by Matthew Hirsch (@pocketsssssss)
In a world where algorithms can efficiently decide what music you should be listening to if you let them, a lot of great artists slip through the cracks. Previously working under the name William Austin Clay, Yalc123 is a prime example of who you may be missing out on. On their latest project Yalc Nitsua Mailliw, they created a truly undeniable and genre-bending musical experience unprecedented in its style -- a style that almost certainly belongs at the top of the pop charts but feels almost intentionally crafted not to get there.
The songs on the album careen from braggadocios trap/8-bit anthems (“Free Throw”) to nostalgic 90s-esque pop tunes that would not have sounded out of place on the Clueless soundtrack (“Don’t Say Sorry”). More enticingly, these dynamics often coexist in the course of the same song (“Been Done Gone”). While the production is often minimal, the influences are broad and the grooves are undeniable throughout. Perhaps more importantly, all elements, from 808s to synth swells, are so meticulously placed that nothing ever sounds stale by any stretch of the imagination.
Even considering the gorgeous production on Yalc Nitsua Mailliw, the melodies on the album are what really set it a galaxy apart from a lot of other music coming out. The choruses in “Free Throw” and “2 B Fine” (personal favorite) deserve to be blasted out of car stereos, stadium PA systems, and sung along to en masse. Regarding their songwriting process for Yalc Nitsua Mailliw, Yalc stated that they “chose to work ‘backwards’ this time around, starting off with a melody, then writing lyrics and a chord progression.” The focus on melody absolutely shines through on Yalc Nitsua Mailliw and is the reason that I have had the album in heavy rotation for months at this point. All that said, it almost seems like the author is keeping their talent and output reigned in intentionally.
“Copy + Paste” provides listeners with Yalc’s slightly sardonic but endlessly relevant outlook on the contemporary music world and perhaps best exemplifies why this review might be the first time you were made aware of Yalc’s existence. The song serves as equal parts electronic pop banger and rallying cry against the Spotify “Pollen” playlists of the world as well as the “artists” more concerned with their Instagram likes than their craft. On it, Yalc sings, “I wanna copy and paste / find an angle for my face / catching plays, getting placement / what did I have to go through? / guess I really shouldn’t say.” While this is a poppy song for sure, Yalc sounds absolutely exhausted of the repetitious antics that some of their contemporaries perpetuate in the never-ending search for clout, and who could blame them?
Ironically, if the world were fair and just, Yalc would be on the “Pollen” playlists of the world, racking up millions upon millions of streams and growing their fanbase daily. Unfortunately, the music industry is still playing by old rules created by gatekeeping white men who have always been more concerned with what will make a buck than with what is truly special, original music. Regarding the understated rollout of Yalc Nitsua Mailliw which, mind you, occurred during a global pandemic, Yalc said, “Like most Black musicians, especially those that work on the fringes or outside of the rap/r&b/jazz idiom, I probably won't get much coverage for this release from blogs and other media outlets but, to the ~100 of you that have supported and kept up with me, hopefully this album can be a source of catharsis or inspiration for you.” As one of the approximately 100 individuals referred to, I can confirm that this project is not just cathartic and inspiring, it is absolutely required listening.