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Let’s Start Here.

Quality Control / Motown

February 1, 2023

At a surprise listening event last Thursday,  Lil Yachty   introduced his new album  Let’s Start Here. , an unexpected pivot, with a few words every rap fan will find familiar: “I really wanted to be taken seriously as an artist, not just some SoundCloud rapper or some mumble rapper.” This is the speech rappers are obligated to give when it comes time for the drum loop to take a backseat to guitars, for the rapping to be muted in favor of singing, for the ad-libs to give it up to the background singers, and for a brigade of white producers with plaque-lined walls to be invited into the fold. 

Rap fans, including myself, don’t want to hear it, but the reality is that in large slices of music and pop culture, “rapper” is thrown around with salt on the tongue. Pop culture is powerfully influenced by hip-hop, that is until the rappers get too close and the hands reach for the pearls. If anything, the 25-year-old Yachty—as one of the few rappers of his generation able to walk through the front door anyway because of his typically Gushers-sweet sound and innocently youthful beaded braid look—might be the wrong messenger. 

What’s sour about Yachty’s statement isn’t the idea that he wants to be taken seriously as an artist, but the question of  who  he wants to be taken seriously by. When Yachty first got on, a certain corner of rap fandom saw his marble-mouthed enunciation and unwillingness to drool over hip-hop history as symbols of what was ruining the genre they claimed to love. A few artists more beholden to tradition did some finger-wagging— Pete Rock and  Joe Budden ,  Vic Mensa and  Anderson .Paak , subliminals from  Kendrick and  Cole —but that was years ago, and by now they’ve found new targets. These days, Yachty is respected just fine within rap. If he weren’t, his year-long rebirth in the Michigan rap scene, which resulted in the good-not-great  Michigan Boy Boat , would have been viewed solely as a cynical attempt to boost his rap bona fides. His immersion there felt earnest, though, like he was proving to himself that he could hang. 

The respect Yachty is chasing on  Let’s Start Here. feels institutional. It’s for the voting committees, for the suits; for  Questlove to shout him out as  the future , for Ebro to invite him  back on his radio show and say  My bad, you’re dope.  Never mind if you thought Lil Yachty was dope to start with: The goal of this album is to go beyond all expectations and rules for rappers.

And the big pivot is… a highly manicured and expensive blend of  Tame Impala -style psych-rock, A24 synth-pop, loungey R&B, and  Silk Sonic -esque funk, a sound so immediately appealing that it doesn’t feel experimental at all. In 2020, Yachty’s generational peers,  Lil Uzi Vert and  Playboi Carti , released  Eternal Atake and  Whole Lotta Red : albums that pushed forward pre-existing sounds to the point of inimitability, showcases not only for the artists’ raps but their conceptual visions. Yachty, meanwhile, is working within a template that is already well-defined and commercially successful. This is what the monologue was for? 

To Yachty’s credit, he gives the standout performance on a crowded project. It’s the same gift for versatility that’s made him a singular rapper: He bounces from style to style without losing his individuality. A less interesting artist would have been made anonymous by the polished sounds of producers like  Chairlift ’s Patrick Wimberly,  Unknown Mortal Orchestra ’s Jacob Portrait, and pop songwriters Justin and Jeremiah Raisen, or had their voice warped by writing credits that bring together  Mac DeMarco ,  Alex G , and, uh,  Tory Lanez . The production always leans more indulgent than thrilling, more scattershot than conceptual. But Yachty himself hangs onto the ideas he’s been struggling to articulate since 2017’s  Teenage Emotions : loneliness, heartbreak, overcoming failure. He’s still not a strong enough writer to nail them, and none of the professionals collecting checks in the credits seem to have been much help, but his immensely expressive vocals make up for it. 

Actually, for all the commotion about the genre jump on this project, the real draw is the ways in which Yachty uses Auto-Tune and other vocal effects as tools to unlock not just sounds but emotion. Building off the vocal wrinkle introduced on last year’s viral moment “ Poland ,” where he sounds like he’s cooing through a ceiling fan, the highlights on  Let’s Start Here. stretch his voice in unusual directions. The vocals in the background of his wistful hook on “pRETTy” sound like he’s trying to harmonize while getting a deep-tissue massage. His shrill melodies on “paint THE sky” could have grooved with  the Weeknd on  Dawn FM . The opening warble of “running out of time” is like Yachty’s imitation of  Bruno Mars imitating  James Brown , and the way he can’t quite restrain his screechiness enough to flawlessly copy it is what makes it original.

Too bad everything surrounding his unpredictable and adventurous vocal detours is so conventional. Instrumental moments that feel like they’re supposed to be weird and psychedelic—the hard rock guitar riff that coasts to a blissful finale in “the BLACK seminole.” or the slow build of “REACH THE SUNSHINE.”—come off like half-measures.  Diana Gordon ’s falsetto-led funk on “drive ME crazy!” reaches for a superhuman register, but other guest appearances, like  Fousheé ’s clipped lilts on “pRETTy” and  Daniel Caesar ’s faded howls on the outro, are forgettable. None of it is ever  bad : The synths on “sAy sOMETHINg” shimmer; the drawn-out intro and outro of “WE SAW THE SUN!” set the lost, trippy mood they’re supposed to; “THE zone~” blooms over and over again, underlined by  Justine Skye ’s sweet and unhurried melodies. It’s all so easy to digest, so pitch-perfect, so safe.  Let’s Start Here. clearly and badly wants to be hanging up on those dorm room walls with  Currents and  Blonde and  IGOR . It might just work, too. 

Instead, consider this album a reminder of how limitless rap can be. We’re so eager for the future of the genre to arrive that current sounds are viewed as restricting and lesser. But rap is everything you can imagine. I’m thinking about “Poland,” a song stranger than anything here: straight-up 1:23 of chaos, as inventive as it is fun. I took that track as seriously as anything I heard last year because it latches onto a simple rap melody and pushes it to the brink. Soon enough, another rapper will hear that and take it in another direction, then another will do the same. That’s how you really get to the future. 

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Lil Yachty on His Rock Album ‘Let’s Start Here,’ Rapping With J. Cole, and What’s Next

By Jem Aswad

Executive Editor, Music

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Nowhere in the rap star manual does it say that a guaranteed formula for success is to “make psychedelic rock album with almost no rapping.” Yet that is exactly what Lil Yachty did with “Let’s Start Here,” his fifth full album but first rock project, after years as a top rapper with hits like “One Night,” “Minnesota,” “Oprah’s Bank Account” and guest spots on Kyle’s smash “iSpy,” Dram’s “Broccoli,” Calvin Harris’ “Faking It” and others.

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Are these the first dates you’re playing behind this new album?

At the album listening session, people did not seem to know what to think.

No! I didn’t know what people would expect, but I knew they wouldn’t expect that. I’ll be honest with you, I’ve never been more confident with a body of work, so my chest was out. I didn’t think anyone would be like, “Oh, this sucks.” I genuinely felt like even if you didn’t like it, if you’re a music head, you’d have some kind of respect for the body of work itself, and for an artist to pivot and make something in such a complete, utter, opposite direction from what came before.

You said the people you played the album for included Drake, Kendrick Lamar and Tyler, the Creator — all of whom have made moves something like that in the past.

I’ll tell you, Tyler was a big reason for this album. He’ll call me at like eight o’clock in the morning — for no reason — and we’ll talk for hours. I was such a fan of [Tyler’s Grammy-winning 2019 album] “Igor,” his character and his way of creating a world — the color palettes, the videos, the billboards, the fonts. It’s all together. And I was like “How do you do that?” Because I was trying to figure out how to make a pop-funk-psychedelic-rock album cohesive, without it sounding like someone’s playlist. Then I started working on the visuals, and what I wanted to do was extremely expensive. To be quite honest, I don’t think my label believed in it enough to give me the budget that I truly needed for the visuals to bring this album to life, so I just made two videos.

Tyler and Drake both called me before my first show — I didn’t even tell them the show was happening but they both called me. That means something to me, because those people are my idols. I remember the day Kanye tweeted [Tyler’s 2011 single] “Yonkers,” I was in eighth grade. So them checking on me means a lot.

Is it a lonely feeling, sticking your neck out creatively like that?

Yeah, at first it was, but another thing Tyler taught me was not to be afraid of that. I was so scared before those first shows, like, “What if they don’t wanna hear it?” Tyler would always say, “Fuck it, make them feel you.”

Like, on the first show of this tour, I told the [sound crew], “Play psychedelic music before I go on, don’t play hip-hop” — but right before I went on they played a Playboi Carti song and I heard the crowd turning up and I was like, “Oh no, they’re gonna hate me!” And when I came out, I have in-ears [onstage monitors] and I have them set so you can’t really hear the crowd, it’s like dead silence. But I just kept going, and then my rap set comes and they go fucking crazy and that gives me confidence, and when I did the big rock outro on “Black Seminole,” they all started clapping. And for me it was the biggest “Oh, thank God,” because I couldn’t tell if they were fucking with it.

Is it exciting being in such a risky place creatively?

You were a teenager.

Exactly, But I still wanted respect, you know? I cared! My career was never solidified, I felt like folks were writing me off, so when I was making “Let’s Start Here,” I was at a point in my career where I did not have a hit rap record — it was like, “Man, this could really go left!” But I didn’t start thinking about that till I got deep into it. When I started, I was just like, “Man, I really love this stuff. Why don’t I hear anything like this now? No one makes psychedelic songs anymore.” I do psychedelics and I knew I wanted to make a psychedelic album. I love long songs, I love to just get deep into them — that’s why I love [Pink Floyd’s 1973 classic] “Dark Side of the Moon.”

I was on psychedelics when I first heard it and I would listen and just be like maaan. Like, bro, how can music make me feel like this? How can music make my brain just go to a new dimension? And how did you do that in 1973? I was like, can I do this? And obviously my answer was no. I mean, no offense, but how many rappers successfully made a rock album?

Almost none.

That’s what I’m saying. I think one of them was Kid Cudi’s rock album — I love it but a lot of people hated it. It’s not a full rock album, but it has a strong rock element to it.

Where did the rock influences come from, your parents?

My dad played a lot of Coldplay, a lot of Radiohead, John Mayer, Lenny Kravitz, a lot of John Coltrane, and I’m named after Miles Davis. My family loved James Brown, my dad loved Pharrell. He actually didn’t play Pink Floyd to me, but I’m glad I heard it as an adult.

I tried to make “Let’s Start Here” five years ago — “Lil Boat 2” was supposed to be “Let’s Start Here” with teenage emotions, but I was too young. I got too nervous to experiment on my rap record, and I didn’t have much experience or knowledge in alternative music. I met [“Let’s Start Again” collaborator] Jeremiah Raisan and tried again with the next album, but I chickened out and made another rap album. But when I had that conversation with Tyler, I was like “I’ve gotta do this, let me get that guy back.”

You had a hit with “Poland” — why isn’t it on the album?

That’s what I battled with, but at some point, you have to trust yourself. In the middle of making the album, “Poland” was a huge Internet hit and people were like, “You gotta put it on the album.” But I was like, it doesn’t fit! Just because it’s a hit record doesn’t mean it makes sense anywhere on this record. I was so focused on making my Black “Dark Side of the Moon.” And there is a small rap verse on the album, at the end of “Drive Me Crazy.”

You’ve said you recorded a hip-hop album after you finished “Let’s Start Here,” what’s it like?

What do you want to do next?

I get off tour around Christmas, and in January I’m starting a new album. I don’t know what it is yet, I don’t want to say “alternative.” I have rap album, but I just decided I’m gonna keep dropping songs [from it] until my next [non-rap] album is done.

Do you know who you want to work with on the next album?

So many people, obviously I want to do it on mostly with the band I made the record with, [writers/producers] Justin and Jeremiah Raisen, Jake Portrait and Patrick Wimberly. But I want to work with Donald Glover, I really want to work with Florence from Florence and the Machine. Sampha, Frank [Ocean], Buddy Ross, who worked with Frank. Chris Martin, Bon Iver, Solange, Mike Dean.

I’ve just been exploring, doing things that people wouldn’t expect. Even if I’m not the best at something, let’s just try, let’s explore, let’s create new things.

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Let’s Start Here.

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How Lil Yachty Ended Up at His Excellent New Psychedelic Album Let's Start Here

The evening before Lil Yachty released his fifth studio album,  Let’s Start Here,  he  gathered an IMAX theater’s worth of his fans and famous friends at the Liberty Science Center in Jersey City and made something clear: He wanted to be taken seriously. Not just as a “Soundcloud rapper, not some mumble rapper, not some guy that just made one hit,” he told the crowd before pressing play on his album. “I wanted to be taken serious because music is everything to me.” 

There’s a spotty history of rappers making dramatic stylistic pivots, a history Yachty now joins with  Let’s Start Here,  a funk-flecked psychedelic rock album. But unlike other notable rap-to-rock faceplants—Kid Cudi’s  Speedin’ Bullet 2 Heaven  comes to mind, as does Lil Wayne’s  Rebirth —the record avoids hackneyed pastiche and gratuitous playacting and cash-grabbing crossover singles; instead, Yachty sounds unbridled and free, a rapper creatively liberated from the strictures of mainstream hip-hop. Long an oddball who’s delighted in defying traditional rap ethos and expectations,  Let’s Start Here  is a maximalist and multi-genre undertaking that rewrites the narrative of Yachty’s curious career trajectory. 

Admittedly, it’d be easy to write off the album as Tame Impala karaoke, a gimmicky record from a guy who heard Yves Tumor once and thought: Let’s do  that . But set aside your Yachty skepticism and probe the album’s surface a touch deeper. While the arrangements tend toward the obvious, the record remains an intricate, unraveling swell of sumptuous live instruments and reverb-drenched textures made more impressive by the fact that Yachty co-produced every song. Fielding support from an all-star cast of characters, including production work from former Chairlift member Patrick Wimberly, Unknown Mortal Orchestra’s Jacob Portrait, Justin Raisen, Nick Hakim, and Magdalena Bay, and vocals from Daniel Caesar, Diana Gordon,  Foushée , Justine Skye, and Teezo Touchdown, Yachty surrounds himself with a group of disparately talented collaborators. You can hear the acute attention to detail and wide-scale ambition in the spaced-out denouement on “We Saw the Sun!” or on the blistering terror of “I’ve Officially Lost Vision!!!!” or during the cool romanticism of “Say Something.” Though occasionally overindulgent,  Let’s Start Here  is a spectacular statement from hip-hop’s prevailing weirdo. It’s not shocking that Yachty took another hard left—but how exactly did he end up  here ?

In 2016, as the forefather of “bubblegum trap” ascended into mainstream consciousness, an achievement like  Let’s Start Here  would’ve seemed inconceivable. The then 18-year-old Yachty gained national attention when a pair of his songs, “One Night” and “Minnesota,” went viral. Though clearly indebted to hip-hop trailblazers Lil B, Chief Keef, and Young Thug, his work instantly stood apart from the gritted-teeth toughness of his Atlanta trap contemporaries. Yachty flaunted a childlike awe and cartoonish demeanor that communicated a swaggering, unbothered cool. His singsong flows and campy melodies contained a winking humor to them, a subversive playfulness that endeared him to a generation of very online kids who saw themselves in Yachty’s goofy, eccentric persona. He starred in Sprite  commercials alongside LeBron James, performed live shows at the  Museum of Modern Art , and modeled in Kanye West’s  Life of Pablo  listening event at Madison Square Garden. Relishing in his cultural influence, he declared to the  New York Times  that he was not a rapper but an  artist. “And I’m more than an artist,” he added. “I’m a brand.”

 As Sheldon Pearce pointed out in his Pitchfork  review of Yachty’s 2016 mixtape,  Lil Boat , “There isn’t a single thing Lil Yachty’s doing that someone else isn’t doing better, and in richer details.” He wasn’t wrong. While Yachty’s songs were charming and catchy (and, sometimes, convincing), his music was often tangential to his brand. What was the point of rapping as sharply as the Migos or singing as intensely as Trippie Redd when you’d inked deals with Nautica and Target, possessed a sixth-sense for going viral, and had incoming collaborations with Katy Perry and Carly Rae Jepsen? What mattered more was his presentation: the candy-red hair and beaded braids, the spectacular smile that showed rows of rainbow-bedazzled grills, the wobbly, weak falsetto that defaulted to a chintzy nursery rhyme cadence. He didn’t need technical ability or historical reverence to become a celebrity; he was a meme brought to life, the personification of hip-hop’s growing generational divide, a sudden star who, like so many other Soundcloud acts, seemed destined to crash and burn after a fleeting moment in the sun.

 One problem: the music wasn’t very good. Yachty’s debut album, 2017’s  Teenage Emotions, was a glitter-bomb of pop-rap explorations that floundered with shaky hooks and schmaltzy swings at crossover hits. Worse, his novelty began to fade, those sparkly, cheerful, and puerile bubblegum trap songs aging like day-old french fries. Even when he hued closer to hard-nosed rap on 2018’s  Lil Boat 2  and  Nuthin’ 2 Prove,  you could feel Yachty desperate to recapture the magic that once came so easily to him. But rap years are like dog years, and by 2020, Yachty no longer seemed so radically weird. He was an established rapper making mid mainstream rap. The only question now was whether we’d already seen the best of him.

If his next moves were any indication—writing the  theme song to the  Saved by the Bell  sitcom revival and announcing his involvement in an upcoming  movie based on the card game Uno—then the answer was yes. But in April 2021, Yachty dropped  Michigan Boat Boy,  a mixtape that saw him swapping conventional trap for Detroit and Flint’s fast-paced beats and plain-spoken flows. Never fully of a piece with his Atlanta colleagues, Yachty found a cohort of kindred spirits in Michigan, a troop of rappers whose humor, imagination, and debauchery matched his own. From the  looks of it, leaders in the scene like Babyface Ray, Rio Da Yung OG, and YN Jay embraced Yachty with open arms, and  Michigan Boat Boy  thrives off that communion. 

 Then “ Poland ” happened. When Yachty uploaded the minute-and-a-half long track to Soundcloud a few months back, he received an unlikely and much needed jolt. Building off the rage rap production he played with on the  Birthday Mix 6  EP, “Poland” finds Yachty’s warbling about carrying pharmaceutical-grade cough syrup across international borders, a conceit that captured the imagination of TikTok and beyond. Recorded as a joke and released only after a leaked version went viral, the song has since amassed over a hundred-millions streams across all platforms. With his co-production flourishes (and adlibs) splattered across Drake and 21 Savage’s  Her Loss,  fans had reason to believe that Yachty’s creative potential had finally clicked into focus.

 But  Let’s Start Here  sounds nothing like “Poland”—in fact, the song doesn’t even appear on the project. Instead, amid a tapestry of scabrous guitars, searing bass, and vibrant drums, Yachty sounds right at home on this psych-rock spectacle of an album. He rarely raps, but his singing often relies on the virtues of his rapping: those greased-vowel deliveries and unrushed cadences, the autotune-sheathed vibrato. “Pretty,” for instance, is decidedly  not  a rap song—but what is it, then? It’s indebted to trap as much as it is ’90s R&B and MGMT, its drugged-out drums and warm keys able to house an indeterminate amount of ideas.

Yachty didn’t need to abandon hip-hop to find himself as an artist, but his experimental impulses helped him craft his first great album. Perhaps this is his lone dalliance in psych rock—maybe a return to trap is imminent. Or, maybe, he’ll make another 180, or venture deeper into the dystopia of corporate sponsorships. Who’s to say? For now, it’s invigorating to see Yachty shake loose the baggage of his teenage virality and emerge more fully into his adult artistic identity. His guise as a boundary-pushing rockstar isn’t a new archetype, but it’s an archetype he’s infused with his glittery idiosyncrasies. And look what he’s done: he’s once again morphed into a star the world didn’t see coming.

Let’s Start Here.

January 27, 2023 14 Songs, 57 minutes Quality Control Music/Motown Records; ℗ 2023 Quality Control Music, LLC, under exclusive license to UMG Recordings, Inc.

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Lil Yachty’s Great Gig in the Sky

Since the release of his Lil Boat mixtape in 2016, Lil Yachty has cultivated a peculiar rap career that has benefited from versatile musical interests. The Atlanta rapper, singer, and producer’s early work juggled booming southern trap drums, gauzy synths, unclearable samples , and melodic sensibilities on loan from children’s television. Shifting listlessly between disaffected snark and sweet repose, the best songs answered the question of what Brian Wilson’s teenage symphonies might’ve sounded like if he’d grown up hanging around the Migos. On future projects, Yachty leaned into the gruff anthems of his labelmates on Atlanta’s Quality Control Music, toughening up on 2018’s Lil Boat 2 in some of the ways Drake did on Scorpion the same year, this after dividing critics and listeners with the synthpop and reggae excursions on Yachty’s 2017 debut studio album Teenage Emotions .

Restlessness saves his catalog from the pedestrian work of peers chasing the sound of a beloved early mixtape. Lil Yachty is always up to something , quietly penning an undisclosed piece of the City Girls smash “Act Up,” or producing a chunk of Drake and 21 Savage’s Her Loss , or logging an unlikely chart hit about sneaking promethazine through customs . He’s a lightning rod for guys who see a new wave of absurdists and crooners as a displacement of rap traditionalism (rather than a continuation of a detailed history within it); he knows what the fans are into and where they’re getting into it online, so accusations about his music ruining hip-hop are complicated by every unforeseen success. The work varies greatly in style as well as quality, but being difficult to pin down also buys him freedom to make unusual plays.

Let’s Start Here , his fifth album and first full-length excursion into psychedelic rock, didn’t spawn entirely from nowhere, and not just because it sprung a leak under the name Sonic Beach a few weeks back. His appearance on a remix for Tame Impala’s Slow Rush jam “Breathe Deeper” hits a few of the markers the new album visits: the taste for psychotropic drugs and the interaction between the shimmering sound achieved by an elaborate pedal board and raps that feel both lightly thought through and also spirited and spontaneous. The first song, “The Black Seminole,” outlines the project’s guiding ethos, from its burbling, delay-drenched analog-synthesizer sound to the trippy changes and show-stopping vocal performance by “Bad Habit” co-writer Diana Gordon — all of which amount to an attempt to jam every idea housed in Pink Floyd’s The Dark Side of the Moon into a single seven-minute performance. Bolstered by memorable spots from Gordon (who gives the Clare Torry screams in “Failure” and “Seminole” her all), Fousheé (whose softCORE album served rockers like “Die” and “Bored” that share Yachty’s love of walls of noise), and Justine Skye, the new album makes more space for women in its love songs than most rappers percolating on the charts tend to care to now. (Note also the presence of one Daystar Peterson in the credits as a co-writer on “Paint the Sky.”)

Let’s Start Here journeys back in time and out to space and sometimes up its own ass. It’s a drug odyssey that delightfully defies expectations whenever it’s not overindulging, taking its adulation for its influences from pastiche to parody, pushing its sound from psych to cacophony. Much will be made of Kevin Parker’s impact here, because Tame is also a project about savvily jumbling ideas from other eras and getting synthesizers to feel as delicately enveloping as puffs of smoke. It’s also an oversimplification of the scope of Let’s Start Here to call it Lil Yachty’s Tame album. Patrick Wimberly co-produced every song, and the snap of the drum sound and the flair for gooey horn accompaniment are assets Chairlift — Wimberly’s former group with Caroline Polachek and Aaron Pfenning — used to employ. U.K. producer Jam City and Yves Tumor collaborator Justin Raisen sat in on a lot of these, too; the maximalist sonics and the mix of love songs and acid-addled horror here are both a result of its pick of personnel and an authentic re-creation of the wild fluctuations of a lurid trip.

Its intriguing bio- and band chemistry are Let’s Start Here ’s gift and curse. “Running Out of Time” kicks off with drums that feel like Thundercat’s “Them Changes” (which, in turn, feels like Paul McCartney’s “Arrow Through Me”) and a bubbly bass line evoking “Lovely Day” by Bill Withers. Pushing through to a gorgeous bridge, matching vocals with Skye, Yachty pokes out from under the shadow of his forebears and delivers one of the finest bits of music he’s ever made. The blissed out “The Ride” plants the Texas rapper Teezo Touchdown into a wobbly groove that could’ve fit into last year’s Yeah Yeah Yeahs album. It feels like both songs could collapse at any moment, hanging a sharp turn into an unflattering section wrecking the momentum they built. Equally prone to swift tense shifts and long detours, Let’s Start Here meanders a great deal between highlights, raining sheets of sound that soak and weigh down the delicate grooves it’s trying to build. “Paint the Sky” sounds like a radio hit dropped into a flooded pit cave. These songs sink or swim on Lil Yachty’s ability to steady himself amid a maelstrom of phase-shifted guitars, delay-kissed drums, and synths shrouded in reverb. He’s a good study and a great hook man, but the novelty of some of his experiments wear off as ideas repeat and choruses get smothered. The less they tinker, the better.

Restraint guides Let’s Start Here to a few of its most sublime moments. “Pretty” will draw comparisons to Childish Gambino’s Awaken My Love! and the hit slow jam “Redbone,” but the drum programming recalls the stuff Prince did with the LinnDrum and the vocal performances feel inspired by cloud rap, a sensibility teased out in a cocky, carefree verse by Fousheé . “Say Something” strikes gold coolly poking around the pillowy synth pads and echoing drums of ’80s pop in the same way recent albums from the Weeknd picked up where Daft Punk left off in marrying dueling interests in 20th- and 21st-century popular music. “Pretty” and “Say Something” keep things relatively simple, stacking a few complementary ideas on top of each other and allowing space to breathe. (Other producers might abuse the clav hits in the latter for the old-school feel they bring, but this group lets them drift in and out of frame, recalling the minimalist trap lullabies on the back end of Lil Boat .) The noisier and less structurally sturdy cuts that surround them feel like the jams a band works through on the way to more refined compositions, before taking them on the road where they grow new layers of sound and significance. Let’s Start Here begs to be untangled in a live setting the way artists drawn to the tactile and communal experience of music tend to, allowed to drift over warm air, playing during the sunny days and reckless nights it describes.

Maybe this album is the new beginning its title implies, a first step toward tighter songcraft on the horizon, and maybe Yachty will pop back up in six to 18 months’ time on some different shit entirely, as is often his tendency. The new record finds him sniffing around the same intersections of pop, rock, psych, and soul as “Bad Habit” or Frank Ocean’s “Pretty Sweet,” sacrificing the brevity of his hits for a purposeful sensory overload, which sometimes works in his favor but sometimes encumbers tracks that ought to seem weightless. It is important for young artists to get the space to grow and change and eat mushrooms and make weird but enthusiastic indie-rock music.

Let’s Start Here fits into a long tradition of pleasant curveballs from rappers, unheralded classics like Q-Tip’s Kamaal the Abstract, side projects like the Beastie Boys and Suicidal Tendencies offshoot BS2000 , imperfect genre excursions like Kid Cudi’s WZRD , and effortless R&B pivots like Tyler, the Creator’s Igor . Yachty is stumbling down well-trod pathways, learning lessons imparted on generation after generation of listeners ever since Pink Floyd’s international breakthrough 50 years ago and taking metaphysical journeys endeavored since humans first discovered fungi and plants that made them see sounds and smell colors. The sharpest songs here could go toe-to-toe with the best in the artist’s back catalog, and the worst ones sound like excitable demos for various guitar pedals. Let’s Start Here isn’t Lil Yachty’s greatest work, but it goes over better than the pitch — “Poland” guy does shrooms and jams on instruments — implied it might. And if shoegaze-adjacent rockers like “I’ve Officially Lost Vision” and sound experiments like the one at the end of “We Saw the Sun” drone-pill even a fraction of the audience, it was all worth it.

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Lil Yachty’s Psychedelic Relaunch: ‘I Don’t Have To Be High To Make It Sound High’

By Andre Gee

I n 2016, a 19-year-old Lil Yachty emerged as a fresh-faced, red-haired maverick eagerly planting Generation Z’s flag in hip-hop . Songs like “Minnesota” intrigued many, but rap traditionalists denigrated him as a “mumble rapper” — an upstart who, they claimed, was insulting the essence of hip-hop one warbled vocal run at a time. That didn’t stop Yachty, though. In the years since, he’s kept trying new things , even as many other artists have gotten stuck retreading tired formulas. “Who cares?” he says now. “It’s going to go, or it’s not. You only have one life, bro. Just do shit.”

But he does offer a few details about the six-month recording process in Texas, New York, and elsewhere, which he says was “fun” at every juncture. At times, he played the work in progress for “heavy hitters” like Kendrick Lamar, J. Cole, A$AP Rocky, Drake, and Tyler, the Creator. “Everyone was ecstatic,” he says, “which made me feel good.”

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Do you think hip-hop could be more accepting of younger artists as they learn and grow? I don’t know. I don’t really care either. Who cares? I don’t need acceptance from nobody. People seek too much validation.

What was the initial catalyst for you to start this album? It was a phone call with Tyler that made me act on it. I always wanted to do it, but that was the battery.

What was the dynamic of that phone call? Were you like, “I want to explore something,” and he was like, “Go for it”? I don’t fully remember, but he was very motivating and inspiring. I didn’t tell him my ideas, but it was more so, “Whatever it is in your heart and in your mind that you want to do, do it. And do it fully, don’t shortcut it. Don’t cut any corners.”

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You’ve referenced psychedelics in interviews. How big a factor was that in the recording process? None. Zero. I can’t record music on drugs. I have to be fully sober. But I’ve done it enough times to know what I want. I don’t have to be high to make it sound high.

You said growing up you listened to all types of music. Did you ever hear the stigma of “That’s white-people music”? Yeah, of course. I don’t give a fuck, bro. It’s so hard to affect me or offend me. I do what I want to do. You feel me? People say this album is white-people music. Who cares, man? What is white-people music?

You’ve said you made this in part because you “wanted to be taken seriously as an artist and not just a SoundCloud rapper, not just a mumble rapper.” What would you say to people who feel like SoundCloud rappers and mumble rappers deserve to be taken as seriously as any other artists? See, that’s the thing. I can’t speak for nobody else. I’m not some spokesman for the people. I’m not vouching for anyone else’s work ethic or creativity, only mine. I want to be taken seriously. I’m not no mumble rap. I’m not just some SoundCloud rapper. I’m not speaking on all SoundCloud rappers. I’m speaking on me, you feel me? I want to make that apparent. This is for me, because everybody don’t have that work ethic. Everyone ain’t going to put the hours in to understand a new genre and how to execute something the right way. 

“See, that’s the thing. I can’t speak for nobody else. I’m not speaking on all SoundCloud rappers. I’m speaking on me, you feel me? This is for me, because everybody don’t have that work ethic.”

You’ve said you had a period of trying to prove you can rap. How do you feel about those efforts now? I love it, man. They made me a man. They made me strong. They made me care more about the craft — because I do. They made me want to learn, be better, sharpen my sword.

Did it ever get to a point with that stigma where it was hard to navigate your career? I don’t think nothing’s hard in life. It just took work and effort, and I still feel like I got more work to put in when it comes to rap and how people perceive me. I care less, though.

How much does the dynamic that you’re talking about here have to do with the stigma against rappers when it comes to award shows and radio play and festivals?  For me, that’s zero. I don’t care about none of that shit. I just make all types of music. It has nothing to do with the fruits and labors that don’t come with being a rapper, none of that. I like to make all music. That’s all it is, totally. It ain’t got nothing to do with not getting the love or respect or not being invited to an award show.

Going forward with your creative process, do you feel like you’ll have that motivation with every album you make, to prove something to a certain audience? Not necessarily. I didn’t make this album to prove that I could. I also want to be taken seriously. But I didn’t make it like, “Oh, man, I need them to take me serious. Let me make this type of album.” I just wanted to make a great album, and I felt like personally, I could do it better this way than if I made a rap album. 

How are things going with your label, Concrete Boyz? That’s next for me. That’s all I care about right now. That’s where we are every day, in the studio getting established together. We got some special artists, and they’re fresh faces. I want to make sure when we drop this, it’s hot, because they’re fire and it’s fresh. You’re gonna hear some fresh sounds. That’s my next project, in the summertime. 

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Have you always been discerning about how much you put yourself out there? No. I got 1,000 interviews on the internet. I hate it. I was young. I didn’t know nothing. Back then, I was trying to be the spokesman for the new generation because no one else wanted to talk. I felt, “I’m going to stand up. I’m going to speak.” But [now] I don’t speak for nobody but me.

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Lil Yachty Delivers New Psychedelic Rock Album ‘Let’s Start Here.’

Lil Yachty’s new album, Let’s Start Here, continues to further the star’s reputation as an innovative savant. The new album is 15 tracks in length, delivering a new experience for fans.

Let’s Start Here was crafted in areas ranging from El Paso to Brooklyn, with Lil Yachty immersing himself in day and night sessions. The result is a Psychedelic Alternative album executive produced by SADPONY. The album is influenced by Pink Floyd’s classic Dark Side of the Moon and experiential psychedelic journeys.

Ahead of the album, Yachty released a skit titled “Department of Mental Tranquility.” In the skit, Yachty strolled a hallway entering what would be the first step into the rest of his life. Playing multiple roles, Yachty was introduced to his upcoming float experience in a sweltering room until it overcomes his body, and he is directed to room 10. What you hear is the result of that trip, double entendre, don’t even ask me how.

You can see the skit and hear the full album below.

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Lil Yachty Enlisted An MGMT Member And Many Other Psychedelic Collaborators To Help Bring His New Album To Life

Fans are raving about Lil Yachty’s new album, Let’s Start Here . To some, the departure from his signature rap sound to the project’s psychedelic alternative rock core came as a surprise, but to the rapper and his die-hard fans, this was to be expected .

A year ago, as the musician discussed what he had planned for his next official studio project, he plainly told Atlanta jewelry store Icebox listeners should brace themselves because it would be “a non-rap album.”

Yachty went on to gush about the creative direction saying, “It’s alternative, it’s sick! I’ve always wanted to [do one], but now I’ve met all these amazing musicians and producers. It’s like a psychedelic-alternative project. It’s different, and it’s all live instrumentation. I’ve changed my entire dynamic. I’m telling you, with this album and on, I’m creating music a whole lot differently.”

Fast forward to today, and Let’s Start Here is available across streaming platforms, and the list of the musicians and producers that he worked with has been revealed. While Lil Yachty co-produced the entire album, the project features a list of heavy hitter guest producers, including Justin Raisen, Sad Pony, Patrick Wimberly, Unknown Mortal Orchestra’s Jacob Portrait, Nick Hakim, Magdalena Bay, and Jam City.

As far as writing credit goes, Lil Yachty has been the go-to rap pen for the new wave of rappers including the City Girls, but artists Mac DeMarco and Alex G are also given co-writing credit. During the initial announcement, Yachty did not list any guest vocal features. Still, after listening to the album, music buffs will recognize recording artists Foushée, Diana Gordon, Teezo Touchdown, and Justine Skye all made an appearance on it despite their names not being listed in the titles.

Details about the featured instrumentalist featured on the project are still being revealed, but one standout musical guest includes MGMT’s Ben Goldwasser, who played the keyboard on the album.

When discussing the inspiration behind the album and his robust approach, Yachty sternly replied, “I wanted to be taken seriously as an artist, not just some SoundCloud rapper. Not some mumble rapper, not just some guy that made one hit.”

View the official tracklist with unlisted guests added below.

1. “The Black Seminole” 2. “The Ride” Feat. Teezo Touchdown 3. “Running Out of Time” Feat. Justine Skye 4. “Pretty” Feat. Fousheé 5. “Failure” 6. “The Zone” Feat. Justine Skye 7. “We Saw the Sun!” 8. “Drive Me Crazy!” Feat. Diana Gordon 9. “I’ve Officially Lost Vision!!!!” Feat. Diana Gordon 10. “Say Something” 11. “Paint the Sky” 12. “Should I B?” 13. “The Alchemist” Feat. Fousheé 14. “Reach the Sunshine” Feat. Daniel Caesar

Let’s Start Here is out now via Quality Control. Get it here .

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Karrahbooo Calls Cap On Lil Yachty’s Writing Claims: “Stop Bullying Me” 

Karrahbooo told Lil Yachty to “man up” and stop letting fans get in his head after he unleashed on her in a recent rant.  

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Karrahbooo has broken her silence after Lil Yachty blasted her in a heated Instagram rant , claiming he had written all of the former Concrete Boys artist’s songs. 

Despite previously hinting at an amicable split, Yachty lost it after a fan alleged Karrahbooo accused the group of bullying her and said they kicked her out. 

Yachty also accused her of verbally abusing people and claimed she’s $900,000 in debt to him in a lengthy tirade. After putting her on blast, he leaked a supposed reference track for her viral On the Radar freestyle .  

On Friday night (August 23) Karrrahbooo responded to Lil Yachty. While she didn’t deny he wrote for her, she insisted she penned some herself. She posted a screenshot of her Top. 3 most popular songs with the On the Radar freestyle in third position after “Running Late” racking up over seven million plays and “WHERE YO DADDY?” just over three million. 

“put it on yo kid i ain’t write these songs miles,” Karrahbooo wrote, addressing Lil Yachty by her born name. “stop da cap and leave me out ur internet shenanigans [crying laughing emoji]. Referencing the viral rumor, she added, “stop bullying me big dawg [crying laughing emoji].” 

Karrrahbooo denied the fan’s claims and told him to “man up” and stop believing rumors. “i never said nothing,” she insisted. “u letting random fans get in yo head.” 

Lil Yachty Claims Karrahbooo Is $900,000 In Debt To Concrete Boys

During his tirade, Yachty took credit for writing “every verse you’ve done,” and claimed Karrahbooo left the label “$900,000 “in the hole.” 

“I changed your muthafuckin life!” he said. “And you are here lying, talking about some ‘We bully you’. That s### got me f##### up, bro.” 

View this post on Instagram A post shared by AllHipHop (@allhiphopcom)

The rant was a far cry from his previous remarks concerning the split.   

“We have split ways with Karrah as far as this Concrete s###,“ he said last month. “I have nothing bad to say, nothing negative to say about Karrah. I wish her the best in her career.” 

Fans Think Lil Yachty Unfollowed Drake Amid Drama Over Leaked Collaboration

Lil Yachty and Drake have been good friends for a long time, but fans believe a discrepancy over a song may have sparked a rift between both artists.

It all began earlier this week when Akademiks told his followers that Drake plans to release the song "S.O.D (Super Soak)." The media personality also claimed Drizzy will drop a music video for the track and reportedly played a clip of the visuals during his live stream. According to Ak, the song will arrive with one major update — Lil Boat won't be on it. Fans believe the news upset Yachty enough to unfollow The Boy on Instagram.

The alleged update shocked fans as well. Lil Yachty reportedly brought the song to Drake and intended to put it on the Concrete Boys' recent album. Their collaboration contains a sample of "Goodness Gracious" by Mr. HotSpot, who unfortunately prevented them from releasing it due to the explicit language in the song. Mr. HotSpot eventually told the duo they could use his song if they cleaned up their verses.

Before the sample was cleared, Yachty decided to leak the song to streamer Kai Cenat. At first, Soulja Boy thought it was Drake's way of responding to his X rant about him , but he cleared things up with Drizzy and claimed it wasn't supposed to drop at all.

Fans realized Yachty unfollowed Drake after news about the updated song went viral. It's not clear if he'll address the situation online. Yachty recently claimed he was done with social media after he confirmed Karrahbooo's departure from Concrete Boys . After fans called him out, Yachty returned to Instagram to re-follow Drake, and this time it was no accident. Check out the receipts below.

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Lil Yachty Blasts Karrahbooo and Mitch in Explosive Rant: ‘I've Given You a Career and… You Just Disrespect Me’

The explosive IG Live comes after Karrahboo left Concrete Boys.

An explosive impromptu Instagram Live from Lil Yachty saw the Atlanta artist slam his A Safe Place podcast cohost Mitch and former Concrete Boys signee Karrahboo.

Yachty began by addressing Karrahboo and all of the rumors swirling after it was revealed that she's no longer part of Concrete Boys.

Yachty claimed Karrah “verbally abused” people:

“Don’t get on here and make a scene ‘bout n****s kicked you out,” he said, referring to her sudden (at least to fans) departure from his rap collective Concrete Boys.

Yachty further claimed he wrote all of her lyrics (including her breakout Rap Radar appearance, of which he leaked a supposed reference track for), gave her money, gifted her with jewelry, and styled her.

“I slowed the beat down, I put 808s specifically on your verse so when it got to your part and the beat dropped, everyone would be like, ‘this girl is the craziest one,’” he said in reference to their Rap Radar performance.

"I wrote every fucking verse you've done," Boat also claimed. "I dressed you. I dressed all five of y'all n***as bro. I dressed five n***as every time we stepped out the house. I put an outfit on everybody. I put eight carats of earrings on everybody ear. I put three chains on all y'all neck."

He continued, "We bought a Cartier watch. I gave you that chrome Rolex, bro. You was waiting tables... What are we talking about n***a? I changed your mother fucking life and you are here lying, talking about some: 'We bully you'... That shit got me fucked up, bro. You got me fucked up, bro. You disrespectful, bro. You talk to people crazy. You tell people that they are nothing. You tell people you're going to spit on them. You tell people they poor and you talk to my fucking label crazy. You claim I was stealing money..."

Yachty also claimed he is owed $900,000. “I got every receipt," he said. "$900,000 Concrete in the hole.”

Boat then addressed Mitch, claiming he only started their successful A Safe Plac e podcast at Mitch’s insistence.

Yachty's IG Live appeared after viral after clips of their podcast episode with Key Glock made the rounds. An unamused Glock can be seen looking on while Yachty admonished Mitch for not having a purpose in the past.

”Even if I was doing shit back then, I’m older now,” Mitch said when Yachty shared an alleged anecdote about Mitch wanting to get an expensive watch by brandishing a gun.

”[If] I was never in your life, what would you have been doing?” Yachty asked.

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Lil Yachty & KARRAHBOOO Won't Stop Trading Shots On Social Media

The Concrete Boys collective is going through a pretty nasty crash-out right now thanks to group members Lil Yachty and KARRAHBOOO. What started as the latter's sudden exit from the group under seemingly neutral circumstances devolved into both rappers accusing each other of toxic behavior . While this impacts the group as a whole, it really seems to be a battle between these two players alone at press time. Hopefully it resolves and things don't spiral out even further. But it seems like they won't reconcile anytime soon, as they're still going back and forth at each other after the Let's Start Here. artist wrote the following on his Instagram Story recently: "don't throw rocks and hide your hand."

"i'll never forget this feeling," KARRAHBOOO responded to Lil Yachty via an IG Story rant. "This chapter of my life, i'll never be the same , i'll never forget who wasn't there for me. I done chomped people out/spent my last/slapped folks 4 n***as, i ride every time naturally but that's just how i am. Nobody owe me s**t tbh im just taking a mental note.

Read More: Lil Yachty Crashes Out On KARRAHBOOO & Mitch In Explosive IG Live Rant: Unpacking The Beef

KARRAHBOOO Once Again Claps Back At Lil Yachty

"i can't even look at most people da same way, to know the truth and watch a grown man with 12 million followers overly lie on my name and publicly bully me for literally no reason at all while i silently been conquering all da s**t n***as been throwing at me this whole time behind close doors," KARRAHBOOO's rant continued. "ill never ignore the signs again and i will never stop no matter how much they hate me.

"i never threw rocks and u have my number u big grown b^itch leave me alone literally @lilyachty," she concluded. "i never said nothing about s**t and i still ain't said nothing bout what's really going on. i don't want no beef wit you industry people. just move on wit ur life stop tryna bring me down when i stay out the way. im done talking u got it yo character gone speak for itself." Hopefully Lil Yachty and KARRAHBOOO settle this in private and move on with their careers without this headache.

Read More: KARRAHBOOO Fan Claims That Lil Yachty Bullied Her Out Of Concrete Boys

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