My profound admiration for Young Miko as this emerging star will never dissipate as the music she delivers rarely disappoints, even with some of the more skippable returns on occasion. I spoke positively in a piece I wrote last year, where I highlighted her artistry and explained why I loved the music so far; more importantly, I stressed why following her musical journey will be something special, and as someone who has been trailing, that specialness continues to shine with her debut album att. It’s a lavish surprise that expounds on the sounds heard with Trap Kitty and builds something new and different, giving fans a different side where she showcases more than what we’ve heard before. It isn’t all reggaeton or Latin trap, instead, she focuses on feeling authentic and not confined by the parameters of music to make more fun, but prevalent pop music. Like her whimsical R&B-Pop textures of the love song “Curita,” the enigmatic reggeaton flavored “ID,” and the House-centric flows of “Madre,” Young Miko is continuing to explore her horizons while also displaying a sense of identity, even when it comes with some minor rough edges.
Young Miko opens att with this boastful re-introduction where she places herself on this hierarchy of newcomers that have made a significant impact, i.e. what the Rookie of The Year is in sports. Aptly titled “Rookie of The Year,” Miko uses the first minute of the song to reminisce about her growth since “105 Freestyle” from a few years back through this sobering production that gets slightly elevated as it transitions in song to something that elevates the humbling nature into something more boastful and fun. The latter is more so a common trait of her music as it maneuvers and blends into other styles like “Wiggy,” which reminds me a lot of mid-2000s radio-play Hip-Hop that preceded the Trap trend; a time when Hip-Hop had little leeway to be experimental and popping simultaneously. Young Miko subverts that with her use of samples and her flows, making a highlight like the intro song, and songs “Curita,” “ID,” “Oye Ma’,” “Tamagotchi,” and “Tres Tristes Tragos.” These bring new tinges to the fray, giving us significant highs, even when the song-to-song transitions aren’t its strong suit, especially as it changes on a dime so frequently.
Lyrically, Miko’s music can tread through some familiarity with what has become known to be so for reggaeton music, however, her more sultry writing and directness add depth that is reminiscent of when Lil Kim burst on the scene with 1995’s Hardcore. She looks at these themes and situations through an LGBTQI+ lense without catering or succumbing to the contrived elements of reggaeton, making her songs more refreshing, like how with “F**k TMZ” and how she focuses on privacy as a public figure through a smooth but mild hip-hop beat, or when she’s flexing as it reflects her energy and style. Though one can feel that flexing is still flexing, the ingenuity behind flow and delivery with the beat can push it further. It’s evident with the following song “arcoíris,” where she opens the track getting down to the pussy lickety-split; Miko’s music is more than that, and as she assimilates different genres together, you notice that she’s a vocal chameleon. She isn’t a natural singer, but she knows how to let her range shine through what she can do and that’s what makes songs like “Curita” and “Tamagotchi” stand on their own.
Young Miko can rap, sing, and importantly, do so under different styles, like her more 2000s-centric hip-hop blend in “arcoíris” or the electric-crunk blend in “Princess Peach,” continuing to reflect some of that 2000s aesthetic. Though the aesthetic is focused and offers a refreshing insight into what is deemed retro for these new artists—since it’s becoming evident with this new generation, nostalgia has superseded the 80s and 90s—we’re seeing more of 2000s Eurodance, pop, and hip-hop/R&B, becoming more of an impactful influence. “F**k TMZ” has some of that vibe with its minimalistic percussion as subtle vinyl scratches and synths weave something more in tune with this directional flow constructed. “Oye Ma” blends some of that mid-00s reggaeton with modern trap, making something unique and original that builds arguments for someone to keep the album on a loop. I know I did, especially as the two preceding singles amounted to hype that met the levels expected. The singles being complete contrasts of each other made it something intriguing to look forward to and though debuts aren’t perfect, it’s there to sell you on an artist and whether you want more music from them; I can say it’s safe to say, this makes me want more and more.
Att isn’t transitionally fluid, with its constant production changes, but that isn’t as much of a hindrance as the music doesn’t always flounder—the floundering moments being “No Quiere Peliar” and “Offline,” which sound more surface layer to the genres it blends it incorporates, and the vocals can’t elevate them further than skippable; however, for the rest it has this kineticism that makes it a treat to return to. Additionally, with “Offline,” Feid doesn’t offer much to latch onto, despite having such a tremendous run recently. Though a slight negative, too, the pacing can be a slight deterrent as it goes by swiftly. It makes the album feel shorter than its 16-track/43-minute run time, and there is a part of me that wishes her BZRAP session became a hit for the album to occupy the space taken up by “Offline,” but that’s here nor there, as I evaluate based on what I got, and what I got was some significant highs. These faults are needed to show some humanity and humility and further show how raw and personal Young Miko can be, and it makes way listeners to return.
It’s safe to say Att is a fantastic debut that delivers in more ways than not. It does have its mild stumbles, but what debut doesn’t? It makes the album feel more human as you can tell what may have been flowing through their mind. I know Young Miko was crafting a lot with her producers and they come forth matching her quality of work exponentially. Give it a spin and let me know your thoughts, as its fortuitous highs are so significantly high and the lows are just washable forget-me-nots.
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