hats & even some elements of dance music thanks to Internet Money Records in-house producer Vendr telling her new man that he’s the only one she wants encouraging him to open up as to exactly what he’s been running from.
“Nothing Like This” goes for a bombastic approach instrumentally with co-production from Tom Levesque of Vanguard Music Group to talk about people never seeing anything like the shit she’s on while “So Lost” has these rage undertones shrugging off that she knows everything that’s goin’ on when others say she don’t know a lot. The trap/dance-pop hybrid “Windows Up” talks about people turning on her & “Tell Me Nun” and ends the EP refusing to let anyone knock her off her spot over a cloudy trap beat.
Of the 5 projects that Molly has under her belt so far, Masonic Musik for only a 6 track/15 minute EP surpasses the level of quality that her self-titled debut LP had set earlier in the year & solidifies her place in the trap subgenre of hip hop. The production’s more hard-hitting than a lot of her earlier material top to bottom, enigmatically exploring mystical & urban themes along the way. Between her & Hardrock being on Victor Victor now, I’m ready for what their debut albums on the label have in store.
This is the Grammy winning debut mixtape from Tampa, Florida emcee Doechii. Breaking out in the spring of 2019 off her debut EP Coven Music Session. Then following her next 2 EPs Oh the Places You’ll Go & Bra-Less, she went on to sign to Top Dawg Entertainment/Capitol Records in March of 2022 earning a spot in the 2022 XXL Freshman Class & releasing she / her / black bitch shortly after. However, she’s returning to make it clear Alligator Bites Never Heal nearly 14 months since appearing in the A24 Films drama Earth Mama.
“Stanka Pooh” starts the story backwards referencing the longtime Warner Bros. franchise Looney Tunes over a morbidly slow instrumental whereas “Bullfrog” goes full-blown boom bap with a bass guitar to talk about Twitter fingers getting your whole life logged out. “Boiled Peanuts” keeps the kicks & snares in tact maintaining a chip on her shoulder with the gang all here with her on a sunny day, but then the beat on “Denial’s a River” radiates a DJ Premier influence describing her rise in popularity in the last 5 years.
Moving on from there, “Catfish” maintains the hardcore boom bap sound referring to herself as the Ruler of the Swamp prior to “Skipp” shifting gears to trap territory ripping 25 crews quickly. “Hide n Seek” hooks up an atmospheric backdrop & hi-hats feelin’ hardline broke with nothing for her heart to hold just before the moody “Bloom” talks about finding her own place to grow.
“Wait” produced by Dylvinci ends the 1st leg of the tape on a cloudier tip advising that you should just eat what’s already on your plate & poppin’ since The Nanny aired on the Paramount Skydance Corporation-owned CBS while “Death Roll” brings a trap flare back to the table making it clear she got shit to prove with no time to fall back. “Profit” layers these hi-hats with a soul sample pledging allegiance to financial gain leading into DJ Camper giving “Boom Bap” a comedically drumless chipmunk soul vibe taking a jab at her critics.
Meanwhile with “Nissan Altima”, we have Doechii over a hardcore trap/pop rap hybrid telling everyone to increase their rates for her while “GTFO” featuring KUNTFETISH aggressively tells everyone to move out their way. “Huh!” shoots for a synth-based direction talking about being so 100 while the playfully subdued “Slide” discussing her man liking the way she grooves.
“Fireflies” nears the conclusion of Alligator Bites Never Heal with this cavernous 2-parter fed up with dudes calling her childish & pleasing to not be let down while “Beverly Hills” groovily talks her shit for roughly 3 & a half minutes. The title track lastly ends the tape with an acoustic/boom bap beat asking if you would dance for her even after hurting the feelings of this particular individual & the bonus cut “Anxiety” samples “Somebody That I Used to Know” by Gotye wiping the Sleepy Hallow version.
Even if I have ScHoolboy Q’s latest comeback effort Blue Lips above Alligator Bites Never Heal as my favorite TDE release of 2024, I highly enjoyed this mixtape more than her EP that I covered couple years ago. It’s a testament to her unyielding spirit & limitless creativity, additionally embodying her resurgence & reclaiming of power in the process letting everyone know she was born to be the predator.
This is the 2nd EP from Bronx, New York rapper Ice Spice. Growing up with a hard knock life at the Hudson Street Orphanage ran by Agatha Hannigan & later being adopted by Oliver Warbucks (kidding), she grew up to pursue a music career in 2022 after uploading a couple viral music videos & landing a Capitol Records contract. Drake eventually flew her out to join him at OVO Fest not too long after & unfollowed her on Instagram rather quickly once the festival concluded, with him calling her “a 10 trying to rap” & that her music is “good on mute” on the highlight track “BackOutsideBoyz” off their collab album with 21 Savage later that fall Her Loss. Ice Spice’s debut EP Like…? a year & a half ago was greeted to mixed reception & is looking to make a bigger breakthrough on Y2K!.
“Phat Butt” was a mediocrely experimental hardcore New York Drill opener sampling “Oh I Think Dey Like Me” by Dem Franchize Boyz talking about women biting her flows & poses whereas “Oh Shit” featuring Travis Scott takes a bouncier drill route instrumentally courtesy of Internet Money Records in-house producer Synthetic so both of them can look to turn up the spot. “Popa” dabbles a bit into rage territory to talk about getting super lit out here since she from the trenches, but then “Bitch I’m Packin’” featuring Gunna fuses drill & hypertrap explaining they got what they need.
Finishing the EP’s first half, “Plenty Sun” goes for a futuristic drill approach explaining that she don’t know how to do shit leading into “Did It First” featuring Central C fusing Jersey Club & cloud rap addressing themes of infidelity. “BB Belt” murkily declares herself as Ms. Poopie even though she doesn’t smell while “Think U the Shit (Fart)” swaps out the trillwave elements in favor of Miami Bass & new jazz courtesy of venny belittling her competition.
“Gimme a Light” nears the final moments of Y2K! with an underwhelming crossover between sample drill & dancehall flipping both “Gimme the Light” by Sean Paul & “Hazard Lights 4” by Blockwork featuring ShotBy O.A telling them to pass the dro to her prior to the bell-driven closer “T.T.Y.L. (Talk To You Later)” going out for the paper from the very moment that she first wakes up in the morning.
Starting the deluxe run, “Gyat” is a Jersey Club rap joint telling the haters to back up & the baddies to throw their asses back while “Hannah Montana” featuring DaBaby & NLE Choppa includes a dope line referencing “Tweakin’ Together” by Bktherula offering nothing else exciting than the drumless beat. “So What?” is this generic trap number talking about being spoiled & the final bonus track “Like” wants to know why everyone coming for her.
My thing with Ice Spice has always been the fact that I’ve heard the styles that she presents done better as said previously when I reviewed Like…? about 2 & a half years ago, which still stands of this very moment. Examples include Don Toliver’s 4th album Hardstone Psycho coming into his own through the help of new jazz, Yeat’s early stuff when it comes to rage, RealYungPhil’s 7th EP Dr. Phil regarding New York/sample drill & the Moh Baretta mixtape Unorthodox in terms of Jersey club rap. I don’t mind her trying out sounds, it’s just not as interesting as some of her contemporaries.
Portland rapper Yeat continuing his tradition of releasing music in February with the 4th full-length LP in his discography. Coming up in 2018 off his debut EP Deep Blue $trips, he would followed up with 2 mixtapes & 3 more EPs before beginning to dominate the mainstream in 2021 whether it be him dropping a total of 4 projects (2 mixtapes, an EP & a full-length debut) or cosigns from the likes of Drake & Earl Sweatshirt. He eventually signed to Geffen Records, who backed his sophomore effort albeit major label debut 2 Alivë a little over a year ago & then a deluxe EP Gëek Pack shortly after. But coming off “Rich Minion”& his 5th mixtape Lyfë couple summers ago alongside Aftërlyfe, we’re now being taken into the future on 2093.
“Psycho CEO” really gives everyone a look at what they’re getting themselves into with this industrial boom bap/trap crossover pushing up on the beat like a knife whereas “Power Trip” with co-production from Tom Levesque of Vanguard Music Group admits to possibly doing things that he never did before over some synthesizers up until the switch-up during the last minute in a half or so. “Breathe” literally samples Regular Show flexing that he made a billion bored on the jet prior to the dense “Morë” produced by Bugz Ronin & Internet Money Records in-house producer Synthetic confessing he loves losing control & needs a lot of shit.
The drums are completely removed on “Bought the Earth” going synthwave delving into themes of power & self-interest just before “Nothing Changë” blends these synths & hi-hats together talking about wanting too feel real referencing SpaceX founded by Tesla CEO, Neuralink founder & Twitter owner Elon Musk. “U Should Know” kinda gives off a rage inducing vibe likening himself to a fiend that likes to make money & doing things that you never should, but then the electro-industrial “Lyfestylë” featuring Lil Wayne discusses not being surprised by living this life.
“ILUV” entrancingly talks about seeing the future & coming back on top of loving it when his partner stays with him so they can rage together over a hypnotizing Rio Leyva beat while “Tell Më” talks about being born to live forever over kicks, snares & synthesizers. “Shade” continues to pull from electro-industrial thanks to Keyon Christ tackling the concepts of defiance, self-assurance & personal reflection while the distorted “Keep Pushin’” talks about defiance
Moving forward, “Riot & Set It Off” is this captivatingly dynamic 2-parter to start the 2nd half of the album refusing to conform & initiating action while “Team CEO” sonically builds itself around multiple synths from Outtatown acknowledging they might not get it at first. The title track breaks down the futuristic lifestyle he lives as the EBM influences make their way back into the fold while “Stand on It” featuring Future returns to Yeat’s hypertrap roots showing their swagger.
“Familia” reflects on wealth, power & loyalty within his inner circle over this mind-altering instrumental from BNYX of Working on Dying while the self-produced “Mr. Inbetweenit” declares that to be a new nickname for himself “because everything I said about that shit, I didn’t mean it” over synthesizers once more. “Psychocainë” hops on top of this booming trap beat while the raging “Run Thëy Mouth” tells y’all that “when you level up, you get that money like it’s Follywood”.
Continuing the encore of the LP, the penultimate track “If We Being Rëal” gives off a mysteriously dreamier atmosphere talking about taking shit to a new level on top of simultaneously feeling isolated & detached until the soothingly produced closer “1093” talking about not being from this Earth as well as being unable to stay although he wishes that he could. The first of currently 6 bonus cuts “As We Speak” featuring Drake experiments with pop rap, regalia & wave music to show off their luxurious lifestyles beginning Phase 2 & the rock/trap crossover “Never Quit” subsequently ends it by talking about refusing to walk away.
“Timë Passed” begins Phase 3 with a sequel to “Sidëwayz” tackling his continued success over a plugg instrumental that marks the return of the bells from some of his previous material also contained & the industrial/rage elements clashing on “Oh My Pockëts” are pretty fun telling y’all straight up he doesn’t & doesn’t want to know shit about those he refuses to let in his circle. “SKLUB” admits to havin’ problems with these demons & being amazed that no one has caught on except the synth-horn trap beat reminds me a bit of Pi’erre Bourne, but the 6th & so far final bonus track “H.A.B. (High As a Bitch)” ends Phase 3 in the form of a hypertrap anthem dedicated to being high as fuck.
It’s always exciting when an artist goes right when everyone expects them to go left & that’s pretty much what Yeat does throughout 2093. It’s noticeably more experimental than his previous material switching rage from a primary to secondary influence next to trap, electro-industrial, synthwave, EBM, pop rap & wave music predominantly showcasing an industrial hip hop sound painting an image of what life will be like 69 years from now.
Legends Will Never Die 