• Fri, May 24, 2024
Reviews

Mizoram Beatmaker Yugi Jumps Into The Production Scene With His Beat Tape '23.73, 92.71 Kan Inah'

7.5

album Reviews Nov 11, 04:09pm

There’s a massive stream of new music in these times; be it hip-hop albums, indie mixtapes, or compilations of beats; every day, an endless set of tracks is put out onto the ever-moving conveyor belt of consumerism. A key to being recognized in this rat race is adding elements that stick out not only for being a beautiful piece of art but also something unique. Tweaking the name of your album, for example, draws the attention of someone sifting through all the various new drops at the end of the week. 

A great example of this is Mizoram producer Yugi’s new release, which happens to be his first album (a 15-track beat tape). Its name is quite literally his location (no, not his IP address). “23.73, 92.71” are the geographical coordinates of his room in Aizawl, and “Kan Inah” translated to English from the Mizo language, is ‘in my room.’ But that’s not the only well-engineered thing to be found here.

The YouTube comment section seems to hold this album in high regard (no one commented ‘ratio’ thankfully), and they should. Yugi’s released a bunch of EPs and singles officially, but he is quite the beat-maker. Inspired by the typical beats used by rappers like Lil Uzi, Yung Lean, and Gunna, he brings his own little flair to produce some surreal tunes. Now THAT’S sustainable use! There’s an exciting part about this album that reminds you of Kendrick’s Untitled Unmastered; the track numbers are the titles, building up suspense.

 

 

Since breaking down each track individually would become more of a thesis than a review, let’s explore the overall themes on this thing. Throughout the album, there are distinct switches in themes from song to song, adding multiple vibes to the album (think Metro Boomin’s Heroes and Villians). The album plays as a film score, with multiple tracks that can serve as a way of setting a tone. For example, Tracks 3, 6 and 7 have varied themes but might as well fit in as part of a (remade) soundtrack for an Indiana Jones movie from the 80s. Track 6, especially, could serve as a great opening to your average old-fashioned investigative thriller. There are also a couple of lo-fi tracks like Track 1, 9, and 14, that are quite peaceful, and in a way hit you on a psychedelic level (a nod to Joji perhaps?).

 

 

Another thing that stands out is the characteristic “clickety-clack” noises as the beat on Track 1 and 2 you don’t see that much except as samples on other artists’ songs, Kendrick Lamar’s Worldwide Steppers for example. Yugi’s done a fairly decent job of combining multiple kinds of sounds, getting it all to coalesce into one big album. However, there’s work needed on some tracks. If only every instrument went along with every beat being put out... there are moments where this is not the case. For example, Yugi has filled this project up predominantly with fast-paced beats, and while some go well with the tunes, the overall melody of the album (or tape) ends up a little confusing. 

Variety is an important thing in every musical artist’s discography, but when you incorporate that into one little album, the results could be mind-blowingly great or disastrous. This album is definitely one that leans toward the former because you’re not going to expect the number of changes in theme as you listen to it. It’s brimming with innovation and the randomized combination of sounds has definitely resulted in some excellent tracks. The day we hear someone like Tyler the Creator on a Yugi-produced track may not be that far away. Nothing wrong with a little hope, is there?

 

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