To me, this is what “Teenage Emotions” was supposed to be like. Wore a dress, now they’re tryna’ slander my gender” Since when? Wintertime, and I remembered December I been that n***a since uh, I can’t remember Yachty’s never been more in-pocket rapping about his own identity in a genre that’s been close-minded toward his antics. “Demon Time” and “Westside” display a whirlwind of sound and lyrical potency. In the past, I’ve been critical of Yachty’s tendency to build a massive hardnosed façade (“X-Men” and “DN Freestyle” specifically), but on “Lil Boat 3”, the style sounds much more polished and refreshingly unhinged. His positive message speaks louder volumes than Since then, he’s been heavily active in theĬommunity and on social media, morphing into a much-needed activistĭuring a period where artists like Gunna appear preoccupied with Injustice, and joined other celebrities in donating money to the He’s been one of the few at his age to speak out Troubling time), but it’s also difficult to overlook his efforts
Sure, it’s easy to act agnostic towards hisĬonstant infatuation with materialism (particularly during such a Two Chanel bags, the same price as my mink sofa”Īpparent nerdiness only serves as a small portion of Yachty’s
The n****s inside, they gon hide till the heat is over The repeated refrain at the beginning and the beat switch found halfway through presents this Super Mario-esque imagery reminiscent of the Playboi Carti-assissted “Get Dripped” from “Nuthin’ 2 Prove”. “Split/Whole Time” is a great representation of this the perfect marriage of Earl’s video game blips and Yachty’s rubbery debauchery.
LIL YACHTY JOE BUDDEN TWITTER DRIVER
He sounds more self-aware than ever, channeling his beloved infectious energy as the main driver for the album, rather than his erratic lyrical ability. “Lil Boat 3” finds Yachty syncopating and stretching beyond his naturally baritone voice. In the past – particularly on the inconsistent “Teenage Emotions”-Yachty sometimes sounded bored with himself, falling in the same cyclical mediocrity as his Quality Control counterparts the Migos (who are finally starting to sound more passionate about music). His rapping ability finally sounds as animated as his personality. When the vision comes fully into fruition, the music usually benefits. Yachty continues to prove his affinity for theatrics. “Oprah’s Bank Account” was the ideal selection for a first date before quarantine happened, and the 9-minute video that accompanied the single was memorable if not a tad self-indulgent. His red dreads may be nonexistent, but the brand he’s carefully curated continues to extend beyond just the music.
The third installment is a continuation of the modern series, a 19-track summer blockbuster directed by a new-look Yachty.
For better or for worse, these styles are the bread and butter for the “Lil Boat” franchise. The superhero alter ego he’s come up with is Lil Boat, the doppelganger who flip flops between sugary melodies, syrupy freestyle flows, and sing-rap yips. His music’s always carried a sense of acceptance and eclectic versatility, even if his stylistic choices don’t always hit. Yachty just wants to spread a positive image by building his own superhero origin story (or his next pitch as Green Lantern). Let’s be honest, did anyone under the age of 20 fully understand what a 360 deal was? Maybe some, but the majority of us were preoccupied with 2K tournaments and homework. To me this always felt unfair, especially in a world where big name labels like Atlantic thrive off of hoodwinking young African American artists with non-beneficial contract terms. Marking Yachty as a sellout was always the easy route for rap traditionalists (ahem Joe Budden and Charlemagne) who wanted to tear their ears and eyes out every time the 19-year-old proclaimed his ignorance for a 360 deal. Even Lil Uzi’s cultish aura wasn’t enough for Sprite to be like, “Yeah this is the guy we want in our Cinemark commercials before Hacksaw Ridge plays in front of a crowd of boomers.” I guess in hindsight it was a lot easier for money-hungry lobbyists to exploit a red-haired pizza lover over a Slaughterhouse affiliate or a dude inspired by Lord Infamous. The colossal success of 2016’s “Broccoli” (the official song of that fateful summer) confirmed his youthful marketability in a competitive class of eccentric characters. Miles McCollum has spent the last four years of fame honing in on his whimsical craft while the rest of the world was hating.
0 kommentar(er)
