In the ever-evolving landscape of hip-hop, few artists have captured attention as swiftly as West Coast rapper Yeet. His latest album, ADL, had been highly anticipated, particularly due to his recent successes and promising interviews. However, after careful listening, it appears that ADL may not live up to its lofty expectations.
Yeet, whose real name is Noah Oliver Smith, has shown a significant rise in popularity, which he confidently alludes to in the track What I Want, stating, “Every time I drop an album, I’m going to double sales. I went from 13 to 32 to 70.” This confidence indicates a solid trajectory for the artist, especially following his engaging project 2093 and the focused Dangerous Summer EP. In this light, ADL was poised to be a transformative moment in Yeet’s career.
Known for his eclectic blend of sounds, Yeet previously demonstrated an ability to merge various genres, combining industrial and dance elements to create an innovative experience. His daring vocal style has set him apart, making his contemporaries seem conventionally safe. Yet, with ADL, he appears to have reverted to simpler formulas, which raises questions about his ambition at this stage in his career. Despite announcing an ‘ambition era’ in a discussion with Zane Lowe, listeners are left wondering if the album showcases as much creativity and evolution as he has claimed.
Musically, ADL often feels derivative, with Yeet drawing heavily from icons like Kanye West—now known as Yay—and Travis Scott, without sufficiently adding his own flair. Tracks often reflect the aesthetic of Yay’s Life of Pablo, following familiar patterns without breaking new ground. Yeet’s acute awareness of his influences creates moments on the album that, rather than feel innovative, seem redundant to a listener familiar with these foundational artists’ works.
For example, songs like Dangerous House present autotune-heavy vocal cuts with psychedelic flourishes that lack the exceptional depth of his predecessors. Meanwhile, other tracks feature cringe-inducing sexual themes devoid of the whimsical charm that could make them catchy. The song Naked, which merely repeats mundane come-ons, hardly gets the listener excited, while King Tonka Talk comes across as a regrettable compilation of unfiltered desires that fails to engage the audience meaningfully.
Yeet’s lyrical approach includes moments that seem to desperately mimic the playful bravado of Yay—words that feel hollow due to a lack of charisma and wit. For instance, passages such as, “Yeah, I want to see it, but you never did,” are more tiresome than clever. Yeet’s lack of musicality further hampers these attempts to create memorable hooks amidst his idol’s lingering shadow.
Despite the negative aspects, some highlights emerge. The collaboration with Kid Cudi on No More Ghosts hints at what might have been, showcasing moments of synergy rather than imitation. Additionally, the track featuring Swizz Beatz injects a brief bout of energy in an otherwise tedious project. Yet, the pervasive issue remains—this album feels like it is reaching for greatness but instead retreads familiar paths.
At around an hour in length, the album stretches thin in places, packed with low-impact tracks that fade into the background. Songs like What I Want My Way and Silkface 2 contribute to a mixed bag where even the most enthusiastic listeners might struggle to remain engaged. This combination of overly referenced sound and lack of innovation reinforces the feeling that Yeet missed the mark entirely.
In an era when artists continuously reinvent their sounds, ADL stands as a reminder of how quickly one can fall into the trap of imitation. Given Yeet’s ambitious aspirations, it is disappointing that the resultant project fails to distance itself from Yay’s distinctive mark. Instead of evolving, we witness Yeet merely echoing his inspirations without the necessary flair and originality to forge his path.
Overall, while Yeet’s potential remains evident, ADL serves as a stark illustration of how far one can stray from their innovative ideas. A rating of 35 out of 60 seems most fitting; it highlights a project that, while not entirely devoid of merit, ultimately falls short of expectations.
