“Yacht Rock 2” is your underground hip hop album of summer 2023

Any hip-hop head would attest to The Alchemist’s, or Daniel Alan Maman’s, borderless sounds of production. The beatmakers’ knack for sampling, from instrumentals to features to snippets of real life, creates a world in your headphones begging to be explored. Spend this landlocked summer on a yacht with Benny The Butcher, Action Bronson, Westside Gunn and so many more musical figures while discussing the luxuries of yacht life. Thanks to The Alchemist, welcome to a summer of floating hotels and sand castles.

Released in late August of 2019 with a run time of just over 23 minutes, Yacht Rock 2  holds its own in The Alchemist’s well of a discography. “Ocean Prime” stands as the producer’s second most popular song on Spotify despite the ten-plus full projects released since then. 

Like any true yacht club, the album begins with an “Exclusive Vibe (Intro)” building layers of yacht-praising samples over smooth reassuring saxophone riffs, fit for any ocean cruise. “We dare your jaw not to drop,” a woman’s voice teases, “when you see this next mega yacht.” Vocal samples swirl in disorienting fashion with dreamy effects, low bass lines, and clearly intentional volume ebbs and flows. 

The Alchemist’s mastery shines through with seamless transitions across the project, pulling listeners into the hazy daydream under the incessant ocean sun. Any intention to listen to just one song off the album quickly slips away as tumultuous layers of tropical sound lay heavy over both mind and body. 

Photo by Stephen Vanasco.

Despite the air of wealthy relaxation and careless joy blending into track two, “Uptown Aquarium” the tide swiftly shifts, with the first mention of sharks. Big Body Bes, who swims with sharks, describes his own genesis with gumption. Raised in an aquarium, Bes explains his birth from the sand at the bottom of the ocean. “I was born drownin in sin.” Bes declares, “no life jacket can save me.” 

Though each feature brings its own spice, Bes seems to set the tone that continues throughout the project. A surprising reference to The Jungle Book is perhaps an allusion to his childhood, or a reference to the complex relationship between humans and nature. At the very least it serves as a striking fourth wall break, tying the verse back to the reality in which many of us will not spend much time on yachts. 

Smooth jazz hitches with an ear-catching sample, “Sharks out here boy,” calls a voice over the ocean wind, “Protect your feet!” This progression continues with staccato notes and light drums pulling the instrumentals out from the original heavy swirling lines that began the album. Aligned with the change in sound, “Tropical Storm Lenny” moves into a fuller discussion of the animalistic cycle of life. Bronson observes chum inside the water that he can “sense like a shark.” In response, a sample describes men feeding chum to the fish, who are then caught and consumed. In stark contrast, a brisk voice mentions the extensive yacht luxuries present floating above this eat-or-be-eaten world. “If that isn’t enough, why not add a helicopter,” he says astounded. 

Leaning into a more funky sound, “Sex in the Fountian-Bleu” continues with the material discussion. Descriptions of luxury are a golden thread throughout the project. Visions of handcrafted velvet, boat shoes, moccasins, paisley swimming trunks. Gangreen even claims to “rock a fez like a sultan, it’s spiritual.” These mentions bring textural visuals and remind the listener of the international wealth accessible when the sea is your home.

Seagulls whine in transition as “Stugots” builds with seasickening motions. Further exposition of the grandeur is met with an acknowledgment of the captain and the community on sea radio. “He knows them well… and yet he will hardly ever meet one of them face to face.” Perhaps this recognition can be seen as an allusion to a producer’s seat at the head of a project. Manning all the intricacies and putting in endless hours for the collective to benefit. Some producers remain in the shadows, The Alchemist however draws attention to himself, whether it is truly intentional or not. 

Photo Courtesy of The Alchemist on Facebook.

This reference to the captain, who by some would be ignored in their obsession with the boat as a showcase of wealth, serves as another touch back to reality. In addition to the enjoyment listeners get from this unique immersive hip-hop experience of “yacht life” transcribed into music, a more serious cultural move can be seen in this project. The Alchemist presents a revolution in this specific genre of wealth. Generally yacht culture, which is gate-kept by old white money, is taken on and described by a collection of underground hip-hop artists to whom it is unlikely the average yacht owner would show appreciation. 

Passionate horns writhe as the album continues. “Boat shoes” then finishes with three intriguing samples, one a panicked and fiery rant about how the world is falling into violence and the average person hides rather than does anything about it. With a crashing wave, the calming voice of a captain assuring that “no storm can last forever” and finally the recurring female reporter stuck in a seemingly endless loop “which is very unusual.”

Terse verses continue, showcasing each rapper’s vocabulary and descriptive powers. Underlying suspicions weave through the confident assertions of their worth. Each song builds and flows with the cruise theme, showcasing the individuality of expression and experience like The Alchemist does so well. “You think they want me on the yacht?” echoes across the otherworldly jazz soundscapes.  

Mentions of sharks are persistent throughout the album. Vocalists touch on anything from albatross to stingrays, sea bass, orcas, to whales. This presents a clear understanding that the ocean is something full of life, both the peaceful and the dangerous. 

As the project comes to a close, “Billy Dee” advises listeners and further secures its exclusive status before winding down with a quick turn. Suddenly the track is overcome by instrumentals. Hypnotic flute over misty melodies brings the album to a close with “Flying Hotel (Outro)” as the project’s calmest song. 

For a deeper ocean cut, look to LULU, where Conway the Machine and The Alchemist tell stories of the trenches over haunting beats.