lil yachty albums ranked

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The Best Lil Yachty Albums And Mixtapes, Ranked

Which Lil Yachty albums do you think are the best? Below is the complete Lil Yachty discography, from his new album  Nuthin' 2 Prove to his first album Lil Boat . You can vote up more than one so feel free to base it on your favorite song or album as a whole. Despite being relatively new on the scene as compared to artists like Tyga, Lil Yachty already has quite an album list. With several hits like "One Night" off of Lil Boat and "66" off of Lil Boat 2 . 

Peruse the albums at your leisure because there is a lot to consider in the Lil Yachty mixtapes and albums list. He is known as a rapper, singer, songwriter and spans such genres as hip hop, trap and mumble rap. Have fun and vote up your favorites and see which ones are truly the best Lil Yachty albums.

1. Intro / Just Keep Swimming 2. Wanna Be Us (feat. TheGoodPerry) 3. Minnesota (feat. Quavo, Skippa da Flippa and Young Thug) 4. Not My Bro 5. Interlude 6. Good Day (feat. Skippa da Flippa) 7. Up Next 2 (feat. Big Brutha Chubba and Byou) 8. Run / Running 9. Never Switch Up 10. One Night 11. Out Late 12. F*cked Over 13. I'm Sorry (feat. TheGoodPerry) 14. We Did It (Positivity Song)

1. Self Made 2. Boom! (feat. Ugly God) 3. Oops (feat. 2 Chainz and K Supreme) 4. Talk to Me Nice (feat. Quavo) 5. Get Money Bros. (feat. Tee Grizzley) 6. Count Me In 7. She Ready (feat. PnB Rock) 8. Love Me Forever 9. Das Cap 10. Pop Out (feat. JBands2Turnt) 11. NBAYoungBoat (feat. YoungBoy Never Broke Again) 12. Mickey (feat. Offset and Lil Baby) 13. FWM 14. Flex 15. Whole Lotta Guap 16. Baby Daddy (feat. Lil Pump and Offset) 17. 66 (feat. Trippie Redd)

Metacritic score: 53/100

Nuthin' 2 Prove

1. Gimmie My Respect 2. Get Dripped (feat. Playboi Carti) 3. Riley from the Boondocks 4. I'm the Mac 5. Yacht Club (feat. Juice Wrld) 6. SaintLaurentYSL (feat. Lil Baby) 7. We Outta Here! (feat. Young Nudy) 8. Who Want the Smoke? (feat. Cardi B and Offset) 9. Worth It 10. Everything Good, Everything Right 11. Next Up 12. Forever World (feat. Trippie Redd) 13. Nolia (feat. Kevin Gates) 14. Fallin in Luv (feat. Gunna) 15. Stoney

Metacritic score: 52/100

Summer Songs 2

1. Intro (First Day of Summer) 2. For Hot 97 (feat. JBan$2Turnt, Byou and Big Brutha Chubba) 3. IDK 4. King of Teens 5. Shoot Out the Roof 6. Why? (Interlude) 7. Up Next 3 (feat. G Herbo) 8. DipSet (feat. Offset) 9. Life Goes On (feat. Cook LaFlare) 10. Yeah Yeah 11. Pretty (feat. TheGoodPerry) 12. Such Ease (feat. TheGoodPerry and Tyler Royale) 13. All In (feat. TheGoodPerry, Byou, Kay the Yacht, Big Brutha Chubba, Soop, JBan$2Turnt, Kodie Shane and K$upreme) 14. So Many People

Teenage Emotions

1. Like a Star 2. DN Freestyle 3. Peek a Boo (feat. Migos) 4. Dirty Mouth 5. Harley 6. All Around Me (feat. YG and Kamaiyah) 7. Say My Name 8. All You Had to Say 9. Better (feat. Stefflon Don) 10. Forever Young (feat. Diplo) 11. Lady in Yellow 12. Moments in Time 13. Otha Sh*t (Interlude) 14. X Men (feat. Evander Griiim) 15. Bring It Back 16. Running With a Ghost (feat. Grace) 17. FYI (Know Now) 18. Priorities 19. No More 20. Made of Glass 21. Momma (Outro) (feat. Sonyae Elise)

Metacritic score: 63/100

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With ‘Let’s Start Here,’ Lil Yachty Emerges as Music’s Boldest Creative Director

By Jeff Ihaza

Lil Yachty is rich. The 25-year-old musician posts TikToks featuring exotic Italian furniture, and goes vintage shopping with Drake. By the time he graduated high school, he’d already bought his mom a house. He caused a mild international incident with his viral hit “Poland,” a loosie released late last year in which he croons, with impossible sincerity, about bringing illegal pharmaceuticals into Poland. One couldn’t imagine a more charmed Gen Z existence. And yet, on “:(failure(:,” an early interlude from his left-turn of a new album, Let’s Start Here, he says that he’s “seen failure a few times/More recently than before, actually.”

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Cast in this new light, the quality that once made it hard for detractors to take him seriously has become Lil Yachty’s greatest strength. His playful vocal acrobatics, his freewheeling gestures into key ranges he might be less than suited for, create a listening experience rooted in feeling. So we open Let’s Start Here with “the BLACK seminole.,” in which Yachty sprinkles sparse musings from history. The title references Afro-Seminole people, free Africans who lived among Seminole groups in what is now Florida. Yachty’s idea fragments ooze together in the psychedelic groove, careful to keep the theoretical framework loose, allowing the words “Black” and “sex symbol” to float off into space carrying only as much weight as they need to. The statement retains potency in its aloofness. It isn’t unheard of to see rappers treading indie-rock terrain, though the efforts tend to have the sheen of corporate crossover. With instrumentation from Chairlift’s Patrick Wimberly, Yachty rolls in like a Black cowboy in a way that feels unforced. “A Black man with mouths to feed,” he whispers.

Oohs and ahhs stretch to the heavens with intention — like on standout “pRETTY,” which is already proving to be a hit on TikTok, and sounds like a slowed bedroom cut from the cult label Naked Music. Percussion rumbles gently over the staggering two-step, while a sensual, otherworldly warble breaks through the clouds like a ray of sunshine in spring. 

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You could call Let’s Start Here a rebuke of the notion that listeners have abandoned the full-length album. The record’s tight 57 minutes feel as cohesive a project as any artist has released in the streaming era. Yachty’s genuine adoration of his musical inspirations is like the Gen Z alchemy of Pinkpantheress, able to turn familiar source material into something entirely new. 

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Lil Yachty’s Great Gig in the Sky

Since the release of his Lil Boat mixtape in 2016, Lil Yachty has cultivated a peculiar rap career that has benefited from versatile musical interests. The Atlanta rapper, singer, and producer’s early work juggled booming southern trap drums, gauzy synths, unclearable samples , and melodic sensibilities on loan from children’s television. Shifting listlessly between disaffected snark and sweet repose, the best songs answered the question of what Brian Wilson’s teenage symphonies might’ve sounded like if he’d grown up hanging around the Migos. On future projects, Yachty leaned into the gruff anthems of his labelmates on Atlanta’s Quality Control Music, toughening up on 2018’s Lil Boat 2 in some of the ways Drake did on Scorpion the same year, this after dividing critics and listeners with the synthpop and reggae excursions on Yachty’s 2017 debut studio album Teenage Emotions .

Restlessness saves his catalog from the pedestrian work of peers chasing the sound of a beloved early mixtape. Lil Yachty is always up to something , quietly penning an undisclosed piece of the City Girls smash “Act Up,” or producing a chunk of Drake and 21 Savage’s Her Loss , or logging an unlikely chart hit about sneaking promethazine through customs . He’s a lightning rod for guys who see a new wave of absurdists and crooners as a displacement of rap traditionalism (rather than a continuation of a detailed history within it); he knows what the fans are into and where they’re getting into it online, so accusations about his music ruining hip-hop are complicated by every unforeseen success. The work varies greatly in style as well as quality, but being difficult to pin down also buys him freedom to make unusual plays.

Let’s Start Here , his fifth album and first full-length excursion into psychedelic rock, didn’t spawn entirely from nowhere, and not just because it sprung a leak under the name Sonic Beach a few weeks back. His appearance on a remix for Tame Impala’s Slow Rush jam “Breathe Deeper” hits a few of the markers the new album visits: the taste for psychotropic drugs and the interaction between the shimmering sound achieved by an elaborate pedal board and raps that feel both lightly thought through and also spirited and spontaneous. The first song, “The Black Seminole,” outlines the project’s guiding ethos, from its burbling, delay-drenched analog-synthesizer sound to the trippy changes and show-stopping vocal performance by “Bad Habit” co-writer Diana Gordon — all of which amount to an attempt to jam every idea housed in Pink Floyd’s The Dark Side of the Moon into a single seven-minute performance. Bolstered by memorable spots from Gordon (who gives the Clare Torry screams in “Failure” and “Seminole” her all), Fousheé (whose softCORE album served rockers like “Die” and “Bored” that share Yachty’s love of walls of noise), and Justine Skye, the new album makes more space for women in its love songs than most rappers percolating on the charts tend to care to now. (Note also the presence of one Daystar Peterson in the credits as a co-writer on “Paint the Sky.”)

Let’s Start Here journeys back in time and out to space and sometimes up its own ass. It’s a drug odyssey that delightfully defies expectations whenever it’s not overindulging, taking its adulation for its influences from pastiche to parody, pushing its sound from psych to cacophony. Much will be made of Kevin Parker’s impact here, because Tame is also a project about savvily jumbling ideas from other eras and getting synthesizers to feel as delicately enveloping as puffs of smoke. It’s also an oversimplification of the scope of Let’s Start Here to call it Lil Yachty’s Tame album. Patrick Wimberly co-produced every song, and the snap of the drum sound and the flair for gooey horn accompaniment are assets Chairlift — Wimberly’s former group with Caroline Polachek and Aaron Pfenning — used to employ. U.K. producer Jam City and Yves Tumor collaborator Justin Raisen sat in on a lot of these, too; the maximalist sonics and the mix of love songs and acid-addled horror here are both a result of its pick of personnel and an authentic re-creation of the wild fluctuations of a lurid trip.

Its intriguing bio- and band chemistry are Let’s Start Here ’s gift and curse. “Running Out of Time” kicks off with drums that feel like Thundercat’s “Them Changes” (which, in turn, feels like Paul McCartney’s “Arrow Through Me”) and a bubbly bass line evoking “Lovely Day” by Bill Withers. Pushing through to a gorgeous bridge, matching vocals with Skye, Yachty pokes out from under the shadow of his forebears and delivers one of the finest bits of music he’s ever made. The blissed out “The Ride” plants the Texas rapper Teezo Touchdown into a wobbly groove that could’ve fit into last year’s Yeah Yeah Yeahs album. It feels like both songs could collapse at any moment, hanging a sharp turn into an unflattering section wrecking the momentum they built. Equally prone to swift tense shifts and long detours, Let’s Start Here meanders a great deal between highlights, raining sheets of sound that soak and weigh down the delicate grooves it’s trying to build. “Paint the Sky” sounds like a radio hit dropped into a flooded pit cave. These songs sink or swim on Lil Yachty’s ability to steady himself amid a maelstrom of phase-shifted guitars, delay-kissed drums, and synths shrouded in reverb. He’s a good study and a great hook man, but the novelty of some of his experiments wear off as ideas repeat and choruses get smothered. The less they tinker, the better.

Restraint guides Let’s Start Here to a few of its most sublime moments. “Pretty” will draw comparisons to Childish Gambino’s Awaken My Love! and the hit slow jam “Redbone,” but the drum programming recalls the stuff Prince did with the LinnDrum and the vocal performances feel inspired by cloud rap, a sensibility teased out in a cocky, carefree verse by Fousheé . “Say Something” strikes gold coolly poking around the pillowy synth pads and echoing drums of ’80s pop in the same way recent albums from the Weeknd picked up where Daft Punk left off in marrying dueling interests in 20th- and 21st-century popular music. “Pretty” and “Say Something” keep things relatively simple, stacking a few complementary ideas on top of each other and allowing space to breathe. (Other producers might abuse the clav hits in the latter for the old-school feel they bring, but this group lets them drift in and out of frame, recalling the minimalist trap lullabies on the back end of Lil Boat .) The noisier and less structurally sturdy cuts that surround them feel like the jams a band works through on the way to more refined compositions, before taking them on the road where they grow new layers of sound and significance. Let’s Start Here begs to be untangled in a live setting the way artists drawn to the tactile and communal experience of music tend to, allowed to drift over warm air, playing during the sunny days and reckless nights it describes.

Maybe this album is the new beginning its title implies, a first step toward tighter songcraft on the horizon, and maybe Yachty will pop back up in six to 18 months’ time on some different shit entirely, as is often his tendency. The new record finds him sniffing around the same intersections of pop, rock, psych, and soul as “Bad Habit” or Frank Ocean’s “Pretty Sweet,” sacrificing the brevity of his hits for a purposeful sensory overload, which sometimes works in his favor but sometimes encumbers tracks that ought to seem weightless. It is important for young artists to get the space to grow and change and eat mushrooms and make weird but enthusiastic indie-rock music.

Let’s Start Here fits into a long tradition of pleasant curveballs from rappers, unheralded classics like Q-Tip’s Kamaal the Abstract, side projects like the Beastie Boys and Suicidal Tendencies offshoot BS2000 , imperfect genre excursions like Kid Cudi’s WZRD , and effortless R&B pivots like Tyler, the Creator’s Igor . Yachty is stumbling down well-trod pathways, learning lessons imparted on generation after generation of listeners ever since Pink Floyd’s international breakthrough 50 years ago and taking metaphysical journeys endeavored since humans first discovered fungi and plants that made them see sounds and smell colors. The sharpest songs here could go toe-to-toe with the best in the artist’s back catalog, and the worst ones sound like excitable demos for various guitar pedals. Let’s Start Here isn’t Lil Yachty’s greatest work, but it goes over better than the pitch — “Poland” guy does shrooms and jams on instruments — implied it might. And if shoegaze-adjacent rockers like “I’ve Officially Lost Vision” and sound experiments like the one at the end of “We Saw the Sun” drone-pill even a fraction of the audience, it was all worth it.

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Lil Yachty – Let’s Start Here. (Album Review)

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This might be the one for Lil Yachty.

Honorable mention. reach the sunshine., “reach the sunshine.” is a five-star track. why didn’t it make my top 5 because i’m stupid, that’s why..

From a quality standpoint, no other song on this album is touching “REACH THE SUNSHINE.” It is gorgeously structureless, extremely hypnotizing, and impressively organic. The song blends hip-hop elements, rock elements, and classical elements ingeniously. “REACH THE SUNSHINE.” doesn’t have a future in nightclubs; it has a future in Fantasia 2.

5. sAy sOMETHING

Remember when we used to make fun of high school simps that listened to music like this who are the fools now.

So, Lil Yachty’s vocals in “sAy sOMETHING” aren’t amazing, but I think that his passion (Which everyone should respect) carries him to the finish line of the song. He really does a good job of creating a sound that brings out his vulnerable, youthful, and charming side. Yachty literally gives all of his heart to his woman here; let’s pray that she doesn’t have Dak Prescott’s throwing arm.

4. running out of time

Who knew yachty had some childish gambino in him (please don’t take this sentence literally).

“running out of time” just feels like the kind of track Childish Gambino would slaughter. It features Kaytranada-like production (Which Gambino loves) and a vintage sound that the Atlanta actor flirted with quite a bit in the past. While Yachty doesn’t quite sound like Gambino vocally in the song (That’s probably an understatement), I do think that the flair he sings with is comparable. I also think he fully understood the kind of melodies and bridges the production needed. Yachty understood the assignment here.

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3. the ride-

My soul went for the greatest f**king cruise ever while i was listening to “the ride-.”.

You can’t call yourself a true music fan if you don’t appreciate all of this song’s elements (Besides Yachty’s vocals). “the ride-” is a trippy, crafty, utopian, slick, romantic, Homeboys in Outer Space-Esque experience that you will need 3D glasses for to fully enjoy. Your Tesla can’t take you for a ride like this!

2. The Alchemist

Remember when we used to make fun of emo-white kids that listened to music like this who are the broccoli-with-cheese-eating dummies now.

Remember when we were kids and would jump on our parent’s bed while they were at work, but immediately ran to our rooms and acted like we were peacefully doing our homework when they got back home? This song feels like the musical version of that situation. “The Alchemist” has two sounds: A tumultuous/stormy one courtesy of Lil Yachty, and a sparkly/gentle one courtesy of Fousheé. The way the two sounds meld, creating an experience that only folks who do HIIT workouts can relate to, is f**king rad (Yes, I used the word rad here).

I don’t know why, but this song made me a little emotional. Underdog, give this f**king song 5 stars!

1. drive ME crazy!

Remember when we used to make fun of our parents when they would almost tear their acls dancing to music like this who are the prune juice-drinking fools now.

“drive ME crazy!” is my kind of s**t! Y’all can keep the “smoking on that *insert name* pack” music. First and foremost, kudos must go to the unbelievable performance featured guest Diana Gordon puts up on the song. It sounds replenishing, invigorating, and nostalgic in the most youthful way possible. Kudos must also go to the bloomy/funky/synth-heavy production and Yachty’s slick, I-am-only-doing-this-because-my-girl-told-me-I-had-to contributions.

SONG BY SONG BREAKDOWN

1. the BLACK seminole. (4/5)

2. the ride- (4.5/5)

3. running out of time (3.5/5)

4. pRETTy (3.5/5)

5. :(failure(: (N/A)

6. THE zone~ (4/5)

7. WE SAW THE SUN (3.5/5)

8. drive ME crazy! (5/5)

9. IVE OFFICIALLY LOST ViSiON!!!!! (4/5)

10. sAy sOMETHINg (4/5)

11. paint THE sky (4/5)

12. sHouLd i B? (4/5)

13. The Alchemist. (5/5)

14. REACH THE SUNSHINE. (5/5)

Wow, Lil Yachty went left field with this album and succeeded.

I absolutely love it when artists refuse to be shoved in boxes. When Lil Yachty first emerged onto the music scene, he was dropping hard-hitting rap verses here and there, but he always made it a mission to show the world that he was into numerous genres. While he never went full-blown with his experimenting in the past, I always had an inkling that he wanted to at some point. In this album, Yachty does just that.

Let’s Start Here is more psychedelic rock than trap hip-hop. More daring than safe. More vintage-sounding than trendy. More elaborate than basic. More Patrick Mahomes than game manager. More Chrisean Rock with Blueface than Chrisean Rock with nobody. While I wouldn’t say that Yachty’s vocal performances on the album are anything close to Mariah Carey’s level (His voice still makes me a little queasy), I do applaud him for finding the most complex/fearless routes singing-wise to make it to the finish line of tracks.

You can’t tell me that Yachty wasn’t cooking up these tracks with Tame Impala, Kaytranada, and Beethoven. I love how intimately rebellious, multi-layered, hazy, intoxicating, romantic, and/or nostalgic each song sounds. The album forces your ears to both engage and think beyond your workout playlists. If we’re going to praise Shaq for making jump shots, your relatives for making steak instead of Turkey for Thanksgiving, and Joe Biden for learning how to use Twitter, we need to praise musicians when they tap into sounds that are really f**king hard to conquer.

Quincy is the creator of Ratings Game Music. He loves writing about music, taking long walks on beaches, and spaghetti that fights him back.

5 thoughts on “ Lil Yachty – Let’s Start Here. (Album Review) ”

Respectfully, pRETTy is probably my favorite song in the album

So many people like that track. I do think it’s very good too. I’m not mad at it!

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Lil Yachty Shares Video for New Song “A Cold Sunday”

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These are the chaotic posse cuts, epic crime tales, deplorable tag teams, and “coochie” songs that made Michigan a hip-hop destination this year

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The Best Music Videos of 2016

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The Ones: Lil Yachty and KrispyLife Kidd’s “Krispy Boat”

The Best of Rap This Week: Lil Yachty Finds His Calling and More

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The 15 Best Lil Yachty Songs

Let's talk about the best Lil Yachty songs - from his early days with "One Night" to his most recent unreleased leaks. The Atlanta rapper has come such a long way since his debut on SoundCloud and subsequent signing to Quality Control. In no particular order, here's our list of the 15 best Lil Yachty songs.

RELATED: Introducing Dc2Trill, the Texan Rap Phenom

15. "Plastic" - Lil Yachty (feat. Icewear Vezzo and Rio Da Yung OG) (2021)

What better way to start this list off than Lil Yachty's iconic Michigan Boy Boat album from 2021? This banger features the likes of Icewear Vezzo and Rio Da Yung OG, who matched Yachty's energy perfectly. Talk about a Michigan masterpiece: "Plastic" shows off the best elements of the hip-hop sub-genre.

14. "Who Want The Smoke?" - Lil Yachty (feat. Cardi B and Offset) (2018)

Who can forget the first time they heard "Who Want The Smoke?" with Lil Yachty, Offset, and Cardi B all together on a single song. The energy was absolutely electric, and it's no coincidence why all three of them have continued to thrive in their respective careers to this day.

13. "Split/Whole Time" - Lil Yachty (2020)

This is arguably one of the hardest Yachty songs ever, I will vouch for that on anything. From the intro to the very last moment of this song, there's something very special about this one. It's so characteristic of Yachty, so it's no surprise why it's become such a popular song.

12. "Minnesota" - Lil Yachty (feat. Quavo, Young Thug, and Skippa Da Flippa) (2016)

Off his debut album, "Minnesota" is an absolute classic Lil Boat banger. The song shows off all of the best sides of Yachty around the time of his breakout into the music scene. Ahh, the good ol' days of SoundCloud.

11. "Solid" - Lil Yachty (feat. SoFaygo) (2021)

The beat of this song makes you want to tilt your head back and ascend into the sky. From Yachty's cunning bars to SoFaygo's unmatched vocal approach, they bodied this beat perfectly, and showed exactly how fire a collab between the two of them is.

10. "T.D." - Lil Yachty (feat. Tierra Whack, A$AP Rocky, and Tyler, the Creator) (2020)

Let's not forget Yachty's song with this legendary cast of characters, which sampled the "Tokyo Drift" production, and became a modern classic. Every artist on this song has a reputation for being creative, and they didn't disappoint with this one.

9. "Demon Time" - Lil Yachty (feat. Draft Day) (2020)

Yachty has a knack for putting listeners on to the best underground artists, and that's exactly what he did here with Draft Day. If you're a seasoned Yachty listener, then this feature should've came at no surprise to you.

8. "Get Dripped" - Lil Yachty (feat. Playboi Carti) (2018)

Here's yet another one of the best Lil Yachty songs. Off of Yachty's Nuthin' to Prove album, "Get Dripped" gave fans a rare glance at just how special Yachty and Carti collabs are. The two artists morph their unique Atlanta-based styles together, and create music that literally nobody else in rap could replicate.

7. "66" - Lil Yachty (feat. Trippie Redd) (2018)

As far as timeless Lil Yachty classics go, this song is one of the top options. Trippie Redd and Lil Yachty both bring an unconventional style to the table, so of course the result of their collaboration is exactly that: unconventional.

6. G.I. Joe - Lil Yachty (feat. Louie Ray) (2021)

Another song from Yachty's Michigan Boy Boat album, "G.I. Joe" was yet another standout. It's great to see the chemistry Yachty has with all of the many features from this project, but there's something especially unique about the energy shared between Boat and Louie Ray.

5. "All of the Opps Is Opp'd" - Lil Yachty (Unreleased)

While not everyone is probably hip to this song, everybody should be. This Cash Cobain-produced banger samples Roy Ayers' "Everybody Loves the Sunshine," and turned it into a contemporary drill classic. Thank us later.

4. "Dynamic Duo" - Lil Yachty (feat. Tee Grizzley) (2021)

The name of the song is no lie: Lil Yachty and Tee Grizzley really are a "Dynamic Duo," but you should've known that already, after their prior collabs. To Lil Boat diehards, this was no surprise. On a stacked project, somehow this song managed to be one of the standouts.

3. "Poland" - Lil Yachty (2022)

Talk about "best Lil Yachty songs." It's impossible to forget the iconic moment Yachty had with the leak of this song. "I took the woOoOoOoOok... to Poland" will never get old, at least to the younger generation. The memes that were generated from this wave will surely never age, that's for sure.

2. "DipSet" - Lil Yachty and Offset (2016)

Lil Yachty and Offset have connected numerous times on collaborations, yet for some reason, this one never ceases to smack. If you haven't heard it already, here's your chance. Feast your ears upon yet another classic.

1. "Coffin" - Lil Yachty (2020)

One of the most memorable Lil Yachty releases ever was his 2020 single, "Coffin." From the moment the video teaser dropped, the hype was there. This felt like the start of a new era of Lil Yachty, embracing the most modern landscape of music, as he's always done in true Yachty fashion.

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Lil Yachty Thinks ‘Views’ Is Drake’s Second Best Album, Which Is Definitely A Hot Take

Enter into a discussion about rap with any real hip-hop head and sooner or later you’re either going to find yourself either listing your top-five favorite artists , or ranking the discography of a specific individual . Don’t ask me why this happens, it just does. More often than not, these conversations eventually turn to that omnipresent force from the “Great White North,” Aubrey Drake Graham.

Recently, Lil Yachty sat down for an interview with Montreality, and as so often happens, the subject of Drake’s discography came up. After shouting out the 6 God multiple times — “That n***a Drake is f*cking dope bro! I ain’t trying to be suss or nothing, but I really respect Drake, one-hundred percent — Lil Boat seemed to struggle picking out his favorite Drizzy albums.

When all was said and done, “ Take Care is always going to be number one on my list, personally,” Yachty said, which, yeah, that checks out. After that he put Views in the second position, which considering the polarizing nature of that record amongst Drake detractors and stans alike officially qualifies Yachty’s ranking as a hot take, before filling out the rest of his list with So Far Gone , Thank Me Later , What A Time to Be Alive , and If You’re Reading This It’s Too Late .

I personally think he’s selling More Life short by leaving it off entirely, but that’s just me. Let us know how you rank Drake’s albums in the comments section below.

• First Week Sales by Artist

Ranking Lil Yachty’s First Week Album Sales

Popular now, breaking down the album ‘bo jackson’ by ‘boldy james’, breaking down the album ‘creed ii: the album’ by ‘mike will made-it’, meaning of ‘straight out the gate’ by ‘tech n9ne’ feat. krizz kaliko, serj tankian.

Intro: Bursting onto the music scene with a fresh and eclectic style, Lil Yachty has cemented his place as a trailblazer in the rap industry since his debut studio album in 2017.

As an artist unafraid to experiment with different sounds and collaborations, Yachty’s vibrant and evolving discography has captivated fans and critics alike. In this article, we’ll get into all of Lil Yachty’s first-week album sales, diving into the chart performances of each release on the US Billboard 200.

From his 2017 debut, Teenage Emotions , to his latest release, 2023’s Let’s Start Here , we rank all of Lil Yachty’s first week album sales.

Released: May 29, 2020

Label: Quality Control, Capitol, Motown

First week album sales: 30,000

Billboard 200 position: 14

Singles: “Oprah’s Bank Account”, “Split/Whole Time”, “Coffin”

Features: Tierra Whack, ASAP Rocky, Tyler, the Creator, Future, Draft Day, DaBaby, Drake, Lil Keed, Young Thug, and Lil Durk.

With guest appearances from renowned artists like Drake, DaBaby, Tyler, the Creator, and Future, as well as contributions from top producers like Mike Will Made It, Pi’erre Bourne, and Earl on the Beat, Lil Boat 3 had all the ingredients to make a splash on the charts. Despite receiving mixed reviews from critics, Lil Boat 3 made a strong debut on the US Billboard 200, securing the 14th spot with 30,000 album-equivalent units earned in its first week. The album’s performance was driven in part by the popularity of its supporting singles: “Oprah’s Bank Account,” “Split/Whole Time,” and “Coffin.”

Let’s Start Here

Released: January 27, 2023

First week album sales: 36,000

Billboard 200 position: 9

Singles: “Say Something”

Features: N/A

With the release of 2023’s Let’s Start Here , Yachty surprised fans by dropping a psychedelic rock-influenced album that marked a departure from his previous work. The album’s unique sound, which Yachty described as “psychedelic alternative” with live instrumentation, showcased the rapper’s versatility and willingness to explore new musical styles. Upon its release, Let’s Start Here made an impressive debut on the US Billboard 200 chart, landing at number nine and earning 36,000 album-equivalent units in its first week. This achievement marked Lil Yachty’s third top-10 debut on the chart, and the album has also accumulated a total of 41.34 million on-demand streams of its tracks.

Nuthin’ 2 Prove

Released: October 19, 2018

First week album sales: 40,000

Billboard 200 position: 12

Singles: “Who Want the Smoke?”

Features: Playboi Carti, Juice Wrld, Lil Baby, Young Nudy, Cardi B, Offset, Trippie Redd, Kevin Gates, and Gunna.

Lil Yachty’s third studio album, Nuthin’ 2 Prove , featured a diverse array of collaborations, with guest appearances from notable artists such as Playboi Carti, Juice Wrld, Lil Baby, Young Nudy, Cardi B, Offset, Trippie Redd, Kevin Gates, and Gunna. The lead single, “Who Want the Smoke?” featuring Cardi B and Offset, was released on July 6, 2018, and was produced by Tay Keith. In its first week, Nuthin’ 2 Prove sold 40,000 units, making a respectable debut on the US Billboard 200 chart at number 12.

Teenage Emotions

Released: May 26, 2017

First week album sales: 46,000

Billboard 200 position: 5

Singles: “Harley”, “Peek a Boo”, “Bring It Back”, “X Men”

Features: Migos, YG, Kamaiyah, Stefflon Don, Diplo, Grace, and Sonyae Elise.

Yachty’s debut studio album, Teenage Emotions , introduced the rapper’s unique style to a wider audience when it dropped in 2017. Boasting an impressive line-up of guest appearances, including Migos, YG, Kamaiyah, Stefflon Don, Diplo, Grace, and Sonyae Elise, the album was supported by four singles: “Harley,” “Peek a Boo,” “Bring It Back,” and “X Men.” Although the album received lukewarm reviews from critics, it still managed to make a splash on the charts. In its first week, Teenage Emotions debuted at number five on the US Billboard 200 chart, earning 46,000 album-equivalent units. Of these, 24,000 units came from streaming, and 20,000 were pure album sales.

Released: March 9, 2018

First week album sales: 64,000

Billboard 200 position: 2

Singles: N/A

Features: Quavo, Offset, Lil Baby, 2 Chainz, Trippie Redd, Lil Pump, YoungBoy Never Broke Again and Tee Grizzley.

For Yachty’s sophomore release, the Atlanta rapper made sure to pull out all the stops, showcasing collaborations with Quality Control labelmates Quavo and Offset of Migos and Lil Baby, as well as other rappers like 2 Chainz, Trippie Redd, Lil Pump, YoungBoy Never Broke Again, and Tee Grizzley. Despite receiving mixed reviews from critics, Lil Boat 2 achieved notable commercial success. The album debuted at number two on the US Billboard 200 chart dated March 24, 2018, earning 64,000 album-equivalent units, including 7,000 pure album sales. This performance marked Lil Yachty’s second top-five album, following his debut studio album Teenage Emotions , and became his highest-peaking album to date.

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Lil Yachty Has a Hard Time Ranking Drake’s Albums

As much as someone loves a certain artist, sometimes it's easy to forget the artist's complete discography on the spot. In a recent interview with Montreality , Lil Yachty was asked to rank Drake 's albums and took several tries to get them all in order.

When Lil Yachty was asked about Drake, he first laughs and asks for a Calipari pack . After expressing how much love he has for Drake, he is asked to rank his albums. He starts over and over again, asking once for the names of some of the albums. He also changes his order multiple times. Once he gets them down, he ranked them as such:  Take Care , Views , So Far Gone , Thank Me Later , What a Time to Be Alive , and  If You're Reading This It's Too Late.

In the rest of the video, Lil Yachty describes his two full-time jobs before rapping. Working at McDonald's was "one of the worst experiences ever" while dressing up as an asylum patient for Six Flags Fright Fest and jumping out of a locker "like 30 times a day" was much more fun. He also says Rocko from Rocko's Modern Life is his favorite cartoon character.

He later spits an unreleased verse that he recorded with Swizz Beatz and shouts out the A$AP crew, especially Ian Connor, for picking him for Kanye's fashion show and album release at Madison Square Garden. He's also got a lot of respect for Kendrick Lamar since he's one of the few who truly understands him: "He's just talented, bro, and he understands all eras. [...] He understood me. I would never expect him to fucking get me—understand me. He knows what I like. He gets what I do."

At the end, Lil Yachty sends a message to the youth: "All the time, every time, stay positive. Believe in yourself. Follow your dreams. Chase your dreams. Fuck the haters because niggas be hatin'. Niggas are going to hate. They may not hate on you like they hate on me because they fuckin' hate me but niggas gon' hate, bro. You can't let that get in the way of your vision. No one's gonna believe in your vision like you are. Push yourself."

You can watch the full interview below.

Go Behind the Scenes With Lil Yachty at 2016 XXL Freshman Cover Shoot

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The 50 Best Albums of 2023: Staff List

The albums that most stood out from an unusually open year in pop.

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When you think of some of the artists who really dominated the airwaves, the culture and the headlines in 2023 — artists like SZA, Beyoncé, The Weeknd and (naturally) Taylor Swift — it’s a little strange to realize how many of them did so without releasing a proper new album this year. Of course, a couple of them released albums towards the tail-end of the 2022 calendar, and some of them found success with revived older material. But the last 12 months generally provided proof that promo cycles don’t need to be based around a new full-length in 2023 — particularly if you’ve got a much-anticipated new tour to serve as your most relevant contemporary body of work.

The result of that was that 2023 felt less dominated by the usual scheduled blockbuster releases than nearly any year in recent memory. Such big-ticket albums were few and far between, and often faced stiffer competition from the massive albums of yesteryear than from their peers’ 2023 drops. (It’s telling that this week’s Billboard 200 chart features no fewer than five albums from Swift — with the only 2023 releases among them being re-recordings of albums from the first half of the 2010s.) And when one of them did really grab hold of the No. 1 spot, it could hold on for as long as 16 weeks, as Morgan Wallen’s One Thing at a Time did throughout the spring and summer.

Consequently, our list of the best albums of 2023 was as wide open as any we’ve ever done. Our list of course includes some of the expected pop stars, but also indie-rock supergroups, cult pop and R&B favorites who’ve yet (or are just starting) to get the crossover success they’ve long deserved, hitmaking rappers warping into the fourth-dimension and singer-songwriters who survived superstardom to become some of our most compelling veteran artists. It’s a list where only a handful of the artists in our top 10 could’ve been predicted before the year started, but one that we find even more satisfying as a result — showing how thrilling the in-between spaces in pop music have become, and giving us a chance to properly reward some of our new and returning favorites without them needing to elbow their way past the usual spate of A-listers.

Here are our 50 favorite albums from a fun, unpredictable and boundless year in pop music.

Drake, For All the Dogs

The  For All The Dogs  buzz was as big as the Super Bowl. There was a rumored blockbuster appearance by Nicki Minaj. Lil Yachty championed Drake’s rapping, deeming it the best of his career. And, of course, the OVO demigod broke the 11th hip-hop commandment and pre-anointed his album a classic. Despite striking out on all three of those pre-release promises, The Boy still reminded us with Dogs why he remains music’s ultimate Goliath when battling half-pint mortals. Uncaged when in his R&B bag, Drake punctures hearts on the SZA-assisted “Slime You Out” while cutting his losses early on “Tried Our Best.” Even when paired with the youth (Yeat, Teezo Touchdown and Yachty), he camouflages himself and plays to his guests’ strengths, making them all standout features. And though signs of the 6 God’s lyrical supremacy are a little sparse on  FATD , he loaded up on bars for the album’s  Scary Hours  deluxe reissue — proving why in the end, he’s still always worth the hype. — CARL LAMARRE

DJ Sabrina the Teenage DJ, Destiny

If the length seems intimidating — 41 songs and nearly four hours, enough to make YoungBoy Never Broke Again shrug “Okayyy, if you say so ” — you’ll be shocked how little it matters once you get lost in the world of DJ Sabrina the Teenage DJ’s hero’s journey. Structured like a near-continuous club set, the album’s mix of euphoric house with familiar-feeling pop-rock hooks and tip-of-the-tongue samples that seem more recognizable than they are makes Destiny the perfect soundtrack for any activity without an obvious endpoint. It’s equally adept at holding your attention when given and receding helpfully into the background when needed, and just when you think you’ve got it figured, it smacks you sideways with a perfect pop song like “Figuring It Out.” A decade into the streaming age, Destiny presents a brilliant argument that if an album is truly transportive, you won’t care how long the trip takes. — ANDREW UNTERBERGER

Danny Brown & JPEGMAFIA, Scaring the Hoes

The best trolls are the self-aware trolls. With Scaring the Hoes – an exquisite encapsulation of the wonders of organized chaos – Danny Brown & JPEGMAFIA reign as the two popes of trolling. Both artists know how to make easily digestible, straightforward hip-hop songs, but they also know there’s more fun to be had elsewhere, spending Scaring the Hoes figuring out every possible way to subvert expectations of a contemporary rap record. They open the album with a spoken middle finger to Elon Musk, revel in gospel-backed heathenism on “God Loves You,” and line Diddy’s forever-smooth “I Need a Girl” with sandpaper, making for the addictively gritty “Lean Beef Patty.” In their quest to turn chaos into beauty, the duo craft mind-bending combinations of Y2K pop, trap, classic soul, and horrorcore, coming out of this collaborative album as two of hip-hop’s most fascinating alchemists. — KYLE DENIS

The War & Treaty, Lover's Game

The arguably overdue best new artist nomination The War and Treaty received for the upcoming Grammys has powerfully boosted the profile of Michael Trotter Jr. and Tanya Trotter, whose breakthrough fourth album “Lover’s Game,” produced by Dave Cobb, showcases the mighty vocals of this veteran husband-and-wife duo. On “That’s How Love Is Made,” which they performed at this year’s CMA Awards, a piano and organ intro leads into Michael’s wavering soulful opening lines, joined by Tanya’s scorching harmonies. The gospel-inspired combination of their voices, like throughout all of “Lover’s Game,” is simply transcendent. — THOM DUFFY

Laufey, Bewitched

With the aptly titled opening “Dreamer,” it only takes a few seconds of lush harmonies for Laufey (pronounced Lay-vay) to whisk you into the dreamland of her  Bewitched . The starry, pop-tinged sophomore album from TikTok’s favorite new jazz singer-songwriter entrances “From the Start” (the title of its viral bossa nova-inspired lead single) to the finish, telling relatable tales of fate and love, both mutual and unrequited — further punctuated by a timeless voice reminiscent of Ella Fitzgerald or Billie Holiday. Making jazz more accessible to a new generation, we’re still under her spell. — DANIELLE PASCUAL

100 Gecs, 10,000 Gecs

From one angle, 100 Gecs’ second full-length could be absorbed as a series of genre exercises, including intensely committed and impressively convincing riffs on nu metal (“Billy Knows Jamie”) and ska-punk (“I Got My Tooth Removed”); from another, 10,000 Gecs could be taken as a 10-song troll job, with Laura Les and Dylan Brady cashing in their goodwill from music critics to write songs about dancing frogs and Doritos. Yet even the goofiest bits of 10,000 Gecs are defined by the duo’s fierce adoration of pop music and its many forms — and 100 Gecs’ skill as hook savants matches their gonzo ideas at every step. — JASON LIPSHUTZ

Anohni and the Johnsons, My Back Was a Bridge for You to Cross

On her first album since 2016 (and first LP with the Johnsons since 2010), the reliably unpredictable Anohni draws on the smoky, hushed vocal tones of Nina Simone and delivers a similarly pessimistic, world-weary take on the state of her mind and the world. The vintage soul, augmented by brush-stroke percussion and strummy cabaret guitars, is a warm, inviting counterpart to the disappointment, frustration and pain that resonates in Anohni’s voice, as she eyes the dim future of earth’s environment and copes with the brutal gut-punch of loss. “I don’t want you to be dead,” she repeats on “Can’t,” and you can only hope that her pain finds a sliver of release in the slow-building jazz-soul catharsis offered by the Johnsons. — JOE LYNCH

Metro Boomin, Spider-Man: Across the Spider-Verse

Metro Boomin’s music has always felt like it belongs in a movie, with its vivid string arrangements, menacing synths, dramatic drums and classic soul samples. So it was perfect synergy when Sony Pictures Animation tapped him to executive produce the Spider-Man: Across the Spider-Verse soundtrack. By calling on his web of all-star collaborators – including Don Toliver, Nas, Lil Wayne, Offset, and Swae Lee – the super-producer delivered a lush mix of hip-hop, pop, Latin and Afrobeats that honored the film’s hero Miles Morales’ African American and Puerto Rican heritage and unlocked different dimensions of Metro’s artistry. — HERAN MAMO

Arlo Parks, My Soft Machine

Coming off a debut album (2021’s  Collapsed in Sunbeams ) that received the highly coveted Mercury Prize for the best album of the year, Arlo Parks could have easily stumbled into the sophomore slump with  My Soft Machine . But Parks doesn’t miss a beat: While Machine deviates in sound from its predecessor with tracks like the hard-rocking “Devotion” and the dance floor-ready “Blades,” the singer-songwriter still delivers her poetically complex lyrics on subjects like love, abuse and mental health. In signature Parks fashion, her airy vocals float over minimalist lyrics that deliver the most meaning (“You’re the rainbow in my soap/ You notice beauty in more forms than most”) on tracks like “Impurities.” — TAYLOR MIMS

Mitski, The Land Is Inhospitable and So Are We

On her seventh album in 11 years, Mitski turns down the decibels and ditches the retro synths of last year’s Laurel Hell , turning instead to the gentle strength of lush, twangy Nashville productions from the ‘60s. Improbably, this sonic switch gave the singer-songwriter her first top 40 Hot 100 hit, “My Love Is Mine All Mine,” which has topped the TikTok Billboard Top 50 for six weeks so far. An introspective-yet-expansive LP that touches on love, friendships and the way we cognate, it’s less lovelorn and more life-lorn – but Mitski’s unfailing melodicism makes this inhospitable land rather inviting after all. — J. Lynch

Sexyy Red, Hood Hottest Princess

If there’s one thing to take away from the rise of St. Louis native Sexyy Red, it’s that being yourself pays dividends. Hood Hottest Princess features a handful of tracks that each had their own viral moment — including standouts “SkeeYee,” “Hellcats SRTs,” “Looking for the Hoes (Ain’t My Fault),” and a remix of breakout hit “Pound Town” with Nicki Minaj — all of which feel quintessentially Red. Her infectious energy and witty bars mixed with Tay Keith’s classic southern trap production delivered a dose of nostalgia and sheer unbridled fun that hip-hop fans have been searching for since the end of the mixtape era.  — QUINCY GREEN

Davido, Timeless

Before all the accolades — the Grammy nominations, the Headies Awards, the festival slots and the international tours — there was the music, and what Davido achieves on  Timeless  truly lives up to his acclaim. Whether it’s joyous love songs like “In the Garden” with Morravey, amapiano duets like the Asake-assisted “No Competition,” driving dance hits like “Kante” with Fave or Highlife odes to luxury like “Na Money” with The Cavemen and Angélique Kidjo — not to mention the crown jewel of the project, the Musa Keys collab “Unavailable” — Davido delivers one of the best bodies of work from this past year, and certainly the best of his career. Simply put,  Timeless  is a triumph, and a landmark album in the global explosion of Afrobeats. — DAN RYS

PinkPantheress, Heaven Knows

A whole 13 tracks and 34 minutes: Who does PinkPantheress think she is, Billy Corgan? Official debut album Heaven Knows may be slightly more fleshed out than the rapid-fire garage-pop of 2021’s sweetly desperate To Hell With It , but the set proves that Pink can be just as compelling when her songs are given room to expand before dissolving, as when the sighing acoustic pop-rock of “True Romance” kicks into drum-n-bass overdrive or the hip-swaying strut of the conflicted “The Aisle” into a double-time disco frenzy on the chorus. And just in case you forgot, the Ice Spice-featuring “Boys a Liar Pt. 2” is here at the very end, reminding us that Pink can play the conventional pop superstar whenever she’s so inclined as well. — A.U.

Brent Faiyaz, Larger Than Life

After a critically acclaimed debut album and a commercially successful follow-up, Brent Faiyaz could have ostensibly made anything with anyone. For his first mixtape, he decided to gather a few of his close friends and collaborators, pair them with a few of his idols, and create something that pays homage to the era of music he enjoyed during his formative years. So instead of tapping the Neptunes and Timbaland, he had his Sonder co-founder D-Pat cook up beats that would have sounded right at home on early Aaliyah (“Tim’s Intro”) or Justin Timberlake (“Best Time”) albums. And the songwriting features Brent at his raconteur best, spinning toxic tales of lessons not learned (“WY@”) and late night/early morning lustiness (“Moment of Your Life”). It’s an intoxicating, immensely listenable project — which at just 36 minutes, leaves you eager to hear what he does for his next proper album. — DAMIEN SCOTT

Killer Mike, Michael

Through all the phases of his career — his early Grammy-winning work with OutKast; the  Pledge  series that established him as a prominent voice in his own right; the collaborations with El-P that resulted in the widely celebrated Run The Jewels album series — Killer Mike has always stayed true to himself, articulating what’s on his mind in a clearer way than almost any of his contemporaries and generally maintaining his status as a pillar in an ever-changing storm. To that end, the deeply personal and autobiographical Michael  — his first solo album in 11 years — feels like a culmination, a triumph that (with help from beloved veteran producer No I.D.) weaves together all the pieces of his journey into a singular statement. It’s fitting that it has been rewarded with Mike’s highest Billboard 200 ranking in 20 years — as well as a return to the Grammy arena, with the rapper landing a trio of nominations. — D.R.

Janelle Monáe, The Age of Pleasure

A change is often as good as a rest, and Janelle Monáe certainly opted for the former with her luscious fourth studio album  The Age of Pleasure . Gone are the sci-fi parables of society’s injustices that populated 2017’s Dirty Computer , now replaced by a 14-track tour through the thrills of ecstasy. Fusing together Afrobeats and reggae to create a utopian pan-African sound, Monáe celebrates her culture, her success, and most of all her own sexual freedom on this breezy 32-minute ode to unadulterated joy.  — STEPHEN DAW

Raye, My 21st Century Blues

My 21 st  Century Blues  is the album Raye has been working towards her entire life. After years of cutting her teeth as a dance-pop topliner and fighting for freedom from a restrictive major label deal, Raye released her debut LP independently and held nothing back. “After years and fears and smiling through my tears/ All I ask of you is open your ears/ Cause the truth ain’t pretty my dear,” she warns in the opening lines of “Hard Out Here.” before unleashing her unfiltered takes on “white men CEOs,” “lawyers” and later, in confessional ballad “Ice Cream Man,” even predatory producers. Her lyrics are shockingly bare and conversational, sung with a percussive rhythm and a grit that echoes Amy Winehouse, while remaining one of the most singular voices of today. Blues ‘ zenith is the maximalist “Escapism,” about a self-destructive night out — but even when Raye is honest about her missteps, it is clear that  My 21st Century Blues  is first and foremost a story of resiliency. — KRISTIN ROBINSON

Gunna, A Gift and a Curse

Amidst a RICO case that has spanned multiple years and has jeopardized YSL’s footing in modern hip-hop, Gunna has stayed steady as ever, collecting the biggest solo hit of his career with “Fukumean” and calmly bodying a new smattering of zonked-out beats on its host album,  A Gift & a Curse . The follow-up to last year’s commercial breakthrough  DS4Ever  is more contemplative amidst the rapper’s real-life drama — “Bread & Butter” strikes a defensive, downright haunted tone — but Gunna moves nimbly, avoids becoming bogged down with heavy themes and once again dominates within his lane. — J. Lipshutz

Morgan Wallen, One Thing at a Time

Nearly two hours long,  One Thing at a Time  stretches and sprawls every which way. The highs are high: Take the title track, such a pure bolt of guitar pop that it’s baffling that another song from the album, “Last Night,” became the top 40 hit instead. “You Proof” comes on the same way, with cheerful licks and snapping fingers, but this time it’s a feint, and the chorus transforms into bouncy country rap. “I Wrote the Book” is somehow chest-thumping and chastened at the same time, as a world-class s–t-talker admits he’s got a few failings as well. There are 33 more songs to get through here, and not all of them are as riveting. But  One Thing at a Time  is a formidable demonstration of Wallen’s range and ear. — ELIAS LEIGHT

Sofia Kourtesis, Madres

The debut album from Peru-born, Berlin-based electronic producer Sofia Kourtesis is a collage of sounds from her global travels rendered in cerebral house beats. The depth and meaning embedded in  Madres  is revealed by the people it’s dedicated to: Kourtesis’ mother and neurosurgeon Peter Vajkoczy. Kourtesis reached out to the doctor saying she’d name a track on the album after him in exchange for a consultation with her sick mom. He responded, later performing an operation that saved the elder Kourtesis’ life. The ebullient “Vajkoczy” exists amid 10 other productions that weave delicacy, femininity and introspection together with a brightness and warmth that evokes the richness and beauty of life itself. — KATIE BAIN

Carin Leon, Colmillo de Leche

Carin Leon’s  Colmillo de Leche  is a heartfelt tribute to Mexican singer-songwriter’s love for music and his roots — 95% of the musicians on this record are Sonorans, and those who are not live in Hermosillo Leon, the singer’s hometown — which earned him a Latin Grammy for best norteño music album in November. The set is a testament to his musical versatility, as it smoothly blends genres like soul, flamenco, pop and salsa with more traditional regional Mexican sounds and Carin’s exquisite vocals. Colmillo showcases Leon’s distinctive style of carrying melodies through different sounds as he effortlessly conveys a wide range of emotions, from heartbreak and love to joy and longing. — INGRID FAJARDO

Teezo Touchdown, How Do You Sleep at Night?

After a string of major cosigns from the likes of Drake and Tyler, the Creator, the highly anticipated release of Teezo Touchdown’s debut album How Do You Sleep At Night? was a breath of fresh air this year. Touchdown’s deceptively simple lyricism shines in innocent and tender moments like “Sweet” featuring Fousheé as well as the more personal and self-critical moments on “Familiarity” and “Daddy Mama Drama.” The rising artist takes listeners on a sonic journey as he constantly bounces between rock, R&B, and indie-pop sounds with a youthful vibrancy that make his ups-and-downs feel thrillingly raw. — MEGHAN MAHAR

Jelly Roll, Whitsitt Chapel

In this stunning, raw breakthrough LP, newly minted country star Jelly Roll sings of his search for refuge and redemption in a world where there are more sinners than saints and hell often feels a lot closer than heaven. The songs are gritty, raw, gut-wrenching and by turns ugly and brutally beautiful in their honesty, such as when he sings on “Save Me” (with Lainey Wilson), “I’m a lost cause… I’m so damaged beyond repair” or of course when he confesses on the album’s smash hit lead single, “I only talk to God when I need a favor.” — MELINDA NEWMAN

Hozier, Unreal Unearth

An amalgamation of Dante’s  Inferno , critiques on environmental policy and tales of Irish history sounds more like a liberal arts college curriculum than one of the most stunning albums of the year – but this is Hozier we’re talking about. A decade removed from the heart-wrenching wails of “Take Me to Church,” the singer-songwriter mines that track’s seamless conflation of lust, religion and romance for what just might be his strongest album yet. Whether he’s reaching for gospel influences on the transcendent “All Things End” or singing of the lengths he will go to for his love on the rollicking “De Selby, Pt. 2,” Hozier’s malleable voice – he scales the entirety of his sprawling range – is the centerpiece of  Unreal Unearth , completely embodying the rotating cast of characters that anchor his explorations of sin, ultimately placing himself in an epic of his own creation. — K.D.

Caroline Polachek, Desire, I Want to Turn Into You

While “desire” can function as a noun or a verb, Caroline Polachek delivers the word in its most active form on her sophomore solo album. A deep  wanting  — of experience, of solace, of love — is palpable across the project, and particularly on standouts like “Welcome to My Island,” “Crude Drawing of an Angel” and “Blood and Butter.” The tight, 12-track collection plays with various forms of instrumentation — crisp electronics on “Fly to You,” bagpipes on “Blood” — maintaining a cerebral inventiveness and a pristine, shining quality throughout. But nothing here shines brighter (or satisfies more) than Polachek’s own exquisite voice. — K.B.

Romy, Mid Air

Four singles preceded the debut album from The xx vocalist Romy – and each proved increasingly enticing and hype-building for Mid Air . (Each also featured work from Grammy-nominated breakout producer Fred Again…, whose fingerprints are all over the prismatic album.) The full album more than lived up to the anticipation: Steeped in personal storylines, best heard on the tender “Loveher” and sinewy “The Sea,”  Mid Air  captures that stomach-plunge feeling of catching a high while anticipating the unavoidable come-down. Yet, for a blissful 34 minutes, Romy lets listeners exist in that crevice, as if each beat helps them float a little while longer. — LYNDSEY HAVENS

Gracie Abrams, Good Riddance

Gracie Abrams kept fans waiting for years after her 2019 debut singles before she finally released her first proper LP, but ultimately proved that the best things take time when her gorgeous, Aaron Dessner-produced songwriting feat dropped in February. Though the album is highly indie-leaning, contrasting towering revelations about young adulthood with whispered vocals and even softer instrumentation,  Good Riddance  was the project that officially propelled Abrams into the mainstream — as she ends 2023 a best new artist Grammy nominee who’s both close friends and tourmates with Taylor Swift. — HANNAH DAILEY

Eslabon Armado, Desvelado

The Mexican American group scored their sixth Regional Mexican Albums leader with  Desvelado , a stunning guitar-driven production led by Eslabon frontman Pedro Tovar. With power collabs like “Ella Baila Sola” with Peso Pluma (one of the best Latin songs of 2023), the norteña-tinged cumbia “Quédate Conmigo” with Grupo Frontera and the cathartic sad sierreño “Me Decepcionaste” with DannyLux,  the 16-track sierreño set is home to Eslabon’s best songs yet. Desvelado thrives on Tovar’s ability to adapt the legacy genre to Gen Z, with super-modern lyrics about love and heartbreak. — GRISELDA FLORES

Sufjan Stevens, Javelin

Sufjan Stevens’  Javelin  will likely be forever associated with his devastating Instagram post on its release day, in which the singer-songwriter publicly came out and dedicated the album to his “beloved” late partner. The lyrics carry enormous weight within that heartbreaking context — particularly those of the towering “Shit Talk,” in which petty squabbles are squashed with dueling refrains of “Hold me closely” and “I will always love you.” But  Javelin  also doubles as Stevens’ most complete synthesis yet of his hushed folk songwriting with his frequent electro-pop wanderings, the two halves of his artistry interlocking beautifully. — J. Lipshutz

Travis Scott, Utopia

Calling Travis Scott’s  UTOPIA  anticipated would be an understatement: Not only did it mark the follow-up to his critically acclaimed  ASTROWORLD album, but it served as the first project since the tragedy at his Astroworld festival in 2021. Clocking in at 73 minutes, the 19-track project nods to former mentor Kanye West, yet shape-shifts well beyond his psychedelic trap past by delving into ambient pop, cinematic synths and more new sounds for the star rapper-producer. With colossal production and an intentional guest roster (Beyoncé, Bad Bunny and even Scott’s daughter Stormi Webster), the album stays true to Scott’s instincts, while also allowing him to swim in uncharted waters. — JAMES DINH

Various Artists, Barbie the Album

The most brilliantly marketed movie of the 2020s couldn’t have truly maximized its cultural potential without a can’t-miss soundtrack to accompany it. And thanks to an all-star team both behind the scenes (Mark Ronson, George Drakoulias, director Greta Gerwig as executive producer) and on the mic (Dua Lipa, Karol G, Sam Smith, Lizzo), Barbie the Album became a phenomenon in its own right, spawning three top 20 Hot 100 hits and even getting star Ryan Gosling onto the chart for the first time. It works because everyone involved seems inspired by the film to just sound more like themselves: “Speed Drive” feels like a song Charli XCX had kicked around for a decade before finding the missing piece, Billie Eilish has admitted the dollhouse perspective of “What Was I Made For?” lifted her out of a creative rut, and “Barbie World”… kinda shocking Nicki Minaj and Ice Spice hadn’t gotten there already, really. — A.U.

Kelsea Ballerini, Rolling Up the Welcome Mat

This may have been a year filled with sad songs, but with her succinct, six-song set, Kelsea Ballerini released a true salve for the brokenhearted as she chronicled her own complex emotions swirling around the dissolution of her previous marriage. “Just Married” recognizes emotional disconnection, while the piercing “Interlude” takes aim at the intense public scrutiny that comes with celebrity divorces, and closer “Leave Me Again” offers up an empowering, soul-mending reconnection to self. With glossy, warm instrumentation, co-helmed with producer Alysa Vanderheym. Ballerini constructed her strongest song cycle to date. — JESSICA NICHOLSON

Ice Spice, Like...?

Ice Spice’s grand debut into the rap and pop spheres with her set Like.. ? — first released in January as an EP, then fleshed out in subsequent reissues to something closer to an album — marked both an introduction to one of rap’s mot exciting new MCs, and a lesson in new slang (“munch,” “baddie friend”) that was integrated into the pop culture lexicon almost instantly. Spawning hits like “In Ha Mood,” “Princess Diana” and the deluxe edition’s “Deli,” Like..? cements Ice’s “princess of rap” status through her down-to-earth tone, as she effortlessly takes down haters and spits out memorable one-liners that stay with you well past your first listen. — RYLEE JOHNSTON

Bad Bunny, Nadie Sabe Lo Que Va a Pasar Mañana

Rich in themes of pleasure, wealth and the artist’s love for Puerto Rico, Bad Bunny’s  Nadie Sabe Lo Que Va a Pasar Mañana  is a triumphant homecoming. Navigating his ever-growing fame with nonchalance and bold sensuality, Bunny returns to his Latin trap roots over the majority of the set’s 22 tracks, produced by MAG, Tainy and La Paciencia. The haunting elegance of “Nadie Sabe,” with its brooding symphony and otherworldly choruses, sets the album’s introspective tone, while the now-iconic moody violin and piano sample in “Monaco” drawn from from Charles Aznavour’s 1964 song “Hier Encore,” adds depth. Standout “Acho PR,” featuring De La Ghetto, Arcángel, and Ñengo Flow, pays homage to Puerto Rico’s vibrant barrio life. Nadie captures Bunny’s nuanced reflection on fame, intertwined with self-mythology, all delivered with his signature attitude and flair.  — ISABELA RAYGOZA

Miley Cyrus, Endless Summer Vacation

Endless Summer Vacation marked one of the year’s finest pop comebacks, with the bold and sonically striking set becoming Miley Cyrus’ first album to land a Grammy nod for album of the year, and her first since  Bangerz  to spawn a Hot 100-topping single (the instantly viral “Flowers”). Back when she was a teen Disney star, few would have bet on Cyrus to be making this kind of creative and commercial breakthrough in her 30s, but she’s developed a distinctive, throaty vocal style, and has long demonstrated that she has loads of artistic courage. Everybody’s betting on her now. – PAUL GREIN 

Kelela, Raven

Kelela’s sophomore album is largely stocked with club music that already sounds like a distant memory of itself — hazy, dreamlike and at risk of dissolving at any given moment. It’s physical, but not necessarily visceral: Rather, it’s dance music as envisioned by folks who’d otherwise be listening to 4AD records, concerned with texture, atmosphere and feeling over hooks, rhythm and energy. It works both due to the singer-songwriter’s Sade-like mastery of mood and ambiance, and the cohesive production from Kelela and a variety of collaborators (Yo Van Lenz, LSDXOXO Asmara), who keep the sonics warm and enveloping, with just enough thump to keep you from ever drifting off altogether. — A.U.

KAYTRAMINÉ, KAYTRAMINÉ

Powerhouse duo Kaytraminé (beloved producer-DJ Kaytranada and hitmaking rapper Aminé) signaled the start of summer in late May with the release of their self-titled album. Featuring tropical influences and plush, Pharrell-honoring beats, the project offers something for every warm-weather mood, from the slow saunter of “Rebuke” to the dancefloor-ready Afrobeats of “Sossasup.” Kaytranada’s signature production transcends genre barriers, laying the foundation for Aminé’s masterful flows — and if the pair alone isn’t compelling enough for you, the list of featured artists also includes such welcome heavy-hitters as Freddie Gibbs, Amaarae and Snoop Dogg. — M.M.

Chappell Roan, The Rise and Fall of a Midwest Princess

Rising pop hero Chappell Roan’s debut album so deftly delivers a bevy of pulsating, dance-ready tracks from the jump that it’s easy to forget about the number of longtime fan favorite singles (“Pink Pony Club,” “Naked in Manhattan”) that await in the depths of its tracklist. Roan is deeply vulnerable in her storytelling as she details her experiences in the LGBTQ+ community — but with some production help from Dan Nigro (Olivia Rodrigo, Conan Gray, Caroline Polachek), she turns it all into a celebration. As  she told  Billboard  earlier this year , “That’s what queerness feels like: It  is  a party.” — JOSH GLICKSMAN

Paramore, This Is Why

Paramore might have shed its pop-punk skin years ago, but the rock trio never lost its ability to make sharp, energetic, hook-laden hits, as shown on the band’s sixth album,  This Is Why . Taylor York’s jittery guitar and Zac Farro’s propulsive drums drive the 10 tracks, while Hayley Williams peers out from her bunker and anxiously assesses the state of the world: “Shut your eyes, but it won’t go away/ Turn on, turn off the news,” she speak-sings on “The News,” while letting her elastic vocal stretch around the words, “Everyone is a bad guy,” on “You First.” Williams shakes her agitation on the wistful “Crave,” allowing herself a moment of nostalgia for times gone by: “What if I told ‘em that now that I’m older/ There isn’t a moment that I’d wanna change?” It’s a big admission from the frontwoman after nearly 20 largely turbulent years. — CHRISTINE WERTHMAN

Peso Pluma, Genesis

Following the global smash hit “Ella Baila Sola,” Peso Pluma was already a household name when he dropped Génesis over the summer. But the set exceeded expectations, debuting at No. 3 on the Billboard 200 — the highest rank ever for a música Mexicana album — and placing a historic 25 simultaneous titles on the Hot Latin Songs chart in July, breaking Bad Bunny’s record of 24. The 14-track LP thrives on (and expands) the Mexican singer-songwriter’s core sound, punctuated by a trombone and tololoche, with standout songs such as the dreamy ballad “Lagunas” with Jasiel Nuñez, the braggy corrido “Lady Gaga” with Junior H and Gabito Ballesteros, and the attitude-heavy “Rubicon.” — G.F.

Renée Rapp, Snow Angel

“Don’t have to use your own tears just to grow your own roots,” Reneé Rapp sings in a line on Snow Angel ‘s penultimate track “Willow” that’s arguably the heart of her debut album. The former Broadway star-turned-rising pop sensation invites listeners on a road trip of self-reflection over the course of the breakthrough effort — navigating love, spite, grief and joy in just 12 tracks. Balancing cathartic power ballads (the title track) with musings on her most intrusive thoughts (“Poison Poison”), the 23-year-old showcases her versatility as a songwriter without dulling the powerhouse vocals that initially broke her through. — D.P.

Lana Del Rey, Did You Know That There's a Tunnel Under Ocean Blvd

Though the title would go on to inspire many jokes about its lengthiness,  Did You Know That There’s a Tunnel Under Ocean Blvd  is a massive creative triumph for one Elizabeth Grant. She and superproducer Jack Antonoff hit their stride as partners on this Grammy AOTY-nominated project, with the alt-pop titan mustering some of her most vulnerable and thoughtful lyrics ever while somehow managing to maintain her trademark campiness throughout (see: that perplexing four-minute spoken interlude from pastor Judah Smith). While her earlier work gives way to more dramatic proclamations and aesthetics,  Ocean Blvd  takes a softer, more introspective approach to Lana’s longtime muse — Americana — that’s achingly feminine, full of yearning, and underscored by clever references to male figureheads such as Leonard Cohen, John Denver and Bob Dylan. — H.D.

Lil Yachty, Let's Start Here

As expansive as his acclaimed, 83-second 2022 loosie “Poland” was brief, Lil Yachty similarly challenged perceptions about his music’s boundaries with his ambitious fifth studio album Let’s Start Here . “I wanted to show people a different side of me – and that I can do anything,” the onetime mumble rapper told Billboard of his hour-long psych-rock tome, which features contributions from Mac DeMarco, Nick Hakim, Alex G and members of MGMT, Unknown Mortal Orchestra and Chairlift, and sounds like David Gilmour got his hands on Auto-Tune in Pink Floyd’s early ’70s heyday. But don’t let flashy psychedelic statements like epic opener “The Black Seminole” obscure that Yachty’s remarkable melodic sense is also on display here, as captured on tracks like the brilliantly funky “Running Out of Time.” — ERIC RENNER BROWN

Doja Cat, Scarlet

Doja Cat flips back into full-fledged rapper mode for her fourth album Scarlet . Darker in mood than her prior albums,  Scarlet  features a more assured Doja on tracks like the Grammy-nominated “Attention,” where she raps against a ‘90s-vibed track as she frankly addresses the criticism that has marked her career (“Talk your s–t about me/ I can easily disprove it, it’s stupid/ You follow me, but you don’t really care about the music”). Meanwhile, the melodic “Paint the Town Red,” which samples Dionne Warwick’s “Walk on By,” became Doja’s first solo song to top the Hot 100. Ever since going viral in 2018 with the comedic “Mooo!,” Doja Cat has made it her mission to prove she’s not a one-trick kitty — and the claws-out Scarlet should persuade anyone who still needs convincing. — GAIL MITCHELL

Karol G, Mañana Será Bonito

Karol G made history by becoming the first woman (and only second artist ever, after Bad Bunny) to top the Billboard 200 with an all-Spanish album with this February’s Mañana Será Bonito . But despite including “TQG,” her much-vaunted collaboration with fellow scorned-ex Shakira, do not for a second think this album is born out of vengeance or heartache. Instead, Mañana (whose title literally translates to “Tomorrow Will Be Pretty”) was a snapshot of Karol G’s self-described “authentic” moment of today — full of smash hits, like 2022’s lilting ode to female freedom, “Provenza,” but also a cadre of surprises, including the beautiful title track, which unexpectedly features the soulful indie pop-rocker Carla Morrison over a gentle reggaetón groove, and the very sexy “X Si Volvemos” with Romeo Santos. Definitely her defining opus to date, Mañana Será Bonito covered the many sides of Karol G with a bold reggaetón and electronic palette and immediately relatable-yet-sophisticated lyrics. — LEILA COBO

Victoria Monét, Jaguar II

A successful sequel should substantially expand the universe of the original while standing as a formidable entity in its own right.  Jaguar II  does just that: Victoria Monét’s Grammy-nominated debut studio album is a lush collection of some of the finest songs contemporary R&B has to offer. Musical mastermind D’Mile assists the acclaimed multi-hyphenate in carefully threading together a cohesive project out of their voyage through reggae (“Party Girls”), ‘00s southern hip-hop (“On My Mama”) and house (“Alright”). Expertly engineered and perfectly sequenced,  Jaguar II  lifts Monét’s world-building to new heights — from a real jaguar growl heralding the close of “Alright” to the sweeping orchestration of “How Does It Make You Feel,” it’s all about the small details, making for an intimate and immersive experience that demands your undivided attention. But it’s not like you have much of a choice anyway when a voice as honeyed as Monét’s is cooing sweet melodies of lustful introspection into your ear. — K.D.

Zach Bryan, Zach Bryan

Zach Bryan’s follow-up to last year’s acclaimed  American Heartbreak is a reflective, often somber affair that highlights his unflinchingly honest melange of rock, country and folk. Somehow, even when he’s collaborating here, his raspy, unpretentious vocals convey a sense of lonely yearning, especially on “I Remember Everything,” an understated, yet aching tale of destroyed love featuring Kacey Musgraves or on his pairing with The War and Treaty on “Hey Driver.” Happily, he finds some sense of redemption in his lover’s eyes in a lilting duet with Sierra Ferrell on “Holy Roller.” Despite its more unassuming qualities, the self-titled set was rewarded with a blockbuster reception even beyond Bryan’s 2022 breakthrough, including his first No. 1 on the Billboard 200 and a Grammy nomination for best country album — M.N.

Troye Sivan, Something to Give Each Other

Troye Sivan fans who have long been hungry for the Aussie singer-songwriter to hit the dancefloor with complete abandon got their wish fulfilled (and then some) on Something to Give Each Other . From the intoxicating, thumping blast of house-pop on “Rush” to the “Shooting Stars”-sampling seduction via “Got Me Started,” the album is a sensual, four-on-the-floor feast. But perhaps the truest highlight is the libidinous, woozy “One of Your Girls,” where Sivan puts his heart and body on the line for a bi-curious-on-the-DL Adonis. His gentle yet insistent delivery is sweet, aching and vulnerable, evoking the brief bliss of an intense fling with an expiration date – and not unlike some of those hidden hook-ups, it’s over all too fast in just three minutes. — J. Lynch

Boygenius, The Record

In the opening lines of Boygenius’ first studio album  the record,  the indie-rock supertrio ponders “who would I be without you, without them?” in perfect three-part harmony. It’s a question that comes to define  the record —  an album by close friends Phoebe Bridgers, Julien Baker and Lucy Dacus – over its proceeding 12 tracks. The LP features incisive lyrics about heartbreak and personal growth, particularly in highlights like “$20” and “Emily I’m Sorry,” but perhaps even more integral to its success,  the record  radiates the trust and kinship the members have with each other. A career high point for three already highly acclaimed singer-songwriters,  the record  is now also one of the most celebrated albums at this year’s Grammys, with six total nominations, including album of the year. — K.R.

Olivia Rodrigo, Guts

Olivia Rodrigo is growing up before our eyes. On her record-breaking, star-making debut album, Sour , Rodrigo captured the naivete that comes with teenage heartbreak — but on Guts , she knows better and, in fact, she’s pissed off about life, love and how she’s been treated. Over crunching ’90s alt-rock guitar (and/or melodramatic ’00s pop/rock piano), the 20-year-old extends a big middle finger to those that use her for clout (“Vampire”), the girl who lives rent-free in her head (“Lacy”), double standards in American culture (“All-American Bitch”) and even her own cringe-worthy moments (“Ballad of a Homeschooled Girl”). And while she’s more mature now, she still makes the same mistakes every young person must make – like hooking up with an ex in “Bad Idea Right?” or letting her more lustful and vengeful impulses get the better of her in the retribution/reunion fantasy “Get Him Back!”

As expected, the album skyrocketed to the top of the Billboard 200 albums chart upon its release, solidifying Rodrigo’s place as Gen-Z’s premier storyteller. “I’m sorry that I couldn’t always be your teenage dream,” she laments on the album’s closing ballad, titled after a Katy Perry classic that took a much more idealized view of youth and young love than Guts displays. And while Rodrigo is apologizing for missing the mark on being the picture-perfect model of a teen pop star, she captures what growing up really feels like: Young people are angsty, they’re complicated, they’re emotional, they have an attitude — and despite it all, they have a ton of fun. If that’s not the real teenage dream, we don’t know what is. — RANIA ANIFTOS

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Let's Start Here (studio album) by Lil Yachty

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Rating metrics: Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. This figure is provided as the trimmed mean. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. The mean average rating would be 50. However, ratings of 55, 50 & 45 could also result in the same average. The second average might be more trusted because there is more consensus around a particular rating (a lower deviation). (*In practice, some albums can have several thousand ratings) This album is rated in the top 5% of all albums on BestEverAlbums.com. This album has a Bayesian average rating of 76.2/100, a mean average of 75.4/100, and a trimmed mean (excluding outliers) of 76.4/100. The standard deviation for this album is 14.3.

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Showing latest 10 comments | Show all 28 comments | Most Helpful First | Newest First | Maximum Rated First | Longest Comments First (Only showing comments with -2 votes or higher. You can alter this threshold from your profile page. Manage Profile )

3.5 out of 5 Pretty impressive album from an artist who's fame came from a totally different music genre. He surrounded himself in veterans of the psych-rock genre sound, (which he is more than clearly a fan of) and attempted to make his own version of it. It sounds as good as possibly could have for a first attempt.

Great album, one of the best albuns in 2023. Some things remember me Pink Floyd, the Dark SOTM. And i like this

Absolutely love this 9/10

Great album by Yachty! Great change of style loved the overall vibe and sounds of the album.

87 Almost all the rappers to have confronted a "rock type" project crashed, sometimes very brutally by the way, Lil Yachty is finally maybe the only one to have succeeded in this feat. Moreover it is surely one of the biggest turnaround in the history of contemporary music when we see how much the clownish rapper was very criticized (sometimes rightly). Certainly, Let's Start Here can't be confined to a "Rock" project either, it's a psychedelic work that spreads over a rich and creative palette, letting Yachty's versatility speak for itself, which is no surprise. Everything is perfectly articulated, attractive from start to finish, meticulously thought out. I really appreciate this way of working in fractions or sets. Since "Lil Boat" Yachty was trying by all means to write the second chapter of his story without finding the formula to achieve it, but it is done here, demonstrating to the world his potential and his talent. He seems to escape this bad spiral he created for himself, but as he says through this album, failure is not an end in itself. This album sounds like a lesson. What if Yachty had dictated new rules for the future of Hip Hop? Keys songs : The Black Seminol / Ive Officially Lost Vision / Drive My Crazy / Ride Top albums: Lil boat - 84 Lil boat 2 - 75 Michigan - 70 Summer songs 2 - 62 Lil boat 3 - 57 Nuthing - 49 Teenage émotions - 39

“Let's Start Here.” Dives head first into Psychedelia. At its best moments, the album turns into an enthralling soundscape. The run from “sHouLd i B?” to “REACH THE SUNSHINE.” is fantastic and a great way to end the record. Sadly, for a good portion of the album, while personally ambitious, it struggles to rise above average psych rock. It has created the desired sound but doesn’t fully understand how to utilize it. There is an emotional undercurrent of romance running through the lyrics. It adds an intimacy to the sound even if the lyrics can be a little surface level. A curiosity with signs of growth for Lil Yachty.

what an amazing genre shift from Lil Yachty an amazing attempt and blend of Psychedelic music into his regular music. AOTY so far

Amazing album by lil boat. Heard it was going to be psychadelic inspired, but i didn't expect this kind of quality. Yachty really impresses with this, and i hope he makes more like this.

As your average psych rock enjoyer, I find this impressive to say the least.

This was interesting. It didn't blew my mind, but i respect what Lil Yachty is trying to do here. the BLACK SEMINOLE is going to be one of the best tracks of the year for sure

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