Yeat sounds very confident in his “AFTËRLYFE.”




Honorable Mention. Split

In “Split,” Yeat lets the world know that he wants money, money, and more money (I just want him to want help)!

Yeat blacks out in “Split.” At a certain point in the song, he hurls out bars non-stop, refusing to take a breath. Though he doesn’t really say anything special (He just states that he wants money over and over again), I am OK with listening to someone sound obsessed with money.



5. Bëttr Off

Yeat’s confidence in “Bëttr Off” is on a milli.

Even though this song’s beat booms like Mac McClung, it also has a pretty slow pace. What I like is how Yeat sounds super unbothered over the beat, almost treating it like it’s on a leash. When the Portland native flexes like this, I am a fan.

This is a song that non-Yeat fans can appreciate.



4. Sum 2 do

Yeat says he needs “sum 2 do” in this song… I vote for him to get a preventative psychiatric check.

The energy attached to “Sum 2 do” is everything. In the song, Yeat actually puts up one of his most energetic and unchained performances yet. He really bounces off the walls like a crazy man; one that is happy, though (Why do we always assume crazy people aren’t happy?).

As good as Yeat is in this track, I think it’s the booming, Mega Man-like beat that makes it special. I had so much fun listening to this banger.

3. Shmunk (Ft. YoungBoy Never Broke Again)

For generation XYZ, this NBA YoungBoy and Yeat collaboration is like Tupac and Biggie joining forces for a track in ’96.

You get subdued mayhem in “Shmunk.” Seriously, both Yeat and NBA YoungBoy never really raise their voices. For the sickos of the world, no need to worry, they still talk about shooting folks up and hanging with thugs.

So why should you press play on “Shmunk?” Well, personally, I really like the song’s action-packed, Shinobi-like beat and how both Yeat and NBA YoungBoy ignore all rules when it comes to sounding legible (If anyone else sounded like them, you would assume they were having a stroke).



2. no morë talk

Yea, Yeat, talk your s**t!

“no morë talk” is Yeat’s version of “wokeuplikethis” by Playboi Carti. In the song, for good reason, he calls the rappers that sound like him his sons. I f**k with how steady Yeat’s flows sound and the hypnotizing/futuristic beat that he does his work over. I just wish he didn’t sound like he was being dragged out of his mother’s womb on his adlibs.



1. How it go

Despite this track featuring a beat that sounds like it is being played out of a Gameboy, I f**k with it a lot!

In my humble opinion, Yeat puts up his best performance to date in “How it go.” I like how he rides the song’s feverish/cartoonish beat, how he effortlessly/playfully raps about balling on folks, and how he uses a vocal style that makes it seem like he’s having a big-ass piece of tape ripped from his arm.

“How it go” flows very well. That’s saying a lot because I feel like 99 percent of Yeat’s tracks have unorthodox rhythms.


1. no morë talk (3.5/5)

2. Shmunk (Ft. YoungBoy Never Broke Again) (3/5)

3. Bëttr Off (3.5/5)

4. Rav3 p4rty (Ft. Kranky Kranky) (3/5)

5. Nun id Change (3/5)

6. Woa…! (2.5/5)

7. Now (Ft. Luh geeky) (2.5/5)

8. Slamm (2.5/5)

9. 7 nights (2.5/5)

10. Mëan feen (Ft. Krank Kranky)(2.5/5)

11. How it go (3.5/5)

12. Sum 2 do (3/5)

13. Back up (3/5)

14. Split (3/5)

15. Bad bënd / DëMON (3/5)

16. Hëavyweight (2.5/5)

17. Watch (2/5)

18. Shhhh (2.5/5)

19. Back homë (3/5)

20. Type monëy (3/5)

21. Dëmon tied (2.5/5)

22. Mysëlf (2/5)




I think we all have to accept the fact that Yeat is here to stay. Though his style isn’t my cup of tea (Hell, it isn’t even my cup of acid water), I think it’s pretty obvious that what he’s doing is borderline groundbreaking.

This week, three of the best beat pickers in the game dropped projects: Logic, Key Glock, and Yeat. What’s lovely is that each has a kind of beat they prefer to rap over. For Yeat, he likes to rap over beats that sound like some The Terminator/broken Nintendo/I took too many ounces of a weed brownie s**t. As stiff and stale as I am, I’m still hip enough to recognize that the beats on AFTËRLYFE are f**king awesome.

At this point, I am prepared to applaud Yeat for his ability to sound incoherent for long periods of time (Can we give him some kind of Guinness record for that?). In all seriousness, one thing that I really like about AFTËRLYFE is how confident Yeat sounds throughout the project. In my opinion, he talks s**t better than most rappers in the game today. Also, even though he’s utilizing all of these unorthodox techniques, at the end of the day, he always sounds completely comfortable using them. If we all approach our careers like Yeat does, we would be highly successful.

Now that I gave Yeat his flowers, it’s time to tear him down a little. Though I didn’t expect him to talk about some groundbreaking s**t on AFTËRLYFE, I do feel like his lyrics have regressed since we last heard him on a full-length project. It seems like he’s freestyling more than ever now, which is resulting in musty verses. Oh well.

Once again, Yeat’s music is not my cup of tea. I personally do not find it enjoyable to listen to. However, I do understand how his music can be one really cool rollercoaster ride for fans of trippy, rebellious, and psychedelic trap music. Moving forward, I will no longer criticize Yeat’s music; I’ll just sit back and embrace the edible-like experience it gives me.

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