While the typical procession of the many moving industry components results in a prolonged period of stagnancy between announcement and release, Yheti has elected to sidestep the potential bottleneck entirely. Rather than building a crescendo of anticipation that arcs and largely subsides prior to the unveiling of a forthcoming project, Yheti has chosen instead for the arc to begin at the point of release, preserving the authenticity of the excitement.

Titled The Party Has Changed, Yheti’s latest album works both as a point of reflection as well as a look towards the future. Composing 11-tracks in length, the project wonderfully culminates the eclectic range of styles and samples that Yheti has grown well acquainted with over the years as well as a furthered exploration into the realm of storytelling. Tracks such as ‘A Little Bit Goes A Long Way’ and ‘Weird Trumpet’ characterize a looser, experimental format of Yheti’s production repertoire, while ‘Inside a Simulation’ and ‘All Over Body Hug’ present a more vivid dark bass ambiance, perhaps indicative of what is still to come on the horizon for Yheti.

Keeping the project title close in mind presents the listener an opportunity to consider the natural progression and transformation of styles and genres both as they relate to Yheti’s music specifically as well as genres as a whole. Take the opportunity to thoroughly enjoy The Party Has Changed by Yheti, out now below!

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Speaking of breaks, if you had been going hard for several hours straight (an easy task with how ludicrously spicy the lineup was) you could setup a home base in the middle or rear of the crowd complete with inflatable couches and chairs (an option many people took full advantage of), creating the culture’s first hybrid couchfam/crowdfam immaculate monstrosity. 

For a first-year fest, the scheduling logistics and the thoughtful arrangement of daily lineup schedules were knocked clear out of this galaxy, allowing for both a natural progression of energy throughout each day as well as the minimization of potential set conflicts, which contributed to an impeccable flow, intention, and keen attention to detail that was cultivated throughout Mulberry Mountain.

Several artists consented to multiple appearances throughout the weekend, opting to reveal multiple perspectives of themselves and their musical craft, such as Kursa’s late-night Lofi set or Yheti’s multiple sunrise appearances both solo and alongside fellow constituents of The Trifinity, which presented an exceptional sensation of authenticity and musical diversity to the weekend that seldom exists elsewhere. 

But what good is an extensive lineup and tactfully organized daily schedule without the proper backing and amplification of a state of the art system? Fear not, for Wakaan Music Festival featured the full strength and capacity of PK Sound at both the Aura and Chakra stages, with the dexterity and range of Hennessey Sound Design for the Halo stage and the limitless freedom for renegade courtesy of the Jaenga Bus to ensure both audible clarity and sheer voluminous force for each and every performance. The low ends were pounding and noticeably shook the ground, while the mid’s and high’s came through with the perfect amount of punch and discernibility that carried crisply throughout the festival grounds. 

Liquid Stranger started the weekend off proper with an OG dubstep set to close out Wednesday night, which ended up extending nearly a full hour beyond his designated cutoff time and allowed the early arrivers on Thursday morning a serenade of throwback wobbles, a magnificent treat for longterm fans of his productions. From that night on, love and togetherness seemed to be emanating from the ground, as Mulberry Mountain was encapsulated in a magical bubble for four October days and nights. With not a single moshpit in sight, at Wakaan you were quite likely to be greeted with a high five from a random passerby, or gifted a small token of appreciation like a sticker or pin (an occurrence that happened more times than I can count on both hands).

Even during Liquid’s final set on Sunday a titanic group hug in the crowd was performed, a true testament to the feeling that the weekend wasn’t an individual having a group experience, but rather a group having an experience through the perspective of an individual. 

While the conclusion of most festivals leaves patrons enthusiastic for a home-cooked meal and the ability to bathe on demand, the final hours of Wakaan Music Festival’  s debut year were pervaded with nostalgia and an already brimming anticipation for the next gathering of the Wakaan Family. 

Words by Alex Bell & Sam Lewis

Photos Courtesy of Derek Munthe and whatif.photgraphy

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The latest collars from the doghouse, Milano & EAZYBAKED, take a bite out of the swampy classic in their interpretation of Yheti’s ‘Crack the Window.’ A latent horn medley, unmistakable from the original tune, backed with the loyalty of ferocious barking presents the introduction to the remix, while a lingering interplanetary cyclone thunders relentlessly in the background.

The storm clears momentarily as the sensational whistling pattern rings through the commotion, toiling with it the nostalgic vocal loop from Mims’ one-hit-wonder ‘Why I’m Hot, which breaks crisply into an ensemble of echoing frequencies that seem to resonate seamlessly through every facet of your eardrums.

A birthday shoutout is in order for Milano, as this track presented a ‘reverse-gift’ to his fans on his special day. The Lost Dogz have more than earned their stripes as a stomping grounds for bass of the experimental variety and with talent such as EAZYBAKED & Milano leading the pack, there’s no telling what 2019 will provide.

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