Until the pandemic, Lil Yachty never stopped to think about how quick-ly he became famous. “It was a full year from walking across the stage in high school to then I’m in this penthouse in midtown Atlanta, I got this G-wagon, put my mother in a house,” Yachty explains. “It’s a fast life. You not ever getting the chance to think about a lot of shit.”
Yachty’s 2016 hit “Minnesota,” which had the treacly energy of a nursery rhyme, earned the then-17-year-old the title “King of the Teens.” But since then, he’s become an elder statesman of a certain brand of young superstar — and something like the Gen Z answer to Diddy. He collaborated with brands like Nautica and Target; he appeared in the movie How High 2; he signed an endorsement deal with Sprite. Signees to his new label imprint, Concrete Boys, even get an iced-out chain.
Yachty’s upcoming mixtape, Michigan Boat Boy, is an ode to the state where a new crop of MCs is currently restitching the fabric of modern hip-hop. It’s also a testament to one of the 23-year-old rapper’s greatest gifts: his ear for talent. “I started doing my own homework and digging,” Yachty explains. “And just started realizing there are no bad rappers in Michigan. Everyone knows how to rap.” For all of the criticisms of Yachty as a lyricist over the years — rap purists loudly disdained him early on — there’s a clear sense of progression on tracks like “Royal Rumble.” The wordplay is punchier, and the wisecracks are wittier. He fires offlines that fit perfectly alongside the Michigan rappers’ clever bars. He even manages to land a pun about The Grudge.
Bu hikaye RollingStone India dergisinin May 2021 sayısından alınmıştır.
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Bu hikaye RollingStone India dergisinin May 2021 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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