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Hi everyone, Fresh Than Scrub Tano here,
the internet's busiest music nerd, and
it's time for a review of this Young
Lean album, Yonatin. Here we have a new
album from singer, songwriter, rapper,
producer, cloud rap pioneer, Mr. Young
Lean, Sweden's own, the original sad
boy. He is back with his first
full-length album in 5 years, though not
really. Yes, while it has been a while
since his last official fulllength stars
in 2020, he has been far from inactive.
Not just recently working with some
pretty massive names on some of their
latest songs and projects, uh, be it
Charlie XCX, Travis Scott, Skrillex, but
he's also been feeding fans since Stars
with multiple musical side quests. He
had that rock ccentric Doddmark project
drop in 2023. And that same year, uh, we
had that Lean Doer 96 record, Sugar
World, a crossover he did with Danish
composer and producer Friedrich
Valentin, which I think is a super
important project to draw attention to
here. Now, this is not the only record
that Lean has dropped under the Lean
Doer 96 name. In fact, there have been
multiple records and singles and often
in comparison with his uh usual body of
work. The music under the lean doer name
skews a lot more raw, low-fi, even pop
or singer songwriter ccentric. It really
depends. And Sugarworld is an especially
odd addition to the Leandure 96 cannon,
considering almost the entire record is
presented as if Lean is engaged in this
super elaborate, drunken theatrical
karaoke performance over sometimes
dreamy, sometimes hokey, sometimes
glamorous instrumentals. And while it's
not great on some level, it didn't
really need to be because it kind of
seemed like it wasn't going for that
necessarily, like how sloppy and
offkilter and awkward a lot of the
performances on this record are. Seemed
totally intentional, almost like Lean
was engaged in a bit of a bit here.
Yonatin by comparison however feels like
that moment when someone who you've been
watching engage in a shtick in a
somewhat ironic way reveals that the act
they've been engaged in has actually
been unironically what they would rather
be doing all along. So in that sense,
Yonatan does feel like almost like a
sequel or a spiritual successor to
Sugarworld. Almost like that record was
a testing ground for what we are getting
here. And you can hear it in the upped
production quality in Lean mostly
drifting away from a lot of the rap
influences that originally broke him on
the internet. Uh a lot of moodier
instrumentals on this record too. And
yeah, the styles and influences going
into this record lean a lot more into
indie pop and art rock, which again, I
think in concept is fine, not
necessarily a bad thing to switch up
styles. But I don't think Lean brings
the vocal chops or lyrical finesse that
one might need in order to pull off a
sound like this fully and completely.
Because even with this album being more
serious than Sugarworld in tone and in
presentation, uh the many vocal
performances on this album feel like
once again I am sitting through bad
karaoke. And somehow it's even weirder
to experience because I feel like I'm
the only one in the audience uh with
this record. Specifically on tracks like
Might Not Be as well as the uh weirdly
upbeat Forever Young. Both of which
contribute to a very rough first leg of
this album. However, I wouldn't say the
track list on this thing is all bad.
Lean's voice in a way does kind of lend
itself to the despondent slacker rock
vibes of horses as well as babyface
maniacs. But while I do think his
singing fits uh these sounds a lot
better, there's nothing really about
these tracks that would make me go out
of my way to listen to them over the
numerous old school rock classics in the
style I could be previewing instead. And
things in my opinion don't really pick
up in the second half of the album
either. The song changes for examples
feels like if you took an indie pop and
indronic classic such as uh the knife's
heartbeats and hollowed it out for
basically no reason whatsoever. I mean
for sure there is something to tracks
like Teenage Symphonies for God as well
as Terminator Symphony but I feel like
that's mostly due to the fact that uh
Lean sort of goes back into rap mode on
these tracks which is a delivery style
that I think he sounds much more
comfortable and confident in. one
through which I think he is better at
just conveying his emotions and his pain
and his struggles. While conversely on
every other moment on the album, it
sounds like he's really struggling to
keep it together. And while on one
level, I can certainly respect what Lean
is trying to accomplish on this album
and some of his tracks in recent years,
certainly dabbled in more of an art pop
style before with uh pretty dreamy
instrumentation, such as on 2017
Stranger. In this particular case, uh,
him attempting to really broaden out his
sound, I think for the most part, has
led to a lot of tracks that just kind of
blow up in his face, which is why I'm
feeling a strong two to a light three on
this one. Tran position, have you given
this album a listen? Did you love it?
Did you hate it? What would you rate it?
You're the best. You're the best. What
should I review next? Hit the like if
you like. Please subscribe and please
don't cry. Hit the bell as well. Over
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the link to subscribe to the channel.
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