After trending for a viral freestyle and triggering sociopolitical discourse on Twitter, Ycee is back with his sophomore LP.
Ycee of all people understands how the average music lover’s attention is fickle, as he’s been on the brunt receiving end of it. After a stellar run at the top of the pop zeitgeist as a rapper, his momentum was hampered by a bad break up spell from his previous label and since then he’s not fully recovered. He had to step away from the music momentarily to deal with the fallout and at the time he returned, people had simply moved on.
So titling the album, Out Of Sight – Out Of Mind is simply an affirmation of the fact that artists can’t afford to take long breaks from making music like some of their Western counterparts, unless they are certified superstars. On his new album, Ycee evolves with the times and makes an intentional effort to retain his sonic identity nonetheless.
Amapiano fusion cuts like LEAVE ME ALONE and BALLING FOREVER open the album, making it pixel clear from the jump that this is a Ycee in transition sonically and gradually evolving. The former is a straight up rap cut and Ycee makes it undeniably clear that he’s still in peak form. He tells off his detractors and announces that he’s bringing the rain to kill their clear skies.
Despite how impressive his skill is, this writer isn’t the biggest fan of rapping on an Amapiano beat although BALLING FOREVER works better with a more kinetic, midtempo beat—stripped of relentless log drums. Ycee sings about the good life, emphasizing that he’s not downsizing the luxury in his life anytime soon and plans to live life to the fullest. ISLAND GIRLS and THE GEES are drill tracks that ramp up the tempo up even further. PsychoYP turns in the better guest performance of him and Dremo on bothbtracks, because it’s his ideal soundscape.
Dremo isn’t half bad on THE GEES either, and his rap scheme is structured to enable simplicity and catchiness. ITK deviates from the topical musings of debauchery and life on the fast lane to pure rap braggadocio and stunting on haters. Damian Karma doesn’t exactly rise to the occasion and his appearance isn’t exactly impressionable. NO FAVOURS closes out the rap half of the project by slowing things down for unapologetic Ycee raps on—industry ass kissing antics and cabals hierarchy structures he refuses to pay respect to.
BA NKAN JE heads into emotive Afro-Pop territory, tinged with Rap drum rolls. There isn’t much to unpack here and it’s a good song that mostly works, although it’s a mystery why Ycee holds back and doesn’t use his elite writing skills as a rapper to deplore more meaningful lines here. ME OR ME is emblematic of the same problem. Great artistry is defined by how uniquely brilliant the work of art is and Ycee shouldn’t be focused on simply sounding like a good singer, but a great rapper making a pop song. His mastery of poetry and rhymes should come into play but they don’t.
Unfortunately KIGALI is more of the same and there’s nothing left to say here asided the fact that KLY is equally forgettable on this track. LEMONADE features more lively production with quixotic rhythmic guitar riffs bubbling underneath and licentious swings that lend it to great Afroswing music. Thankfully, Ycee finally remembers he’s a rapper and absolutely demolishes the second half of the song with the smoothest flow he deplores on the album. This is sexy music at it’s best, with gyrating bounces and infectious confessional lyrics on love.
BROKENHEARTED like LEMONADE is elevated by a more rambunctious production, despite Ycee remaining in gear one for the entirety of the track. When the curtains close on WITH YOU, log drums and shakers make a return for a celebratory record. On the previous run of tracks, Ycee is a bit hesitant to be vulnerable with his lover but now he embraces the art of yearning and sings his heart out. The album ends on a decent note despite some few stumbling blocks.
Ycee is once again insistent on separating his rapping and singing counterparts, like he’s done and failed at on his debut album. The rap half remains the better piece, but it could do better with more balance and the singing half, definitely needed way more dynamism in deliveries. Overall, a decent return to music. Good enough to spark a return to his previous form? Only time will tell.
Final Verdict:
Sonic Cohesion & Transition: 1.5/2
Expansive Production: 1.2/2
Songwriting: 1.5/2
Delivery: 1.3/2
Track Sequencing: 1.2/2
Total: 6.7/10
