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POV: you\u2019re watching the latest Triple-A action film. The protagonist is a morally dubious white man but no one questions it because he sounds cool. There\u2019ll be epic car chases, hot ladies and cameos from Elton John and Kylie Jenner (for some reason) and none of it connects in any discernible way. This is exactly what it felt like listening to Yeat\u2019s sixth album, <\/span>ADL<\/span><\/em>, released last night. It\u2019s musical Marvel Universe, late-stage rapitalism, and it\u2019s not awful \u2013 as long as you switch your brain off.<\/span><\/p>\nI\u2019m not going to sit here and pretend that critical thinking was ever a part of the Yeat experience \u2013 his lyrics have always been a vehicle for explosive energy releases and nothing more. But it is increasingly hard to suspend disbelief when the rage rap golden child has gradually replaced his original lo-fi production for mainstream, arena-ready clarity. Perhaps the biggest example of this came with the release of EsDeeKid collab \u201cMade It On Our Own\u201d last month. With both artists\u2019 nascent grit and Ug rap distortion replaced with triumphant trumpets and what appears to be a children\u2019s choir on the chorus, the track sacrifices everything that made EsDeeKid and Yeat interesting in favour of a song that would fit right at home in a playlist for a padel club in Mayfair. To a slightly lesser extent, <\/span>ADL <\/span><\/em>is marked by this same\u00a0sense of artistic compromise.<\/span><\/p>\nBut the album does nonetheless have some fun moments. Rather than pandering to mainstream appeal, Yeat is most compelling when he returns to his otherworldly home of laser beam synths and Emperor Zurg-like vocals.<\/span>\u00a0<\/span>If <\/span>ADL <\/span><\/em>is the sonic equivalent of a triple-A blockbuster, these moments are the action scenes that everyone came for.<\/span><\/p>\nBelow, we break down our three favourite, and three least favourite tracks on the project.<\/span><\/p>\n<\/div>\n\n<\/p>\n