{"id":1850801,"date":"2026-03-27T13:09:00","date_gmt":"2026-03-27T10:09:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1850801"},"modified":"2026-03-27T13:09:00","modified_gmt":"2026-03-27T10:09:00","slug":"adl-the-best-and-worst-tracks-on-yeats-new-album","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1850801","title":{"rendered":"ADL: The best and worst tracks on Yeat\u2019s new album"},"content":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/868\/0-0-868-578\/azure\/dazed-prod\/1440\/2\/1442680.png&#8221;]<\/p>\n<article class=\"main-article standard \">\n<div class=\"article-main-content article-wrapper has-media-but-its-an-image\" data-status=\"loaded\" data-primary-article=\"true\" data-url=\"\/music\/article\/70002\/1\/adl-the-best-and-worst-tracks-on-yeats-new-album-elton-john-kylie-jenner\" data-article-id=\"70002\">\n<header class=\"article-header has-landscape-image no-media\">\n<div class=\"wrapper dg-max-width\">\n<div class=\"inner\">\n<figure class=\"main-img has-figcaption\" data-img-aspect-ratio-type=\"landscape\" data-img-aspect-ratio=\"1.36\" data-template=\"Standard Article\"><span class=\"has-css-custom-props image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img loading=\"lazy\" decoding=\"async\" alt=\"ab67618600000194fee8156d6b545ddaf4494790 copy\" class=\"img\" height=\"640\" src=\"https:\/\/images-prod.dazeddigital.com\/868\/azure\/dazed-prod\/1440\/2\/1442680.png\" width=\"868\"><\/span><\/span><figcaption class=\"img-caption\"><span class=\"inner\"><span class=\"credit\">Yeat promotional image<\/span><\/span><\/figcaption><\/figure>\n<aside class=\"meta\">\n<div class=\"inner\"><time datetime=\"2026-03-27T13:09:00+00:00\" class=\"timestamp\" title=\"27 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/aside>\n<div class=\"titles\">\n<div class=\"tags\">\n<div class=\"sections\"><a class=\"category vertical - music\" href=\"https:\/\/www.dazeddigital.com\/music\">Music<\/a><br \/>\n\/<br \/>\n<a class=\"series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><\/div>\n<\/div>\n<div class=\"standard-tag-container\"><a class=\"standard-category\" href=\"https:\/\/www.dazeddigital.com\/music\">Music<\/a> \/<br \/>\n<a class=\"standard-series\" href=\"https:\/\/www.dazeddigital.com\/lists\">Lists<\/a><\/div>\n<h1 class=\"title\"><span>ADL: The best and worst tracks on Yeat\u2019s <span class=\"nowrap\">new album<\/span><\/span><\/h1>\n<div class=\"standfirst\">\n<h2>The rage rap golden child\u2019s sixth album has all the high-octane moments and narrative limpness of a Fast And Furious movie. Below, we break down the project\u2019s peaks <span class=\"nowrap\">and troughs<\/span><\/h2>\n<\/div>\n<p><time datetime=\"2026-03-27T13:09:00+00:00\" class=\"timestamp\" title=\"27 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/div>\n<\/div>\n<p><time datetime=\"2026-03-27T13:09:00+00:00\" class=\"timestamp\" title=\"27 March 2026\"><span class=\"month\">March<\/span>\u00a0<br \/>\n<span class=\"day\" data-day=\"27\">27,<\/span>\u00a0<br \/>\n<span class=\"year\">2026<\/span><\/time><\/p>\n<div class=\"providers\">\n<div class=\"contributors\"><span class=\"contributor\" data-contributor-role=\"Text\"><span class=\"contributor-role\">Text<\/span><a class=\"contributor-name\" href=\"https:\/\/www.dazeddigital.com\/user\/solomonpacemccarrick\">Solomon Pace-McCarrick<\/a><\/span><\/div>\n<\/div>\n<\/div>\n<\/header>\n<div class=\"article-body-container\">\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>POV: you\u2019re watching the latest Triple-A action film. The protagonist is a morally dubious white man but no one questions it because he sounds cool. There\u2019ll be epic car chases, hot ladies and cameos from Elton John and Kylie Jenner (for some reason) and none of it connects in any discernible way. This is exactly what it felt like listening to Yeat\u2019s sixth album, <\/span><em><span>ADL<\/span><\/em><span>, released last night. It\u2019s musical Marvel Universe, late-stage rapitalism, and it\u2019s not awful \u2013 as long as you switch your brain off.<\/span><\/p>\n<p><span>I\u2019m not going to sit here and pretend that critical thinking was ever a part of the Yeat experience \u2013 his lyrics have always been a vehicle for explosive energy releases and nothing more. But it is increasingly hard to suspend disbelief when the rage rap golden child has gradually replaced his original lo-fi production for mainstream, arena-ready clarity. Perhaps the biggest example of this came with the release of EsDeeKid collab \u201cMade It On Our Own\u201d last month. With both artists\u2019 nascent grit and Ug rap distortion replaced with triumphant trumpets and what appears to be a children\u2019s choir on the chorus, the track sacrifices everything that made EsDeeKid and Yeat interesting in favour of a song that would fit right at home in a playlist for a padel club in Mayfair. To a slightly lesser extent, <\/span><em><span>ADL <\/span><\/em>is marked by this same\u00a0<span>sense of artistic compromise.<\/span><\/p>\n<p><span>But the album does nonetheless have some fun moments. Rather than pandering to mainstream appeal, Yeat is most compelling when he returns to his otherworldly home of laser beam synths and Emperor Zurg-like vocals.<\/span><span>\u00a0<\/span><span>If <\/span><em><span>ADL <\/span><\/em><span>is the sonic equivalent of a triple-A blockbuster, these moments are the action scenes that everyone came for.<\/span><\/p>\n<p><span>Below, we break down our three favourite, and three least favourite tracks on the project.<\/span><\/p>\n<h1><span>THE WORST<\/span><\/h1>\n<h1><span>3. \u201cBACK HOME FEAT. JOJI\u201d<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"HIg0HJeLdJ8\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/HIg0HJeLdJ8\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>I\u2019m sorry, Joji, we still love you, but who is this track really for? Running with the action film metaphor, \u201cBack Home\u201d\u2019s reverb-clouded melody line and emotionally-vacant piano stabs are the equivalent of the closing credits. But, when the album doesn\u2019t really cover much ground, and what risks it does take are generally missteps, it leaves the listener feeling pretty empty. \u201c<em>I just wanna go home,<\/em>\u201d groans Yeat on the track\u2019s chorus, and I agree. Go home to your strange alien rage rap planet, Yeat, you were so much cooler there. <\/span><\/p>\n<h1><span>2. \u201cLOSE CONTROL FEAT. ELTON JOHN\u201d<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"Ks-4Mzk2zeo\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/Ks-4Mzk2zeo\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>I have a lingering suspicion that this collab was motivated more by the optics of having Elton John on a Yeat album, than excitement for what it would actually sound like. Elton, for the most part, is absent here, apart from an intro sampled from 1975 single \u201cSomeone Saved My Life\u201d, and a piano line that is presumably also sampled. Meanwhile, Yeat, stripped naked of the superhero costume that is his alien-rap production, mumbles limp solicitations of sex from a girl \u201c<em>outside in a sundress<\/em>\u201d. \u201cLose Control\u201d sums up everything disappointing about <\/span><em><span>ADL<\/span><\/em><span>.\u00a0\u00a0<\/span><\/p>\n<h1><span>1. \u201cNAKED\u201d\u00a0\u00a0<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"jPFJIq4qzK4\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/jPFJIq4qzK4\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>It\u2019s fitting that Yeat\u2019s lowest moment arrives in a collab with Rampa, frontman of the German tropical house collective Keinemusik, who has received similar criticisms for diluting dance music into a vacuous series of publicity stunts (just take a look at <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=eEobh8iCbIE&amp;list=RDeEobh8iCbIE&amp;start_radio=1&amp;t=741s\"><span>this Keinemusik performance<\/span><\/a><span> in front of the Pyramids of Giza \u2013 and, particularly, the sea of iPhones filming them for the video\u2019s full two-hour-fourteen-minutes\u2019 runtime \u2013 to see what I mean). With a vague EDM beat and lyrics that almost entirely consist of \u201c<\/span><em><span>I\u2019d just like to see you naked<\/span><\/em><span>\u201d, it\u2019s the epitome of background listening.\u00a0\u00a0<\/span><\/p>\n<h1><span>THE BEST<\/span><span><br \/><\/span><span>3.\u00a0 \u201cMY TIME PROD. SWIZZ BEATZ\u201d\u00a0<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"Yid0DNHePos\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/Yid0DNHePos\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Here\u2019s a rare case of Yeat\u2019s sonic diversification actually paying off. With production from hip-hop hitmaker Swizz Beatz, \u201cMy Time\u201d\u2019s beat is pretty traditional. But it finds an unlikely sweet-spot with Yeat\u2019s anthemic, auto-tuned rap delivery. It\u2019s sort of like if \u201cMade It On My Own\u201d was actually good.\u00a0<\/span><\/p>\n<h1><span>2. \u201cLET KING TONKA TALK FEAT. KING KYLIE\u201d\u00a0<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"fMgIfC8dh_g\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/fMgIfC8dh_g\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>While the Kylie Jenner feature does embody the empty optics-above-all approach to music that Yeat pursues on <\/span><em><span>ADL<\/span><\/em><span>, the track itself is actually pretty good. Yeat reaches a bit of a flow-state as he rattles off straight verses for a surprisingly lengthy three minute runtime. The beat, meanwhile, conjures the image of hulking mecha, its booming 808s shattering the ground beneath it and dystopian synths beaming into the sky above. It\u2019s undeniably epic.<\/span><\/p>\n<h1><span>1. \u201cGRIDDL\u00cb FEAT. DON TOLLIVER\u201d<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"_H0yAU3IP5I\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/_H0yAU3IP5I\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>The umlaut never lies. While not necessarily introducing anything new, \u201cGriddl\u00eb\u201d also showcases Yeat at his very best. The beat is musical <\/span><em><span>Starcraft<\/span><\/em><span>, Yeat sounds like he\u2019s from Mars, and Houston melodic trap superstar Don Oliver has his own moment in the spotlight, showcasing his signature FX-drenched, off-kilter rap flows. This one\u2019s sure to go off at the numerous rap festival headline spots that Yeat\u2019s already secured for this summer, which is all anyone really wanted from this album anyway, right?\u00a0<\/span><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! 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data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"maxresdefault (5)\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-1-1074-714\/azure\/dazed-prod\/1440\/1\/1441243.jpg\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">Rawayana: How a Venezuelan pop band became political exiles<\/h3>\n<\/div>\n<p><\/a><a class=\"card-latest\" href=\"https:\/\/www.dazeddigital.com\/music\/article\/69870\/1\/frost-children-ninajirachi-hyperpop-interview-post-skrillex-world-sisters\"><\/p>\n<div class=\"card-latest__img-wrapper\"><span class=\"image-container\" data-aspect-ratio-type=\"landscape\"><span class=\"preserve-aspect-ratio\"><img decoding=\"async\" alt=\"Untitled design (6)\" src=\"https:\/\/images-prod.dazeddigital.com\/480\/0-0-1353-900\/azure\/dazed-prod\/1440\/1\/1441952.png\"><\/span><\/span><\/div>\n<div class=\"card-latest__content\">\n<h3 class=\"card-latest__title\">\u2018Silence is punk as fuck\u2019: Frost Children and Ninajirachi go head-to-head<\/h3>\n<\/div>\n<p><\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"newsletter-inline\" data-newsletter hidden>\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/article>\n<div class=\"article-body wrapper\">\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>POV: you\u2019re watching the latest Triple-A action film. The protagonist is a morally dubious white man but no one questions it because he sounds cool. There\u2019ll be epic car chases, hot ladies and cameos from Elton John and Kylie Jenner (for some reason) and none of it connects in any discernible way. This is exactly what it felt like listening to Yeat\u2019s sixth album, <\/span><em><span>ADL<\/span><\/em><span>, released last night. It\u2019s musical Marvel Universe, late-stage rapitalism, and it\u2019s not awful \u2013 as long as you switch your brain off.<\/span><\/p>\n<p><span>I\u2019m not going to sit here and pretend that critical thinking was ever a part of the Yeat experience \u2013 his lyrics have always been a vehicle for explosive energy releases and nothing more. But it is increasingly hard to suspend disbelief when the rage rap golden child has gradually replaced his original lo-fi production for mainstream, arena-ready clarity. Perhaps the biggest example of this came with the release of EsDeeKid collab \u201cMade It On Our Own\u201d last month. With both artists\u2019 nascent grit and Ug rap distortion replaced with triumphant trumpets and what appears to be a children\u2019s choir on the chorus, the track sacrifices everything that made EsDeeKid and Yeat interesting in favour of a song that would fit right at home in a playlist for a padel club in Mayfair. To a slightly lesser extent, <\/span><em><span>ADL <\/span><\/em>is marked by this same\u00a0<span>sense of artistic compromise.<\/span><\/p>\n<p><span>But the album does nonetheless have some fun moments. Rather than pandering to mainstream appeal, Yeat is most compelling when he returns to his otherworldly home of laser beam synths and Emperor Zurg-like vocals.<\/span><span>\u00a0<\/span><span>If <\/span><em><span>ADL <\/span><\/em><span>is the sonic equivalent of a triple-A blockbuster, these moments are the action scenes that everyone came for.<\/span><\/p>\n<p><span>Below, we break down our three favourite, and three least favourite tracks on the project.<\/span><\/p>\n<h1><span>THE WORST<\/span><\/h1>\n<h1><span>3. \u201cBACK HOME FEAT. JOJI\u201d<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"HIg0HJeLdJ8\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/HIg0HJeLdJ8\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>I\u2019m sorry, Joji, we still love you, but who is this track really for? Running with the action film metaphor, \u201cBack Home\u201d\u2019s reverb-clouded melody line and emotionally-vacant piano stabs are the equivalent of the closing credits. But, when the album doesn\u2019t really cover much ground, and what risks it does take are generally missteps, it leaves the listener feeling pretty empty. \u201c<em>I just wanna go home,<\/em>\u201d groans Yeat on the track\u2019s chorus, and I agree. Go home to your strange alien rage rap planet, Yeat, you were so much cooler there. <\/span><\/p>\n<h1><span>2. \u201cLOSE CONTROL FEAT. ELTON JOHN\u201d<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"Ks-4Mzk2zeo\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/Ks-4Mzk2zeo\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>I have a lingering suspicion that this collab was motivated more by the optics of having Elton John on a Yeat album, than excitement for what it would actually sound like. Elton, for the most part, is absent here, apart from an intro sampled from 1975 single \u201cSomeone Saved My Life\u201d, and a piano line that is presumably also sampled. Meanwhile, Yeat, stripped naked of the superhero costume that is his alien-rap production, mumbles limp solicitations of sex from a girl \u201c<em>outside in a sundress<\/em>\u201d. \u201cLose Control\u201d sums up everything disappointing about <\/span><em><span>ADL<\/span><\/em><span>.\u00a0\u00a0<\/span><\/p>\n<h1><span>1. \u201cNAKED\u201d\u00a0\u00a0<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"jPFJIq4qzK4\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/jPFJIq4qzK4\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>It\u2019s fitting that Yeat\u2019s lowest moment arrives in a collab with Rampa, frontman of the German tropical house collective Keinemusik, who has received similar criticisms for diluting dance music into a vacuous series of publicity stunts (just take a look at <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=eEobh8iCbIE&amp;list=RDeEobh8iCbIE&amp;start_radio=1&amp;t=741s\"><span>this Keinemusik performance<\/span><\/a><span> in front of the Pyramids of Giza \u2013 and, particularly, the sea of iPhones filming them for the video\u2019s full two-hour-fourteen-minutes\u2019 runtime \u2013 to see what I mean). With a vague EDM beat and lyrics that almost entirely consist of \u201c<\/span><em><span>I\u2019d just like to see you naked<\/span><\/em><span>\u201d, it\u2019s the epitome of background listening.\u00a0\u00a0<\/span><\/p>\n<h1><span>THE BEST<\/span><span><br \/><\/span><span>3.\u00a0 \u201cMY TIME PROD. SWIZZ BEATZ\u201d\u00a0<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"Yid0DNHePos\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/Yid0DNHePos\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>Here\u2019s a rare case of Yeat\u2019s sonic diversification actually paying off. With production from hip-hop hitmaker Swizz Beatz, \u201cMy Time\u201d\u2019s beat is pretty traditional. But it finds an unlikely sweet-spot with Yeat\u2019s anthemic, auto-tuned rap delivery. It\u2019s sort of like if \u201cMade It On My Own\u201d was actually good.\u00a0<\/span><\/p>\n<h1><span>2. \u201cLET KING TONKA TALK FEAT. KING KYLIE\u201d\u00a0<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"fMgIfC8dh_g\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/fMgIfC8dh_g\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>While the Kylie Jenner feature does embody the empty optics-above-all approach to music that Yeat pursues on <\/span><em><span>ADL<\/span><\/em><span>, the track itself is actually pretty good. Yeat reaches a bit of a flow-state as he rattles off straight verses for a surprisingly lengthy three minute runtime. The beat, meanwhile, conjures the image of hulking mecha, its booming 808s shattering the ground beneath it and dystopian synths beaming into the sky above. It\u2019s undeniably epic.<\/span><\/p>\n<h1><span>1. \u201cGRIDDL\u00cb FEAT. DON TOLLIVER\u201d<\/span><\/h1>\n<\/div>\n<div class=\"src-youtube video-container embed-content\" data-embed-type=\"media-youtube\" data-id=\"_H0yAU3IP5I\"><span class=\"preserve-aspect-ratio\"><iframe loading=\"lazy\" allowfullscreen frameborder height=\"422\" scrolling=\"no\" src=\"https:\/\/www.youtube.com\/embed\/_H0yAU3IP5I\" webkitallowfullscreen width=\"750\"><\/iframe><\/span><\/div>\n<div class=\"embed-content\" data-embed-type=\"raw-html\">\n<p><span>The umlaut never lies. While not necessarily introducing anything new, \u201cGriddl\u00eb\u201d also showcases Yeat at his very best. The beat is musical <\/span><em><span>Starcraft<\/span><\/em><span>, Yeat sounds like he\u2019s from Mars, and Houston melodic trap superstar Don Oliver has his own moment in the spotlight, showcasing his signature FX-drenched, off-kilter rap flows. This one\u2019s sure to go off at the numerous rap festival headline spots that Yeat\u2019s already secured for this summer, which is all anyone really wanted from this album anyway, right?\u00a0<\/span><\/p>\n<\/div>\n<div id=\"newsletter-inline-last\">\n<div class=\"newsletter-small\">\n<div class=\"inner\">\n<h1 class=\"newsletter-title\">Escape the algorithm! Get The Drop<\/h1>\n<div class=\"meta-row\">\n<p class=\"meta\">Get must-see stories direct to your inbox every weekday.<\/p>\n<p class=\"paragraph\"><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/p>\n<\/div>\n<div class=\"confirmation\" aria-live=\"polite\">\n<p class=\"confirmation-title\">Thank you. You have been subscribed<\/p>\n<p><a href=\"https:\/\/www.dazeddigital.com\/privacy-policy\" class=\"meta-link\" target=\"_blank\" rel=\"noopener\"><br \/>\nPrivacy policy<br \/>\n<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p>[analyse_source url=&#8221;https:\/\/www.dazeddigital.com\/music\/article\/70002\/1\/adl-the-best-and-worst-tracks-on-yeats-new-album-elton-john-kylie-jenner&#8221;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[analyse_image type=&#8221;featured&#8221; src=&#8221;https:\/\/images-prod.dazeddigital.com\/868\/0-0-868-578\/azure\/dazed-prod\/1440\/2\/1442680.png&#8221;] Yeat promotional image March\u00a0 27,\u00a0 2026 Music \/ Lists Music \/ Lists ADL: The best and worst tracks on Yeat\u2019s new album The rage rap golden child\u2019s sixth album has all the high-octane moments and narrative limpness of a Fast And Furious movie. Below, we break down the project\u2019s peaks and troughs [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[226,76],"class_list":["post-1850801","post","type-post","status-publish","format-standard","hentry","category-politics","tag-crawlmanager","tag-dazeddigital-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1850801","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1850801"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1850801\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1850801"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1850801"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1850801"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}