Hi, everyone. Fakethony Posttano here, the internet's busiest music nerd. It's time for a review of this new EP from Yeat, Dangerous Summer.

Yeat is a West Coast rapper, a prolific one at that, who has really been striking with project after project after project since hitting it big around the tail end of the pandemic. And in a pretty short amount of time, he really became one of the most dominant figures and voices in the burgeoning rage scene right now. Something we have discussed numerous times on this channel.

I would hope by now I don't need to keep explaining it or Yeat's context within it, because I would like to get straight into mentioning that I think Yeat has dropped the best, if not just one of the best projects, in this lane to this day. That would be 2024's 2093, a psychedelic, overwhelming, noisy, trap, futurist exhibition of sorts, where Yeat not only makes some of the most over-the-top and intense music in this style, but does so also in a way that just feels like ahead of the curve. I mean, given the title of the album, it seems pretty obvious there that he's trying to be forward thinking there, not only in his stylistic lane, but I would say personally as an artist as well, as there were quite a few songs on this thing that were experimental for him as he dabbled in some weirder vocal deliveries here and there, as well as some dance beats, too.

But as much as I and many people enjoyed this project, there was a very loud, strong contingent of Yeat's fan base that were mostly unhappy with the direction of this record, and I guess would have just preferred for Yeat to stay confined within his classic sound, which is why, for the most part, I think, we got the follow-up album that we did to that record in 2024, Lyfestyle, an album that I didn't enjoy almost like half as much as I did 2093, mostly because the rapping, the production, the songwriting, everything on this project just felt so one-dimensional. It felt like Yeat regressing, honestly.

Even though that same year I did love and enjoy 2093, I was still left wondering, whatever Yeat was shooting for on that project, whatever sense of adventure he was bringing to the table, is that now dead? Is he now completely finished with trying to push himself outside of his comfort zone?

Which brings us to 2025, which is supposed to be a year where Yeat drops another full-length album, one titled A Dangerous Lyfe. I guess what he's doing here on this EP is essentially teasing toward that record with just a new batch of tracks, ones that I'm guessing are supposed to get us ready for maybe whatever sound and vibe and energy Yeat is going to be bringing to that record.

I mean, the guy has such an unpredictable release schedule sometimes. It's hard to read into what exactly his intent is. But I'll say after having heard this multiple times over and also enjoying some of the singles in the lead up to this EP, I've got to say, I am hoping that this is a picture of what's to come because I do think Yeat brings some of the best tracks he's ever made on this EP.

I'm not selling it like that because I think he's turned a new leaf or he's revamped his style, or maybe he's gotten super lyrical in a way that maybe certain rap fans might want him to be. No, I think Yeat is still very much Yeat on this project, but I am once again getting that sense of adventure coming back that I enjoyed so much on 2093.

Whether it's on the opening track, which begins with this interesting children's chorus, that immediately gives way to this banging, insane trap beat with lots of creepy little Halloween synths in the background. Over which Yeat, yes, comes through with a lot of braggadocious bars, but his delivery and his enunciation is just so clear and just so aggressive. Even though this track feels like more of a taster than a full song, I'm just loving the fact that he sounds so freaking locked in.

This is even more so the case on the following track, "Loco", which I think has an even more solid song structure, a bouncy, hard-hitting, bassy beat, and Yeat once again doing his vocal magic with all sorts of odd inflections, octave jumps, zany ad libs. There are moments on this track where he is just like, hooting and hollering like he's an animal in the zoo. He sounds like a complete madman on this track, and this is the exact intense energy I usually hope for artists to bring in this style.

The following "Loose Leaf" is more of your standard rage fare with lots of psychedelic, saturated synths. A repetitive beat. I think Yeat's vocals on it sound great, but the song does devolve into a bit of navelgazing. It's very immersive, but also very repetitive and ends abruptly. It's fine as a passing moment.

I enjoy "Oh I Did" right after it much more because not only does Yeat bring some of his catchiest flows on the entire record on this track, but God, the beat on this thing is insane. Between that buzzing, distorted bass, the gigantic drums, those just bright, shiny synth horns that slice through the entire mix, and then in addition to all that, what sounds like the sound effect of a woman screaming, just like hitting again and again and again throughout the instrumental. It is attention-grabbing, to say the least, but also simultaneously, honestly, somehow a vibe. Maybe the best feature on the entire record, I would say on this track, too.

"Come N Go" turns the intensity down a little bit. It feels like Yeat getting maybe a little emotional and I would say, like suave in his own Yeat way, and yet somehow it works. He doesn't really lose his core appeal when doing something that's trying to be, I guess, a little more flirty and alluring.

"[ADL is Coming]" you would think, given the title, it's just a transitional moment that's supposed to make us think of the next album and just bring us even deeper into the tape. Even though this track is not one of the most complete and built-out songs on the entire record, there's something about Yeat's flow, delivery, the really big keys on this track and the nimble synth bass, as well as those just gigantic live drums – it all feels very Kanye. Again, even though this is not the best song on the album, in my opinion, channeling those kinds of vibes potentially on the next record could be pretty exciting.

"I'm Yeat", which was also a single on this thing, is just as much a banger in the context of the EP as it was teasing to it. I don't know. There's just something about this track that is so intoxicating, and even though it's unbelievably conceited and egotistical, Yeat is still just so good at feeding into that power fantasy. Again, just love the vocal jumps and weird inflections that he's doing on this track.

It's something that came across on his early records as something that was very ammatureish and odd. Definitely made him stand out. But it felt like he was throwing shit against the wall, seeing what would stick over time as he experimented. Now, just these odd vocal quirks he's picked up when recording and performing, he more or less has mastered them in his own way, and he just seems to have a lot more command of his voice and a sense of what it is he does when he is writing and rapping and performing.

"M.F.U." with SahBabii, I feel like, is a decent vibe. Both these guys vocally, lyrically, bring okay verses to the table. I just think this is one of the more underwhelming instrumentals on the entire record, especially with just how static and boring the percussion is.

However, this EP's final moments contain some of its most surprising ideas, as "2Tone" featuring Don Toliver is in its own weird Yeat way, again, a pretty lovely track. Don's choruses bring the song like a weird sensuality, and even Yeat himself sounds more approachable in the way that he did on "Come N Go". The instrumental itself is very difficult to describe, but definitely has an appeal to it. You've got these stuttering, loud hits of percussion, what sounds like synthesizers that are on the tempo of a machine that's keeping track of your heart rate. All of this is set toward very laid back, entrancing flows, and a super sad, mournful cord progression. It just culminates into one of the moodiest tunes I think Yeat has ever laid to tape.

Then, surprisingly, "Fly Nite" features none other than FKA twigs, who delivers some pretty beautiful vocals over an unexpected beat switch. It's not the best song on the project, in my opinion, but this crossover goes over way better than you might expect, given Yeat and Twigs' respective catalogs.

The following track, "Growing Pains". I do feel like Yeat digs into some inflections and melodic lead vocals that are maybe a bit too rough around the edges and make this one a bit of a nonstarter.

But with that being said, I thought this Dangerous Summer EP was pretty solid and just about the perfect length as well. I thought it was much better than the Lyfestyle. Again, I hope sets the tone for a much more adventurous and interesting next album from Yeat, where he once again gets a bit more daring, more bold, and just calculates his songcraft and his performances just a little bit more, which is why I'm feeling a decent to strong 7 on this thing.

Anthony Fantano. Yeat. Forever.