Portland rapper Yeat’s rise to fame was clearly out of tradition. The songwriter’s alien-like made-up language to his outlandish vocals on the mic boosted the conversation of Yeat. He was also known to drop multiple projects a year bloated with songs, up to as many as 29 tracks. Yeat’s endless catalog clearly shows you he can’t stop, and with this new LP LYFESTYLE, featuring 22 songs, he makes it known that he is still going.

This project follows Yeat’s fourth studio album 2093, which took a turn that no Yeat fan expected. It’s electronic, overproduced vibe is not present on this album. The majority of the tracks on this album wear a heavy bass, perfect for the car. Moreover, Yeat’s vocal range on LYFESTYLE is all over the place, keeping you on your toes to hear what he has to say in whatever voice he chooses. However, I can tell that his voice has changed in between albums. Almost none of his raps on this project sound like something he would make during his Afterlyfë era (his last trap album.) Speaking of Afterlyfë, there is one track that literally was a throwaway track for that album, which is “FATË.” This song is also the outro to LYFESTYLE, and it starts off with a deep-voiced Yeat rapping about how we can’t choose our fate on top of an ethereal beat. Roaring electric guitars mixed with a crazy drum pattern compliment Yeat’s angelic vocals. Two minutes in, the song transitions into a Kanye West’s Yeezus-inspired synth ballad. This song is the best on LYFESTYLE because it shows Yeat’s versatility when it comes to crafting songs.

Usually, when it comes to Yeat albums, features are very scarce. On LYFESTYLE, there are five (four credited) guest appearances. Kodak Black’s verse on “BË QUIET” (which also starts out with LAZER DIM 700 ad-libs) is a braggadocious effort about percs and felonies, but I’m not sure how good their chemistry on a track is. Yeat picked the right beat for sure, but Kodak’s style sticks out like a sore thumb. The same can be said for Don Toliver on “NEW HIGH,” which is sad to say because I liked what he did on “Heavy stunts” with Yeat back in May of this year. Toliver’s vocal mix doesn’t work with Yeat’s, which, again, makes it stick out. Lil Durk on the title track, though, actually pulled through. His verse compliments Yeat’s hook and verse. Durk’s high-pitched vocals actually fit into the world of Yeat, and it’s clear that it’s the best feature on this LP. One feature on this project I did not expect to see on a 2024 Yeat album was Summrs. Both Yeat & Summrs were Slayworld affiliates, and since it’s abandonment, we never saw a Yeat and

Summrs collaboration until now. “GO2WORK” is quite the opposite of their last collab, “Countup.” This one wears a dark, bass heavy

beat with hard-hitting snares and open hats. The mix on Summrs’ vocals is pretty bad. For some reason his vocals are catered to the left side of your headphones and it is really annoying. Both Yeat & Summrs efforts on this track are flavorless. Fans that know about 2021’s “Countup” know how much more soul was put into those raps than this track.

After some time with this album, I can say that this is not what I thought Yeat would put out after saying that he was going back his “trap roots.” Most of the songs sound soulless and the beats don’t connect with what Yeat used to sound like. And not in a good way. As a long-time Yeat fan, I am always excited for the next release, but this one was a miss.