This might be an unpopular opinion for some Yeat fans that his most recent studio album AfterLyfe ranks higher on this list than a classic tape such as 4L. However, the heightened experimentation and risk-taking on AfterLyfe separates it from the rest of Yeat's discography in a unique way. AfterLyfe is Yeat's most experimental and diverse project to date, which is made even better by the fact that it's not carried by any of the features.
Amazingly, Yeat can make a 22-song trap album more than an hour long that sustains a listener's interest throughout. In a day and age where rage and trap music feels more repetitive and saturated than ever, Yeat's most recent project can intriguingly push the envelope thanks to his use of some different vocal styles and off-kilter beats.
The first track of the album "No more talk" is a perfect example of Yeat experimenting with more laid-back production while trotting out a new vocal style. "No more talk" is hands down one of the most creative and captivating songs on the entire album, with its drawn-out vocal style that draws you in for almost four minutes.
Yeat does a nice job of changing the vibe just enough song after song throughout the tracklist to keep the listener engaged throughout. For example, the way he's able to inject some straight-up villainous energy with the NBA YoungBoy feature on "Shmunk" and then calm the energy back down with some well-layered vocal passages alongside some rage bars in "Bettr 0ff" is pretty intriguing.
Some of the vibe changes are smoother and hit harder than others on AfterLyfe, though. Once you reach the fifth song on the album, "Nun id change", the album starts to lose some steam. And that pattern rears its ugly head here and there for a couple of three or four-song stretches in the middle of the tracklist. The few lulls that do exist in this tracklist are what hold this album back from being one of the true staples of the rage subgenre in rap.
Yet, there are still tracks more than captivating enough to hold you over through the lulls. The screechy vocals and metal rock-inspired production on "Split" and the more subdued "Type money" are two of the highlights in the middle and back end of the tracklist that is well worth the wait.
Another highlight on the tracklist is a fitting finale that has more drawn-out vocals and atmospheric production at times on "Myself". This is a concise and smooth track that feels like a proper ending to Yeat's most hyped-up and successful mainstream project to date.
"Myself" is also one of about five or six songs on the tracklist that are still in rotation for me separate from the rest of the project.
There are elements of this project that were hard to place upon first listen when it initially dropped in late February 2023. Yet, there is something of a Whole Lotta Red effect to this project that keeps even the haters coming back to it for multiple listens.