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Lil Yachty  James Blake Bad Cameo

Rap / Rock / Pop/R&B

Quality Control / Motown / Republic

July 1, 2024

When James Blake and Lil Yachty debuted as divisive wunderkinds, they earned feverish acclaim—and controversy—for the way they blurred the lines etched by their predecessors. Blake stormed dubstep’s dancefloor and rendered it a dusty confessional booth; Yachty looked at the hip-hop landscape he inherited, cursed its gods , and spent the beginning of his career at war with a generation. Not everything has changed: They’re still divisive, and they’re still doggedly trying new things. But they aren’t upstarts anymore; nor are their disruptive ideas breaking boundaries so much as reinforcing them. (So long, saxophones , and so long, rap .) A pair that once embodied youthful iconoclasm now often seem to see only as far as their next grievance. More and more, they sound like the gatekeepers who didn’t believe in them years ago.

Thus the defensive crossover spectacle of Bad Cameo , their new joint album. Few things announce themselves louder than a tag-team LP by a polarizing producer and an equally polarizing rapper-turned-rocker. But instead of provoking, this record largely takes the low-key road, like a terse postscript to a more transgressive past. It’s dreamy and occasionally danceable, steely electronica rubbing shoulders with a sharp, stadium-ready take on Yachty’s sing-rap sensibilities. The shoulder-rubbing is promising, but at a certain point, when the friction hasn’t progressed any further, the party starts to feel like a corporate lunch: Hey Post-Dubstep, have you met Post-Trap? I’ll leave you two alone to hit it off! Sometimes, they do. More often, Blake and Yachty are cozy in their respective corners, taking turns in the spotlight rather than sharing it. You get the sense that they’re trying to rekindle old magic—the wonders Blake worked with his glitchy soul-searching, the weightlessness Yachty proffered with his pitch-shifted lilts. These elements sound nice next to one another. They’d sound even better if they did more than just coexist.

When Yachty released “ Poland ,” his unlikely 2022 hit single, part of the draw was his quivering, liquid delivery: “It is a really fucking weird song,” Blake told him in a recent sit-down, revealing that it brought him to tears. He’s right to identify the weirdness as jolting—at least enough to channel raw emotion, or inspire it in others. But when they try to accomplish this on Bad Cameo , they sound maddeningly riskless. The title track registers like an attempt to run “Poland” through Blake’s chilly alt-pop processing and produce something equally apt for dorm rooms and sound baths. There’s a repeatable mantra, minimal frills that foreground the vocals, and an air of confession—only now, instead of spiking one another’s worlds, the crossover dilutes their respective strengths. “Did you ever love me?” Yachty begs, in full “Poland” voice, with Blake echoing his prayer in the background. You might recall a similar plea on the 2022 song (“Hope you love me, baby, I hope you mean it”). Where “Poland” producer F1lthy supplied Yachty with a jumpy, trap-infused hotbed, Blake’s canvas is restrictive, limiting the singer to a cramped crying closet both have outgrown. Solemn as it sounds, it’s hard to take very seriously.

Part of Bad Cameo ’s appeal is the promise of a novel palette: lean meeting lemon tea, hip-hop meeting post-dubstep, confessionalism meeting vanity. Sometimes, as on “Twice,” this works beautifully—a staggered four-on-the-floor beat might morph into something airier, a haggard Yachty and wistful Blake taking turns reveling in their respective terrains. Other times, in moments where you’d expect the contrast to unearth rich new flavors, there’s a dulling effect. “Save the Savior,” a crunchy ballad that sounds a bit like a screen-adapted Future therapy session, would absolutely crush in a ritzy, white-walled gallery. Play it a second time, this time with the pair’s capabilities in mind, and it starts feeling like it should go beyond those insular limits. Blake is coming off his most energetic and danceable record to date; Yachty is freshly removed from a risky, compelling—if controversial— psych-rock dispatch . Considering the boundary-breaking instincts each contributor brings to the table, Bad Cameo feels too safe, too familiar, to tell us anything we don’t already know.

The bulk of Bad Cameo ’s novelty arrives, instead, in songcraft. To Blake’s credit, he’s a master of seeing tracks as living things, subject to as much growth and meandering as the masterminds who make them. Familiar as they may feel, the most striking songs on this project keep some powder dry, sprawling into realms far beyond their starting places. Midway through “Midnight,” when Yachty and Blake’s harmonized refrain gives way to a beat switch and the drums fall out from beneath their voices, it sounds like they’re prostrate before something powerful. “Woo” begins with an echoey grand piano over a trap beat, no new addition to the annals of introspective hip-hop. But by the chorus, it seems like it’s all falling apart: The drum pattern sputters, and a sly ghost chord gradually infiltrates Blake’s somber progression, culminating in a single jolt of dissonance. You wish there were more room for such uncompromising mischief.

Let’s Start Here.

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Lil Yachty’s Great Gig in the Sky

Portrait of Craig Jenkins

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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Music Features

Lil yachty's delightfully absurd path to 'let's start here'.

Matthew Ramirez

lil yachty new album credits

LOS ANGELES, CA - OCTOBER 29: Lil Yachty performs on the Stage during day 2 of Camp Flog Gnaw Carnival 2017 at Exposition Park on October 29, 2017 in Los Angeles, California. Rich Fury/Getty Images hide caption

LOS ANGELES, CA - OCTOBER 29: Lil Yachty performs on the Stage during day 2 of Camp Flog Gnaw Carnival 2017 at Exposition Park on October 29, 2017 in Los Angeles, California.

Lil Yachty often worked better as an idea than a rapper. The late-decade morass of grifters like Lil Pump, amidst the self-serious reign of Future and Drake (eventual Yachty collaborators, for what it's worth), created a demand for something lighter, someone charismatic, a throwback to a time in the culture when characters like Biz Markie could score a hit or Kool Keith could sustain a career in one hyper-specific lane of rap fandom. Yachty fulfilled the role: His introduction to many was through a comedy skit soundtracked by his viral breakout "1 Night," which tapped into the song's deadpan delivery and was the perfect complement for its sleepy charm. The casual fan knows him best for a pair of collaborations in 2016: as one-half of the zeitgeist-defining single "Broccoli" with oddity D.R.A.M., or "iSpy," a top-five pop hit with backpack rapper Kyle. Yachty embodied the rapper as larger-than-life character — from his candy-colored braids to his winning smile — and while the songs themselves were interesting, you could be forgiven for wondering if there was anything substantial behind the fun, the grounds for the start of a long career.

As if to supplement his résumé, Yachty seemed to emerge as a multimedia star. Perhaps you remember him in a Target commercial; heard him during the credits for the Saved by the Bell reboot; spotted him on a cereal box; saw him co-starring in the ill-fated 2019 sequel to How High . TikTok microcelebrity followed. Then the sentences got more and more absurd: Chef Boyardee jingle with Donny Osmond; nine-minute video cosplaying as Oprah; lead actor in an UNO card game movie. Somewhere in a cross-section of pop-culture detritus and genuine hit-making talent is where Yachty resides. That he didn't fade away immediately is a testament to his charm as a cultural figure; Yachty satisfied a need, and in his refreshingly low-stakes appeal, you could imagine him as an MTV star in an alternate universe. Move the yardstick of cultural cachet from album sales to likes and he emerges as a generation-defining persona, if not musician.

Early success and exposure can threaten anyone's career, none so much as those connected to the precarious phenomenon of SoundCloud rap. Yachty's initial peak perhaps seeded his desire years later to sincerely pursue artistry with Let's Start Here , an album fit for his peculiar trajectory, because throughout the checks from Sprite and scolding Ebro interviews he never stopped releasing music, seemingly to satisfy no one other than himself and the generation of misfits that he seemed to be speaking for.

But to oversell him as a personality belittles his substantial catalog. Early mixtapes like Lil Boat and Summer Songs 2 , which prophetically brought rap tropes and pop sounds into harmony, were sustained by the teenage artist's commitment to selling the vibe of a track as he warbled its memorable hook. It was perhaps his insistence to demonstrate that he could rap, too, that most consistently pockmarked his output during this period. These misses were the necessary growing pains of a kid still finding his footing, and through time and persistence, a perceived weakness became a strength. Where his peers Lil Uzi Vert and Playboi Carti found new ways to express themselves in music, Yachty dug in his heels and became Quality Control's oddball representative, acquitting himself on guest appearances and graduating from punchline rapper to respectable vet culminating in the dense and rewarding Lil Boat 3 from 2020, Yachty's last official album.

Which is why the buzzy, viral "Poland" from the end of 2022 hit different — Yachty tapped back into the same lively tenor of his early breakthroughs. The vibrato was on ten, the beat menaced and hummed like a broken heater, he rapped about taking cough syrup in Poland, it was over in under two minutes and endlessly replayable. Yachty has already lived a full career arc in seven years — from the 2016 king of the teens, to budding superstar, to pitchman, to regional ambassador. But following "Poland" with self-aware attempts at similar virality would be a mistake, and you can't pivot your way to radio stardom after a hit like that, unless you're a marketing genius like Lil Nas X. How does he follow up his improbable second chance to grab the zeitgeist?

Lil Yachty, 'Poland'


Lil yachty, 'poland'.

Let's Start Here is Lil Yachty's reinvention, a born-again Artist's Statement with no rapping. It's billed as psychedelic rock but has a decidedly accessible sound — the sun-kissed warmth of an agreeable Tame Impala song, with bounce-house rhythms and woozy guitars in the mode of Magdalena Bay and Mac DeMarco (both of whom guest on the album) — something that's not quite challenging but satisfying nonetheless. Contrast with 2021's Michigan Boy Boat , where Yachty performed as tour guide through Michigan rap: His presence was auxiliary by function on that tape, as he ceded the floor to Babyface Ray, Sada Baby and Rio Da Yung OG; it was tantalizing curation, if not a work of his own personal artistry. It's tempting to cast Let's Start Here as another act of roleplay, but what holds this album together is Yachty's magnetic pull. Whether or not you're someone who voluntarily listens to the Urban Outfitters-approved slate of artists he's drawing upon, his star presence is what keeps you engaged here.

Yachty has been in the studio recording this album since 2021, and the effort is tangible. He didn't chase "Poland" with more goofy novelties, but he also didn't spit this record out in a month. Opener (and highlight) "The Black Seminole" alternates between Pink Floyd and Jimi Hendrix-lite references. It's definitely a gauntlet thrown even if halfway through you start to wonder where Yachty is. The album's production team mostly consists of Patrick Wemberly (formerly of Chairlift), Jacob Portrait (of Unknown Mortal Orchestra), Jeremiah Raisen (who's produced for Charli XCX, Sky Ferreira and Drake) and Yachty himself, who's established himself as a talented producer since his early days. (MGMT's Ben Goldwasser also contributed.) The group does a formidable job composing music that is dense and layered enough to register as formally unconventional, if not exactly boundary-pushing. Yachty frequently reaches for his "Poland"-inspired uber-vibrato, which adds a bewitching texture to the songs, placing him in the center of the track. Other moments that work: the spoken-word interlude "Failure," thanks to contemplative strumming from Alex G, and "The Ride," a warm slow-burn that coasts on a Jam City beat, giving the album a lustrous Night Slugs moment. "I've Officially Lost Vision" thrashes like Yves Tumor.

Yet the best songs on Let's Start Here push Yachty's knack for hooks and snaking melodies to the fore and rely less on studio fireworks — the laid-back groove of "Running Out of Time," the mournful post-punk of "Should I B?" and the slow burn of "Pretty," which features a bombastic turn from vocalist Foushee. That Yachty's vaunted indie collaborators were able to work in simpatico with him proves his left-of-center bonafides. It's a reminder that he's often lined his projects with successful non-rap songs, curios like "Love Me Forever" from Lil Boat 2 and "Worth It" from Nuthin' 2 Prove . That renders Let's Start Here a less startling turn than it may appear at first glance, and also underlines his recurring talent for making off-kilter pop music, a gift no matter the perceived genre.

At a listening event for the record, Yachty stated: "I created [this] because I really wanted to be taken seriously as an artist. Not just some SoundCloud rapper, not some mumble rapper. Not some guy that just made one hit," seemingly aware of the culture war within his own genre and his place along the spectrum of low- to highbrow. To be sure, whether conscious of it or not, this kind of mentality is dismissive of rap music as an artform, and also undermines the good music Yachty has made in the past. Holing up in the studio to make digestibly "weird" indie-rock with a cast of talented white people isn't intrinsically more artistic or valid than viral hits or a one-off like "Poland." But this statement scans less as self-loathing and more as a renewed confidence, a tribute to the album's collective vision. And people like Joe Budden have been saying "I don't think Yachty is hip-hop " since he started. So what if he wants to break rank now?

Lil Yachty entered the cultural stage at 18, and has grown up in public. It adds up that, now 25, he would internalize all the scrutiny he's received and wish to cement his artistry after a few thankless years rewriting the rules for young, emerging rappers. Let's Start Here may not be the transcendent psychedelic rock album that he seeks, but it is reflective of an era of genreless "vibes" music. Many young listeners likely embraced Yachty and Tame Impala simultaneously; it tracks he would want to bring these sounds together in a genuine attempt to reach a wider audience. Nothing about this album is cynical, but it is opportunistic, a creation in line with both a shameless mixed-media existence and his everchanging pop alchemy. The "genre" tag in streaming metadata means less than it ever has. Credit to Yachty for putting that knowledge to use.

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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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Lil Yachty

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

Lil Yachty attends Wicked Featuring 21 Savage at Forbes Arena at Morehouse College on October 19 2022 in Atlanta Georgia.

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.

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Lil Yachty shares cover art and release date for new album Let’s Start Here

The record arrives january 27 via quality control and motown records..

lil yachty new album credits

Lil Yachty has announced the title, release date, and cover art for his next album. Let’s Start Here , a psychedelic non-rap project from the multi-talented emcee, is due out January 27 via Quality Control and Motown Records.

The forthcoming project, billed as a fresh beginning for Yachty, took a hit when it was leaked in its entirety on Christmas Day. The leak led to speculation that the record’s release might be delayed or cancelled entirely, but it seems Yachty and his team are soldiering on as scheduled. Following the viral success of his catchy 2022 single “ Poland ,” the unfortunate event proved to be only a momentary setback.

Lil Yachty flirts with harsh noise on “Something Ether”

Read Next: Lil Yachty flirts with harsh noise on “Something Ether”

Check out the newly revealed cover art for Let’s Start Here below.

Let’s Start Here cover art


Lil Yachty teases new collaborative album he made with James Blake

Lil Yachty teases new collaborative album he made with James Blake

Lil Yachty shares new song “A Cold Sunday”

Lil Yachty shares new song “A Cold Sunday”

Lil Yachty’s new psych-rock album features contributions from Mac DeMarco, Alex G and more

Chairlift's Patrick Wimberly, Unknown Mortal Orchestra bassist Jacob Portrait, MGMT's Ben Goldwasser and Magdalena Bay also have production and songwriting credits on the album

Mac DeMarco, Lil Yachty, Alex G

Last week, Lil Yachty  released his first studio album in nearly three years, a record titled ‘Let’s Start Here’ that makes a major departure from his usual trap-pop stylings.

  • READ MORE: Lil Yachty – ‘Michigan Boy Boat’ review: Atlanta rapper heads to Michigan to showcase inter-state rap unity

The album – which follows on from 2020’s ‘Lil Boat 3’ album, as well as 2021’s ‘Michigan Boy Boat’ mixtape – draws heavily from psychedelic rock and pop, and features some recognisable names from the indie world in its credits list.

Much of ‘Let’s Start Here’ was produced by Chairlift ‘s Patrick Wimberly, brothers Justin and Jeremiah Raisen and Unknown Mortal Orchestra bassist Jacob Portrait. British producer and DJ Jack Latham (aka Jam City) helped produce three of the album’s tracks, while synth-pop duo Magdalena Bay have a production credit on ‘Running Out Of Time’.

Slacker-pop king Mac DeMarco is credited as a writer on two tracks – ‘Drive Me Crazy!’ and ‘Failure’. The former also features a songwriting credit for MGMT ‘s Ben Goldwasser, while Alex G and Nikolas Hakim are credited on the latter. Guest vocalists on the album include Daniel Caesar , Fousheé , Teezo Touchdown , Justine Skye and Diana Gordon.

Yachty teased ‘Let’s Start Here’ in January 2022 , when Atlanta-based jewellery store Icebox shared a video of the rapper’s visit to the shop. “My new album is a non-rap album,” he said in footage captured at the store. “It’s alternative.”

Yachty added that he’d “always wanted to” make an alternative album, but had recently “met all these amazing musicians and producers” to collaborate with. He continued: “It’s like a psychedelic alternative project. It’s different. It’s all live instrumentation… I’ve changed my dynamic… I’m creating music a whole lot differently.”


Earlier, in late 2021, Yachty signalled his move into psychedelic rock territory when he appeared on a remix of Tame Impala ‘s ‘Breathe Deeper’, which appeared on a deluxe version of the band’s album ‘The Slow Rush’ .

In March, Lil Yachty will perform at this year’s edition of Rolling Loud California. This year’s festival will take place between March 3 and 5 at Hollywood Park, headlined by Future , Travis Scott and Playboi Carti .

  • Related Topics
  • Daniel Caesar
  • Mac DeMarco
  • Magdalena Bay
  • Teezo Touchdown
  • Unknown Mortal Orchestra

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Lil Yachty's 'Poland'

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

Flisadam Pointer

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 .

The Best New Hip-Hop This Week

Let’s Start Here.

“something ether”.

Lil Yachty, Future, Playboi Carti - Flex Up

Flex Up (with Future and Playboi Carti)

Lil Yachty - TESLA (Directed by Cole Bennett)

Strike (Holster)

Lil Yachty - sAy sOMETHINg


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How Lil Yachty Sailed From Hip-Hop to the Top of the Rock Charts

"I'm grateful that Yachty trusts me with his art," says Motown Records vice president of A&R Gelareh Rouzbehani.

Gelareh Rouzbehani

One of the bigger surprises of 2023 so far has been the music of Lil Yachty , the Atlanta-based rapper who released his first project in three years earlier this month. But rather than delving into the hip-hop styles for which he’s known, Yachty branched out with Let’s Start Here , releasing an album that is more psych rock than trap rap — and receiving some of the best reviews of his career in the process.

The album debuted at No. 9 on the Billboard 200 and No. 1 on the Top Rock Albums chart last week, and has stuck around in the top 40 of the former and top 10 of the latter in its second week on the chart. And helping guide the stylistic switch up and land Yachty with some of the most intriguing collaborators he’s worked with in his career has been Motown Records vice president of A&R Gelareh Rouzbehani , who earns the title of Billboard ’s Executive of the Week .

Lil Yachty’s ‘Let’s Start Here’ Debuts Atop Rock Album Charts

Trending on billboard.

Here, Rouzbehani discusses the switch for Yachty from hip-hop to alt-rock, and the somewhat unexpected success that the album achieved, given how difficult it can be to change the narrative for an artist who is nearly a decade into his career at this point. “It goes to show that great music still reigns supreme,” Rouzbehani tells Billboard . “Working with Yachty on this album was more about adding ideas rather than taking things away. He had a really strong sense of the record he was making and, for me, it was about bringing session ideas to the table, people I felt like could add to his vision.”

This week, Lil Yachty’s Let’s Start Here spent its second week in the top 40 of the Billboard 200 and the top 10 of the Top Rock Albums chart. What key decision did you make to help make that happen?

The beauty of this album’s success thus far is that it has organically resonated with people around the world. It goes to show that great music still reigns supreme. Working with Yachty on this album was more about adding ideas rather than taking things away. He had a really strong sense of the record he was making and, for me, it was about bringing session ideas to the table, people I felt like could add to his vision.

This album represented a stylistic switch for Yachty, from rap to rock. What did that entail from the A&R side?

I remember when I first met Yachty in Atlanta and we shared a love of Tame Impala and music that inspired him as an artist and me as an exec. He has always wanted to make an alternative record and I was itching to A&R an alt-leaning album. We didn’t necessarily sit down and say, “Hey, let’s do this now.” The stars just aligned. He had met Pony, Patrick and Jacob and just started creating. I’m grateful that Yachty trusts me with his art. As much as it’s vulnerable for an artist to put themselves in that position, it’s also something I don’t take lightly. To be able to call him and bounce ideas back and forth is something I enjoy. He was open to meeting and working with Teo Halm, so we invited him to a session at Mac Demarco ‘s studio. They started vibing, Teo was playing chords and Mac was on bass. Nami, another extraordinary creative, came to that session. Credit to Yachty for saying yes. That day, “drive ME crazy!” was created, which is now the No. 1 most consumed song [from the album].

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How is it different A&R’ing a hip-hop record vs. a rock record like this?

The initial process for me is always the same. The way we go about making the records may be different and, of course, sonically there are differences, but there’s always very similar underlying characteristics. Being aligned with an artist’s vision is the most important part for me. Once that foundation is set, it’s like painting on a blank canvas, whether it be rap, alt, pop, rock. I’m most inspired when I’m giving creative input and it just flows.

What challenges exist in shifting genres like this, and how do you overcome them?

I think the challenge really lies outside of the world you build. There wasn’t necessarily a challenge going into making the record; that came very naturally to Yachty. Since he’s a multi-genre artist, he can literally make any genre of music, he’s just that type of creative. It was about making sure we don’t alienate his core fans but also grow and reach new audiences. It was also really important for the alt/rock community to grasp this type of record coming from Yachty, who has evolved so much musically.

The album debuted at No. 9 on the Billboard 200 and No. 1 on the Top Rock Albums chart with a strong critical reception. What did you do to help it succeed out of the gate, and how do you keep the momentum going now?

Having every department aligned on our goals was key for the rollout of this project. Everyone was really excited hearing the record, but the challenge was how to get it out to the world in the most meaningful and genuine way. That energy has to match the music, from marketing to international to creative. The goal was to have people listen to the album top to bottom, no skips, since it’s really a journey from the very beginning to the last track. Now, it’s about getting the live element in place and going into the second phase of marketing and our plans around ex-U.S. markets.

How has the job of an A&R changed over the course of your career?

Every A&R is different. It depends on each individual and what their strengths are and really focusing on those strengths. I’m very hands on and like to be a part of the creative process from inception, then putting a different hat on once we deliver the record.

Previous Executive of the Week: Debra Rathwell of AEG Presents

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Lil Yachty Ready to Get Going With New Album ‘Let’s Start Here’

By Jon Blistein

Jon Blistein

Lil Yachty appears ready to release his first new album in three years later this month. 

On social media Tuesday, Jan. 17, the rapper shared what was ostensibly the weird-as-hell cover art for his next LP — a surreal image of a group of besuited adults sporting some deranged smiles — along with the title and release date: Let’s Start Here out Jan. 27. 

Lil Yachty then cryptically added, “Chapter 2,” before thanking fans “for the patience.”

View this post on Instagram A post shared by C.V T (@lilyachty)

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“I met Andrew from MGMT, and I’ve been talking to a bunch of people. I met Kevin Parker [of Tame Impala], I’ve been talking to him. It’s just inspiring,” he said. “I got a bunch of side projects I’m going to drop before my next album. But what I’m trying to do on my next album, I’m trying to really take it there sonically.”

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Lil Yachty Surprises With New Solo Cut "Let's Get On Dey Ass"

Enlisting the concrete boys for the music video..

It’s been a minute since Lil Yachty has dropped off a solo release – aside from last month’s Minions -associated “Lil Mega Minion.” Fresh off his James Blake collab tape Bad Cameo and with the Concrete Boys continuing to cement their spot in the mainstream rap ether, Yachty has unleashed his first studio single since “A Cold Sunday,” a high-octane offering dubbed “Let’s Get On Dey Ass.”

Backed by a Cardo and Kyuro-produced beat, “Let’s Get On Dey Ass” sounds like old Yachty, finding the rapper spitting rapid bars in an uninterrupted flow, infused with many monosyllabic adlibs.

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Lets Get On Dey Ass - Single

July 19, 2024 1 Song, 2 minutes Quality Control Music/Motown Records; ℗ 2024 Quality Control Music, LLC, under exclusive license to UMG Recordings, Inc.

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unnamed 66

Lil Yachty Drops New Single, Visuals For “Let’s Get On Dey Ass”


Lil Yachty  has officially released his latest song  “Let’s Get On Dey Ass”  along with an accompanying music video. The new track highlights Yachty back in his rap bag at full force, weaving his melodic and whirly auto-tuned vocals over the track’s distorted 808s, howling synth lead, and bouncy hi-hats to deliver a high octane, bass heavy, rap anthem perfect for a festival mosh pit. Directed by  Zhamak , the “Let’s Get On Dey Ass” music video shows Yachty and the Concrete Family dancing around the city, draped in luxurious matching vintage outfits and jewelry. Lofi VHS style shots of Yachty and his crew alternate with clips of the style icon shopping for another signature outfit along with a cameo from social media star and model,  Teanna Trump . The new song comes on the heels of Yachty’s collaborative album with  James Blake ,  Bad Cameo , and follows their most recent visualizer for  “Save The Savior.”

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  1. Lil Yachty kündigt neues Album „Let’s Start Here“ an

    lil yachty new album credits

  2. Lil Yachty Releases His New Trippy Album, 'Let's Start Here'

    lil yachty new album credits

  3. Lil Yachty Says Daughter Doesn’t Care About His Music, Loves ‘Frozen’

    lil yachty new album credits

  4. Lil Yachty Transcends Genres On New Album "Let's Start Here"

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  5. LEAKED TRACKLIST & FEATURES For Lil Yachty's New Album "Let's Start Here"

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  6. Lil Yachty

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  1. lil yachty new album

  2. LIl Yachty


  1. Let's Start Here

    Let's Start Here is the fifth studio album by American rapper Lil Yachty, released on January 27, 2023, through Motown Records and Quality Control Music.It is his first studio album since Lil Boat 3 (2020) and follows his 2021 mixtape Michigan Boy Boat.The album marks a departure from Lil Yachty's signature trap sound, being heavily influenced by psychedelic rock.

  2. Lil Yachty

    Let's Start Here. is Lil Yachty's fifth studio album, it is a direct follow-up to his August 2021 mixtape BIRTHDAY MIX 6. The first mention of the album's existence dates back to a tweet ...

  3. Review: Lil Yachty's 'Let's Start Here'

    Cast in this new light, the quality that once made it hard for detractors to take him seriously has become Lil Yachty's greatest strength. His playful vocal acrobatics, his freewheeling gestures ...

  4. Lil Yachty: Let's Start Here. Album Review

    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 ...

  5. Lil Yachty / James Blake: Bad Cameo Album Review

    Yachty begs, in full "Poland" voice, with Blake echoing his prayer in the background. You might recall a similar plea on the 2022 song ("Hope you love me, baby, I hope you mean it").

  6. Lil Yachty's Rock Album 'Let's Start Here': Inside the Pivot

    With his adventurous, psychedelic new album, 'Let's Start Here,' he's left mumble rap behind — and finally created a project he's proud of. By Lyndsey Havens. 03/8/2023. Lil Yachty, presented by ...

  7. Lil Yachty Releases Wild New Psychedelic Rock Album 'Let's ...

    A few months ago, Yachty had his biggest hit in years with " Poland ," an 88-second rap goof that became a viral sensation. So now Yachty has naturally followed that song with a full-on bugged ...

  8. Lil Yachty 'Let's Start Here' Album Review

    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 ...

  9. Lil Yachty's delightfully absurd path to 'Let's Start Here'

    Where his peers Lil Uzi Vert and Playboi Carti found new ways to express themselves in music, Yachty dug in his heels and became Quality Control's oddball representative, acquitting himself on ...

  10. Lil Yachty on His Rock Album 'Let's Start Here ...

    While Yachty's new era was teased late last year with the trippy, 83-second-long single "Poland" (which isn't on the album), at a listening session for "Let's Start Here" in New York ...

  11. Lil Yachty Announces New Album 'Let's Start Here'

    Yachty released his last full-length album, Lil Boat 3, on May 29, 2020 via Capitol Records, Motown Records and Quality Control Music. The 19-track set, which included lead single "Oprah's ...

  12. ‎Let's Start Here.

    REACH THE SUNSHINE. 5:58. January 27, 2023 14 Songs, 57 minutes Quality Control Music/Motown Records; ℗ 2023 Quality Control Music, LLC, under exclusive license to UMG Recordings, Inc. Also available in the iTunes Store.

  13. Stream Lil Yachty's new psychedelic rock-inspired album; credits

    Atlanta rapper Lil Yachty has released Let's Start Here, which he's touting as a psychedelic rock album. It's definitely a major departure for Yachty, definitely not a rap album, and ...

  14. Let's Start Here. by Lil Yachty (Album, Neo-Psychedelia): Reviews

    Let's Start Here., an Album by Lil Yachty. Released 27 January 2023 on Quality Control. Genres: Neo-Psychedelia, Psychedelic Rock. Rated #85 in the best albums of 2023, and #9381 of all time album.. Featured peformers: Lil Yachty (rap, writer, executive producer), sadpony (executive producer), Patrick Wimberly (executive producer), Tom Elmhirst (mixer, mix engineer), Adam Hong (assistant mixer ...

  15. How Lil Yachty Ended Up at His Excellent New Psychedelic Album

    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 ...

  16. Lil Yachty shares cover art and release date for new album

    Lil Yachty has announced the title, release date, and cover art for his next album.Let's Start Here, a psychedelic non-rap project from the multi-talented emcee, is due out January 27 via ...

  17. Lil Yachty's new psych-rock album features contributions from Mac ...

    Last week, Lil Yachty released his first studio album in nearly three years, a record titled 'Let's Start Here' that makes a major departure from his usual trap-pop stylings. The album ...

  18. Lil Yachty's 'Let's Start Here' Features MGMT Member & More

    January 27, 2023. 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 ...

  19. Lil Yachty

    Are you a fan of Lil Yachty, the rapper and singer who blends hip hop, pop and trap? Visit his official site to discover his latest music, videos and news. Don't miss out on his exclusive offers and updates.

  20. How Lil Yachty Sailed From Hip-Hop to the Top of the Rock Charts

    Here, Rouzbehani discusses the switch for Yachty from hip-hop to alt-rock, and the somewhat unexpected success that the album achieved, given how difficult it can be to change the narrative for an ...

  21. A Track-by-Track review of Lil Yachty and James Blake's new

    Track 6 of Yachty and Blake's collaboration album 'Bad Cameo' (Image via Spotify) James and Boat deliver a ballad on Missing Man, with remarkable vocal performances that blend into the electric ...

  22. Lil Yachty Ready to Get Going With New Album 'Let's Start Here'

    Lil Yachty appears ready to release his first new album in three years later this month.. On social media Tuesday, Jan. 17, the rapper shared what was ostensibly the weird-as-hell cover art for ...

  23. Lil Yachty

    Lil Yachty Let's Start Here. Album Playlist / Lil Yachty Let's Start Here. Full Album Playlist Lil Yachty New Album 2022 / Lil Yachty New Album 2023

  24. Lil Yachty Drops "Let's Get on Dey Ass"

    Lil Yachty Surprises With New Solo Cut "Let's Get On Dey Ass": Enlisting the Concrete Boys for the music video. ... The latest cut lifted from the Compton rapper's forthcoming album. By Elaina ...

  25. Lil Yachty Is Back In His Rap Bag On New Song "Lets Get On ...

    Last month, Lil Yachty and James Blake dropped an ambient-pop album called Bad Cameo.These kinds of left-field turns are becoming increasingly common for Yachty, who embraced psychedelic rock on ...

  26. Lil Yachty

    [Verse 2: Lil Yachty] My Chrome unfindable Like I did me a hit and I threw it away Pop out that bitch and hit him in his fa— uh-huh We open up doors in the summer I tear the roof off of the ...

  27. James Blake and Lil Yachty release their collab, 'Bad Cameo'

    Lil Yachty and James Blake officially released their new collaborative album, Bad Cameo, along with an official visualizer for the album's title track.. Blake and Yachty announced earlier this year that they were working on a collaborative album; Blake serves as co-producer alongside his regular collaborator Dom Maker, with Yachty adding additional production.

  28. Lil Yachty

    Music Reviews: Let's Get On Dey Ass by Lil Yachty released in 2024.

  29. Lets Get On Dey Ass

    Listen to Lets Get On Dey Ass - Single by Lil Yachty on Apple Music. 2024. 1 Song. Duration: 2 minutes. Album · 2024 · 1 Song. Home; Browse; Radio; Search; Open in Music. Try Beta. Lets Get On Dey Ass - Single. Lil Yachty. HIP-HOP/RAP · 2024 . Preview. ... Papua New Guinea;

  30. Lil Yachty Drops New Single, Visuals For "Let's Get On Dey Ass"

    Lil Yachty has officially released his latest song "Let's Get On Dey Ass" along with an accompanying music video. The new track highlights Yachty back in his rap bag at full force, weaving ...