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<v Speaker 1>Welcome back to Crash Course pod. Everybody. This is the

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<v Speaker 1>podcast where we dive deep into the artists who define

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<v Speaker 1>modern music. I'm your host, ash Tone, and today we're

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<v Speaker 1>putting on the iconic red braids and neon esthetic to

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<v Speaker 1>crash Course the career of Miles Park McCollum, better known

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<v Speaker 1>as Lo YACHTI that's right, it should be a great episode.

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<v Speaker 1>I've been waiting to do this for a while now,

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<v Speaker 1>and now we finally get to do it. From viral

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<v Speaker 1>a sensation to genre bending provocatel Yati's journey is one

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<v Speaker 1>of the most fascinating and arguably misunderstood in contemporary miss

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<v Speaker 1>and contemporary hip hop. I have to double down on

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<v Speaker 1>arguably misunderstood. I was, can I say, was one of

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<v Speaker 1>those people that just completely misunderstood his his lane in

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<v Speaker 1>the hip hop space, in the rap space, in the

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<v Speaker 1>artist space. Was that a clip back in the day

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<v Speaker 1>with him and Joe Butden and Joe Butden is like,

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<v Speaker 1>I have to find it. I found it. You guys,

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<v Speaker 1>here we go. Tell me what you want from hip hop?

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<v Speaker 1>I mean, you don't think that's a question you should

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<v Speaker 1>answer at some point? What do I want from hip hop?

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<v Speaker 1>Or are you leaving all of this to QC to

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<v Speaker 1>figure out. No, I mean, I'm I'm making music, bro,

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<v Speaker 1>I'm just having fun. I'm saying my fans love it.

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<v Speaker 1>Just having fun and fun. Like you, very aware for

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<v Speaker 1>what's going on, and you wanted the hottest niggas on her.

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<v Speaker 1>What do you want me to say why? I want

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<v Speaker 1>you to be aware of your business. I want you

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<v Speaker 1>to know whether you're in a three sixty or nine.

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<v Speaker 1>I want you to appreciate the culture that change your life.

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<v Speaker 1>I took you from college doring room, evening order the noodles.

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<v Speaker 1>I want you who's well spoken and articulates himself well,

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<v Speaker 1>my niggah. I recently saw that clip on Instagram. It

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<v Speaker 1>was animated though, and I was just cracking up because

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<v Speaker 1>I feel the same way, not quite the same as

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<v Speaker 1>Joe Budden, specifically with the whole what do you want

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<v Speaker 1>from hip hop? I just didn't take him seriously as

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<v Speaker 1>a musician because I felt like he wasn't taking being

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<v Speaker 1>a musician seriously. And I'm talking twenty sixteen to like

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<v Speaker 1>twenty twenty. That was kind of my stance, so heavily

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<v Speaker 1>misunderstood in contemporary hip hop spaces. Anyways, our crash course

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<v Speaker 1>episode is going to start off. In twenty sixteen, Lo

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<v Speaker 1>YACHTI exploded onto the scene with the sound he coined

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<v Speaker 1>bubblegum trap. It was colorful, cheerful into some of the

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<v Speaker 1>old guard utterly bewildering. He had a sing song, amateurist

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<v Speaker 1>sounding delivery overbeats that sample Mario Bros. Charlie Brown, and

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<v Speaker 1>GameCube startup sounds. His breakout moments the dreamy viral hit

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<v Speaker 1>one Night which I Loved One Night Actually and his

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<v Speaker 1>feature on DRAMs Broccoli who doesn't like broccole? Broccoli is

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<v Speaker 1>a staple that established him as the face of a

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<v Speaker 1>new wave, and he was even in Freshmen on the

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<v Speaker 1>Freshman x L back then and established as the new phase.

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<v Speaker 1>He was the new vibes. He was unapologetically youthful, valuing

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<v Speaker 1>melody and vibe over traditional lyrical complexity, a style often

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<v Speaker 1>grouped under the controversial term mumbo rap. That entire phase

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<v Speaker 1>of his was a masterclass in modern celebrity, be yourself,

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<v Speaker 1>cultivate a unique brand, and leverage internet virality. Critics scoffed

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<v Speaker 1>as we heard Joe Budden was not feeling it back then,

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<v Speaker 1>but Yachty was creating new rules, not following old ones,

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<v Speaker 1>and so that I absolutely have to respect. After a

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<v Speaker 1>few years in his lane, Yachti's career seemed to slow,

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<v Speaker 1>but his influence didn't. In fact, I kind of feel

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<v Speaker 1>like his influence grew. He quietly became a behind the

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<v Speaker 1>scenes force. A key pivot was his twenty twenty one

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<v Speaker 1>project Michigan Boy Boat, a brilliant homage to the Detroit

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<v Speaker 1>and Flint rap scenes. He collaborated with local artists, adopting

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<v Speaker 1>their jittery, deadpan flow, showcasing his skills as a curator

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<v Speaker 1>and providing versatility beyond Atlanta sound. Then there's this oddity

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<v Speaker 1>that became a massive hit, Poland. Poland, with its catchy

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<v Speaker 1>hook and surreal alien soundscape, turned into one of his

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<v Speaker 1>biggest solo hits. You Couldn't Go Anywhere and mentioned Yachti

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<v Speaker 1>without them bringing up Poland. Crucially. In the same period,

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<v Speaker 1>Yachty served as a key producer and creative collaborator on

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<v Speaker 1>twenty one Savagest surprise collaboration album with another artists, the

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<v Speaker 1>album We All Know Was Her Loss. This moment legitimized

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<v Speaker 1>his status as an industry taste maker, and shall I

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<v Speaker 1>say formidable talent, scout and producer. I'm gonna say it

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<v Speaker 1>and that brings us to the biggest, most daring moves

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<v Speaker 1>of his career. In January twenty twenty three, Loyati released

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<v Speaker 1>his fifth studio album called Let's Start Here. Forget the

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<v Speaker 1>trap drums and auto tuned sing songs, this album was

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<v Speaker 1>a full blown psychedelic rock record, Yeah, psychedelic rock record.

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<v Speaker 1>It featured songs like black Seminole or drive Me Crazy

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<v Speaker 1>by the way I get your pants out and write

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<v Speaker 1>those down Lo. Yachti cited influences like Pink Floyd, Tame Impala,

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<v Speaker 1>and James Brown for that album, and the album is

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<v Speaker 1>a sonic departure, featuring live instrumentation, soaring guitar passages, and

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<v Speaker 1>his vocals stretched and reverberated into a new, soulful and

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<v Speaker 1>ambitious register. I believe the move paid off, and Let's

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<v Speaker 1>Start Here was met with largely positive reviews, which became

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<v Speaker 1>his highest rated album, proving he's not just a viral

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<v Speaker 1>sensation but a dedicated, shall I say at venturist artist.

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<v Speaker 1>So since that psych rock pivot, now we're in the

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<v Speaker 1>year twenty twenty four and Yachti has continued to keep

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<v Speaker 1>us guessing. Refusing to settle back into one sound. He

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<v Speaker 1>is relentlessly active, dropping major projects and singles that define

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<v Speaker 1>his new era. For instance, his twenty twenty four collaboration

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<v Speaker 1>with James Blake on the album Bad Cameo was another

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<v Speaker 1>major left turn. The album is a dreamy, ethereal, and

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<v Speaker 1>often melancholic body of work. I personally liked it. I

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<v Speaker 1>will hop onto the ambitious wave and say it was

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<v Speaker 1>a very ambitious project, but definitely cool. He moves away

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<v Speaker 1>from the guitar driven psychedelia of Let's Start Here and

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<v Speaker 1>instead leans heavily into James Blake's signature sound with spacey synth's,

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<v Speaker 1>delicate piano and ambient soundscapes. Yadia's vocals were manipulated and

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<v Speaker 1>it sounds like it was stretched, which turns his voice

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<v Speaker 1>into another texture and Blake's and trick it world. He

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<v Speaker 1>has an abandoned rap. He just reinvented his approach and

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<v Speaker 1>I'd have to say well done with that. If you

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<v Speaker 1>listen to his newest rap singles, you will notice that

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<v Speaker 1>he's experimenting some more. So let's break it down. Get

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<v Speaker 1>your pans out, because you're gonna want to write these

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<v Speaker 1>songs down so with his pivot or shall I say

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<v Speaker 1>new shift. You'll notice it with tracks like a Cold

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<v Speaker 1>Sunday I Need Meds or the brand new silver Lining

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<v Speaker 1>with Ssswalka, and his feature on Scrilla's Rich Centers all

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<v Speaker 1>showcased his current precise, quote quote unquote new flow. It's

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<v Speaker 1>often delivered with a flatter, almost monotone intensity, sometimes even

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<v Speaker 1>stripping away the heavy autotune he used early in his career.

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<v Speaker 1>Its concise, punchy, and highly rhythmic, emphasizing cadence over melody.

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<v Speaker 1>You even hear the precision in his latest features, like

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<v Speaker 1>his collaboration on the song I L y x L

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<v Speaker 1>with Georgiana. He's showing that he can effortlessly jump back

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<v Speaker 1>into rap, but he's bringing the lessons of production and

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<v Speaker 1>experimentation with him, keeping his ear keenly tuned to the underground.

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<v Speaker 1>For sure. He's definitely plugged in underground. You can tell

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<v Speaker 1>an effect. It is an effect. I won't say efect

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<v Speaker 1>it and flew unceas a lot of his work, which

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<v Speaker 1>I think is crucial to remaining relevant on the musician scene.

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<v Speaker 1>It's safe to say that YACHTI is not just experimenting

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<v Speaker 1>with genres. He's constantly tweaking his delivery, making his current

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<v Speaker 1>rap work sound almost postmodern in its precision and detachment.

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<v Speaker 1>In addition to producer musician, Lil YACHTI is also a

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<v Speaker 1>multifaceted songwriter who's made a significant impact on hip hop.

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<v Speaker 1>So let's talk about some of those songs he's had

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<v Speaker 1>his confirmed involvement in writing and co writing major hits

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<v Speaker 1>like City Girls, Act Up from Her Loss. He has

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<v Speaker 1>credits on several tracks including Jumbo Tron, Shit Poppin Major Distribution,

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<v Speaker 1>and Back Outside Boys. Also, rumor has it that he's

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<v Speaker 1>credited for other projects on For All the Dogs and

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<v Speaker 1>Scary Hours three. I haven't looked into it, but my

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<v Speaker 1>sources say he was also a co writer or involved

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<v Speaker 1>in the writing for that too. If you were to

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<v Speaker 1>analyze his writing style, I would say that it's prioritizing vibe, melody, hooks,

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<v Speaker 1>and spontaneity. That's a common or critical assessment of his

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<v Speaker 1>writing work, which I feel like it works. It gets

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<v Speaker 1>the crowd moving. So we talked about Poland a little

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<v Speaker 1>bit earlier, and although this is music, I do want

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<v Speaker 1>to touch on the music video aspect. So Poland was

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<v Speaker 1>what you would call a viral solo music video. It

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<v Speaker 1>was a massive viral sensation that helped define Yachti's late

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<v Speaker 1>career experimentation. It's short, quirky, and a memorable visual directed

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<v Speaker 1>by Cole Bennett. In fact, Lyrical Lemonade a ka Col

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<v Speaker 1>Bennett and Lo Yachty. They never missed when it comes

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<v Speaker 1>to creating visuals his work. Yachti's work with Lyrical Lemonade

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<v Speaker 1>is the creation of some of his most memorable and

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<v Speaker 1>defining visuals, And personally, I feel like that's been instrumental

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<v Speaker 1>how you get it? Instrumental and his viral success. Shall

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<v Speaker 1>I add to that? It's also shall I forgot what

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<v Speaker 1>I was gonna say? Oh yeah, his collabse with Cole

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<v Speaker 1>Bennett Lyrical Limonade. It also showcases his artistic versatility that

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<v Speaker 1>goes beyond just music and songwriting. I've always felt like

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<v Speaker 1>Lo Yati Yachti is a strong visual guy, like very

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<v Speaker 1>artistic and his visual delivery. So that's it, guys. He's

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<v Speaker 1>not just a rock guy, not just a trap guy.

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<v Speaker 1>Lo Yatis a dynamic curator of his own talent, willing

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<v Speaker 1>to master a genre and then move on to challenge

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<v Speaker 1>the next lo Yati ushered in a new era, but

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<v Speaker 1>his lasting legacy would be his unpredictable evolution. And that

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<v Speaker 1>wraps up our crash course on lo Yati. Thank you

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<v Speaker 1>for tuning into crash Course Pod. Of course, I'm the

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<v Speaker 1>host Ashtone and you can find the links to our

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<v Speaker 1>other site down below. Am