For today’s spotlight record, I’ve got something that’s caught my attention in a big way. It’s a unique blend that I personally haven’t encountered before, at least not quite like this. We’re talking about Yung Peary’s album “Good As Gold,” and it’s got me excited to share my thoughts with you.
Now, here’s a fun twist – while researching Yung Peary, I discovered he’s from Charleston, West Virginia, a place I used to call home. It’s really amazing to see talent emerging from that area, and I’ve got to admit, it stirred up some nostalgia in me. I found myself thinking back to those cold winter days, cozied up by the fireplace, with WSAZ playing in the background. I didn’t expect this album to take me on a trip down memory lane in that kind of way, but there you have it – music has a way of surprising us.
But let’s get back to the music itself. What makes this record stand out is its fusion of rap and emo, two genres I know inside and out. Yung Peary doesn’t stop there, though. He throws a bit of rage into the mix as well. It’s this combination that’s got me pretty hyped. In my opinion, Yung Peary is one of the most exciting emerging artists I’ve come across in quite some time. For sure one of the best discoveries I’ve heard this year.
I’m really looking forward to getting into some of the tracks here. This blend of styles has produced something that I think deserves our attention. So, let’s take a closer look at what Yung Peary has created with “Good As Gold.”
The album opens with the track ‘False’, and right from the start, I’m drawn into its unique sound. There’s this almost robotic, beeping quality to it that gives off a futuristic vibe. It’s an interesting choice that really sets a distinct atmosphere for the track.
Around the 15-second mark, the beat kicks in, followed closely by the vocals. I appreciate how smoothly this transition happens – it’s subtle but effective. The production quality here is impressive, showing Yung Peary’s attention to detail.
What really stands out to me are the lyrics. From the get-go, Yung Peary really gets into some heavy emotional territory. The song seems to capture the aftermath of a relationship, focusing on that moment when you’re hit with the full weight of the breakup. There’s a line about wishing someone could hear him cry out through the walls that I think will resonate with a lot of people. It perfectly encapsulates that feeling of isolation that often comes with heartbreak. When it’s like she, or others can’t hear or understand your pain.
The vocal delivery is enhanced by an underlying echo effect that runs throughout the track. To me, this creates an almost haunting feeling, really amplifying the sense of loneliness in the lyrics. Whether intentional or not, this effect works wonderfully to reinforce the emotional core of the song.
One line that particularly struck me was about going to war for her but feeling “dead on the shore”. It’s a powerful metaphor for that feeling of desperately wanting to fight for a relationship but being completely drained and unable to do so. As an opening track, ‘False’ does an excellent job of setting the tone for the album. It’s emotionally charged and musically, it’s great. The way it fades out, returning to that robotic sound from the beginning, creates a nice sense of closure.
“Demons & Me” follows up perfectly from where the previous track left off. The vocal effect on this one leans even more into that robotic sound, complemented by a rapid-fire percussion that adds a nice touch to the overall feel. In this track, Yung Peary acknowledges his past mistakes and grapples with the resulting pain.
There’s a powerful line about his demons always being with him, describing how he wakes up in a cold sweat, shaking. For those who’ve experienced it, this might bring to mind night terrors – when the day’s anxiety and depression build up and find an overwhelming release during sleep. It’s not a pleasant experience, and I think this line will really hit home for many listeners.
The lyrics in this track show off Yung Peary’s creative wordplay. There’s a great line where he says, “Stop playing with me, this isn’t Xbox Live.” I really appreciate this bar – it’s a smart way to convey frustration. And let’s be honest, if this were actually Xbox Live, we’d probably hear a lot more colorful language.
But this song isn’t just about relationship troubles. It touches on various aspects of life that have gone wrong for Yung Peary. The track feels like a form of release, a way for him to express and process his struggles through music. The song concludes with an impressive beat drop, accompanied by an almost whimsical charm effect that plays throughout the track. It’s an interesting contrast to the heavy themes, creating a unique experience.
The track “Samus” is likely to catch the attention of many of you right away. From the start, there’s a distinct 8-bit quality to the sound that sets it apart. I want to highlight how well-crafted the arrangements and instrumentation are on this track. The way the beats are woven together is really impressive, and I’ve been thoroughly enjoying it.
What really cool to me is the flow on this track. It’s incredibly dynamic and I absolutely love it. Yung Peary’s delivery here is perfect. There’s some clever use of stereo effects in the mix. The main vocal line comes through both speakers, but on the left side, you’ll occasionally hear additional lines dropped in at the end of each main phrase. It creates a really cool effect that adds depth to the overall sound.
There’s a particularly striking moment after Yung Peary delivers the line “Samus.” There’s a brief pause, and then the beat kicks back in with an even more pronounced 8-bit feel. The execution of this transition is fantastic.
Alright people, it’s time to crank up your car’s stereo system to the max and get ready to shake the neighborhood windows. “Plz Call Me” kicks off with what I think is the most thunderous reverb bass I’ve ever encountered. Even at a low volume, as I’ve been zoning out and replaying this album, this track never fails to grab my attention.
There are some really cool elements in the mix, like these almost ethereal chime that come in. They create an cool little contrast with the heavy bass, resulting in a compelling duality that I find really awesome. The chorus of this song is incredibly catchy. I’m pretty sure many of us can relate to the sentiment, maybe even having stared at our phones for hours, repeating the phrase “Plz Call Me Baby” over and over again.
The song seem to express frustration about a girl he wishes would give him a chance. He wants her to see the kind of person he truly is. He talks about his music and life in general, hoping she’ll give him a shot. What’s particularly creative is how after the second chorus, the sound shifts to a calmer effect. It’s still powerful, but Yung Peary’s vocals sound more distant, as if he’s now saying these lines from afar. It’s a really inventive approach.
“Moonlight Tears,” featuring Lil Sion Hurts, takes the album in a completely new direction. The track opens with acoustic tones and a long, single shake of percussion in the background. It creates a totally different atmosphere, and I absolutely love the change of pace. The vocal work on this track is almost melodic, bordering on singing. It blurs the line between rapping and singing in a way that’s really effective.
Now, I have to talk about the beat drop in this song. It’s one of the most subtle and effective I think I’ve ever heard – and I’m not exaggerating here. The way it’s executed fits perfectly with the overall tone of the track. The rapping section has a soft, introspective quality to it. The duality of the vocal work between Yung Peary and Lil Sion Hurts creates a wonderful harmony that really elevates the track.
“Moonlight Tears” is a beautiful piece of music. The shift in style showcases Yung Peary’s versatility as an artist, proving he can excel in different genres and moods. The collaboration with Lil Sion Hurts adds another layer to an already impressive track. This song left a strong impression on me.
This release has had a ton of surprises from start to finish. With 16 tracks on the album, including some quick hitters, it’s absolutely loaded with content. From what I can recall, I think the shortest track is roughly 1:40 or just shy of that, but even that gives you plenty to digest.
What really stands out is the way Yung Peary works and his creativity in fusing all these genres and styles together, especially with emo elements. It just sounds awesome. It’s truly unique because I don’t think I’ve actually heard anything quite like this before, at least not in the way it’s done and presented here.
In this day and age, especially with as much music as I listen to, I’m a hard guy to surprise. But yet here is Yung Peary, definitely throwing some stuff I’ve never heard before out there. The songwriting is great, the beats and arrangements are really cool, and the collaborations on this record are really nicely done. He can play off others’ energy so well.
The emotion that goes into this, especially in the songwriting, is so strong. You can really feel it coming through. It’s actually pretty powerful stuff. I definitely recommend giving this a listen and checking it out because it’s pretty creative and very unique. The fusions here are just second to none. If I could sum this up to describe it, this truly is, as the title suggests, good as gold.
