YATTA - PALM WINE

A Closer Listen

PALM WINE represents the transition of the artist from experimental poet to potential pop star.  The transition takes place not only between albums, but within the current release.

Sierra Leonean-American YATTA pounced on the scene in 2016 with their EP Spirit Said Yes!, followed three years later by WAHALA and a joint production with Moor Mother.  Described as “the product of years of travel, reckoning, solitude, and troubling love alchemized into a joyful return to home, God, and clarity of mind,” PALM WINE is objectively different from the releases that have come before, brimming with new energy and a restored sense of self.

The experimental early tracks will be of the most interest to our readers, while the later tracks are potential crossover hits.  The sequencing is of particular interest, as YATTA’s sonic roots are displayed chronologically.  “Circle” is an intriguing start, YATTA’s voice simultaneously presented in straightforward and filament form, additional fragments surfacing in the background and bubbling to the fore.  The love story may be familiar, but the presentation is not.  The closing loop has its own appeal, just as Billie Eilish’s “Birds of a Feather” closes with a surprisingly creative coda.  Then a short, evocative interlude, which we suspect is a rapid-fire Sierra Leonean sample.  “Disappear” bleeds soft piano and spoken word, splintering into quiet fragments before ending in voice mail; then the most WAHALA-like track, “Put Your Faith In God,” with heavy drums, spoken observations and a sense of chaos tamed.  “Enya at the Market” is a delightful slice of African song, choir and car horn, reminiscent of marketplaces at midday, chased by the lo-fi, 20-second “Mood.”

From this point forward, YATTA leans into the pop field, while incorporating distinctive touches. Singalong moments are offset by surprising shifts, as heard in the tempo shifts of “Fully Lost, Fully Found.”  This marks the album’s dividing line, equally experimental and accessible, appealing to both poles.  YATTA’s love story becomes increasingly relatable.  The first single, “MTV,” is a serious candidate for radio play, with text messages winging back and forth while the drums increase in intensity and a catchy chorus repeats.  If there’s any justice, “MTV2” will be the B side of a 45.

Pop music has shown itself increasingly open to light experimentation, but resists sea change.  It also tends to favor tracks over albums.  But if “MTV” can gain a foothold, YATTA may become the rare performer to cross over while retaining their artistic integrity.  Palm wine, a traditional West African drink, only seems foreign until the first sip.  (Richard Allen)