Bad Cameo by James Blake & Lil Yachty | Album Review
Neo-psychedelia between the seas: When the UK elegance meets with the grooviness of the US
LISTEN TO Bad Cameo:
Since the 2023 of Yachty’s Let’s Start Here, the reception of his music, and his possibilities in the industry have changed drastically. On that record, Yachty proved that he could come from hip-hop/trap to psychedelic rock, which isn’t impossible, and the culture should encourage it instead.
He always wanted to do such a record, but the limitations created by the industry boundaries always limited his talent, but now with the Let’s Start Here behind his back, Yachty and James Blake united for the collaborative project Bad Cameo.
This collaboration was certainly not something you would expect or even imagine, as both artists come from a pretty distinct background that did not have any correlation with each other till Yachty’s experimental endeavor a year ago.
James’ recent work, Playing Robots Into Heaven, took an intriguing turn last year as he delved further into Electronic and Garage sound, departing from his previous ambient pop and alternative R&B style. This influence is also evident in this record, but we will come back to it later.
I will be honest with you. This might be one of the hardest albums for me to rate, or to evaluate in any sense. Initially, I was unsure of the direction this release was taking, which made it challenging for me to form a specific opinion on the record.
It came out as Blake’s aesthetic and production had complete control over the record, allowing him to delve into the sounds he loved on Playing Robots Into Heaven.
The soundscape itself does sound like the combined effort from both artists, however, I can’t say that they reinvent the wheel here.
Production-wise, you are getting a pretty delightful combination of synths and art pop from James Blake that always progresses into something bigger by the end. This way, James guarantees you immersion in an extremely multidimensional experience.
Throughout the record, the production will tackle the familiar concepts, and the familiar structures of the songs, as the sound persists in a similar laid-back aesthetic throughout.
At first, I thought that Yachty’s presence on the record was extremely lackluster or wasn’t adding much. Blake felt like the primary star of the record; he took over completely in the first part of the album.
In that first half, James stuck to a similar approach in the songs, where he would use Yachty as the opener, and then attempt to close the songs in his own way, either accompanied by the starry or bouncy production.
It took me a few listens to recognize Yachty’s balanced presence, as his rapping or prelude singing aided Blake’s magnificent voice, generating a full picture of colors.
I still felt in a way, that the way the album went was completely under Blake’s hand, and did not allow Yachty to shine as much as he did on Let’s Start Here, as it has a pretty familiar soundscape throughout the whole record. I still see Yachty in some tracks, as the additional musical sound effect or instrument that stimulates the progression of the song, but now I recognize the performances where he is nothing but phenomenal.
The absence of dynamic production in certain songs has relegated Yachty to a side-kick position, unlike the more dynamic tracks here such as “Woo”, “Twice”, and “Transport Me”, which demonstrate the potential of Lil Boat’s abilities.
His singing has undergone some changes since Let’s Start Here, and there are cases where I’m not quite as enthralled by it as I would like to be. In clear contrast with Blake’s singing, Yachty sometimes sounds unnecessarily extensive, overstretched, or even annoying.
Even when he showcases his impressive dynamic side on “Woo” or “Save The Savior,” Blake’s energy still steals the spotlight and transforms the track. Yachty and Blake’s singing styles provide a striking contrast, resulting in a strong competition where Yachty’s vocals, as a result, serve as additional synths, paving the way for Blake to develop the track further.
While Yachty tries to prove on that record that he is much more than the rapper in more alternative environment, his rapping still sounds better than singing in certain instances.
This is my biggest problem with this record. Blake is incredible everywhere, as he completely directed the production, and it feels like if he has room on the track, he is going to fill it. With Yachty, on the other side, it is not always like that. I love seeing him exploring something new and more of that, but as of now, he lacks consistency in his delivery and approach because of his lack of experience.
To sum it up, it is an outstanding record. I really enjoyed it a lot, but it doesn’t give me the feeling of a collaborative project. It feels like Yachty was constrained, and contributed to something already prepared, limiting his potential. However those constraints have allowed the other artist to shine as bright as possible. It is a good example of sacrificing something for something else, which may turn out even better as a result.
I feel like this album deserves a great 8.7.
Does this big score cancel my critique regarding the lack of involvement of Yachty? No, not really, but the aesthetic and the experience of this record, are just too immersive, to give it less than an AMAZING rating.
FINAL RATING: 8.7/10 ( AMAZING )
FAVORITE TRACKS: In Grey, Woo, Red Carpet, Midnight
LEAST FAVORITE TRACK: Twice
Scores guideline:
0–2 (dramatically bad)
2.1–4.5 (bad)
4.6–6 (mediocre/mid)
6.1–6.9 (Ok)
7–7.5 (good)
7.6–8.6 (great)
8.7–9.9 (amazing)
10 (perfect)
