Album Cover via Vayda/Instagram
Miguelito is a senior reporter at Stone Turntable.
Itâs become a bit rote to mention because of its ubiquitous influence on science fiction, but The Matrix (1999) is still fertile ground for contextualizing the remnants of what we call âthe digital space.â That phrase is in quotations because itâs important to note crucial differences in our contemporary experience of the internet when compared to the Wachowskiâs portrayal at the start of the millennium. While the filmâs formal and set piece flourishes may never lose their potency, the spatial nature of the internet has been absent from most interactions with the technology since at least the early 2010s. The idea that you need a predetermined, physical location to access communication networksâlike the landlines and phone booths the characters use to plug in to the Matrixâis obsolete. Itâs a less potent image to link with a computer program that can kill you via Bluetooth. An obelisk-shaped plug, with visible wires and jagged metal, makes more sense and maintains an element of physiological horror that a small box you willingly carry around doesnât.
Some of the philosophical concepts that were mined from The Matrix in the last two decades have become even more sinisterly muddled. Setting aside the directorsâ encouragement to analyze the film in light of their closeted trans identity at the time of its production, itâs easy to see the ways in which their artistic vagueness led to co-option from the online far-right. âRedpilled,â the obvious one, isnât just a part of the internet lexicon used to describe waking up from âthe evil dream of wokeness.â For many itâs a shorthand for the loss of friends, family or community members to the embrace of reactionary politics. Other thematic considerations such as the nature of âcapital-râ Reality and perception havenât necessarily received the same treatment, but they do often deform into throwaway tools for the trite cultural critic or philosophy 101-level understandings that help feign intellectualism to coworkers or romantic interests.
Itâs been two months since Vayda, the Atlanta rapper-producer, dropped VAYTRIX, her twelfth project since debuting in 2021. As the title implies, sheâs using imagery from The Matrix as one component of VAYTRIXâs aesthetic milieu. The cover is a digital image of herself dressed like the seriesâ heroine Trinityâthough with noticeably more jewelryâthe background features the recognizable green binary code and a couple of the song titles are explicit references to characters in the movie (âlady in red,â âmorpheusâ). More compellingly, sheâs revived some conceptual utility from one of the filmâs popular, if stale, lines of dialogue. When Neo first loads into the training programs after being freed from the Matrix, Morpheus tells him that his appearance is the result of the âmental projection of your digital self.â Itâs fine to use that phrase as your launch pad and make some point about psychology or Buddhism or gnosticism, but Vaydaâs forays with regional genre conventions is an exercise in actually doing thatâprojecting multiple digital selves across her catalogueâand questions the possibilities and limitations of that framing.
Vayda teases subgenres more than she has her sound dictated by them. Sheâll employ a delivery reminiscent of Jenn Carter over a jersey club-drill chimaera from Noah Salem. Being from Atlanta, sheâs well-versed in plugg but will speed up the punch-ins more than someone like WiFiGawd or Tony Shhnow, who prefer to ski over tracks. (She can do that too, especially when she collabs with the artists mentioned) Itâs the distinctive flair and vitality she injects into subgenresâand her deliveryâthat allow her to get away with aging tropes. Saying sheâs âconning and scammingâ or riding âwith a pipeâ still sounds inventive and fresh. Thereâs evidence of her professed inspiration from HOOK, but Iâm more immediately struck by her debt to Young Thug.
On crowd favorite âprimadonnaâ from last yearâs Breeze, she douses herself in honey but tells us âdonât help me, just help the bear.â That lineâs immediately reminiscent of the content in Thugâs first verse on âHalftimeâ (âI like fish and water, Iâm a bearâ), parts of which are now enshrined in the official records of Fulton County. But thatâs secondary to the formal playfulness they share, following impulse to conjure tangential references. Vayda has a leg up in the sense that she can self-produce her multiplying âdigital selvesâ instead of collaborating out of necessity the way that someone like Gucci Mane and other Atlanta luminaries would lock-in with a single producer for a project. Power mapping her influences isnât necessary though. Vayda states plainly on her tape with ATTNWHORE earlier this year, âI do what I want, they be callinâ it art.â
If Breeze had the zephyrous quality it suggests, Forrest Gump dialed into an aggressive streak and Dawn was an exercise in self-relianceâleaning into Vaydaâs aptitude as producerâwhat âdigital selfâ is VAYTRIX playing with?
While Vaydaâs earlier projects have sharper edges, VAYTRIX smoothes out the contours. Thereâs a throughline that captures the initial appeal of her musicâhonest, propulsive, wittyâwhile dabbling in instrumental palettes more recognizable to the casual listener. Sheâs not so insular on VAYTRIX and thatâs reflected in the use of vocal features, which include MAVI, Zelooperz, Amindi & Na-Kel Smith. Thatâs not to say the sped-up sound that elevated her profile isnât present, with âchakaâ and âu still hereâ being the obvious examples. As she says on the latter track, âIâm going in spirals, my shit [creative arc] is not linear.â
Vaydaâs voice is noticeably less altered and spliced on this latest offering and sheâs more confident in it. In an interview with No Bells last year, Vayda noted that her extensive vocal manipulation was due in part to insecurities about the recording quality of her early projects. âThe songâs gonna go by so quick,â she says, âTheyâre not gonna notice all the flaws in the song.â Contrast that with her recent On The Radar performance of âafrovayâ, which sounds almost exactly like the album version of the song. Sheâs overcome that hesitation whether through higher quality equipment or something more personal.
Vaydaâs influences arenât as mediated by the internet on VAYTRIX and I donât mean that to disparage her previous work. Sheâs been open about her experience in marching band through school and how that led to her taking music more seriously. In a pair of commentary tracks released on her Soundcloud a few days after the albumâs release, Vayda tells how she molded the beats for âmisdemeanorâ and âskyy.â She discusses her love for Raphael Saadiq and Ahmad Jamal in describing how she found the skeletons for these instrumentals, but you can hear the marching band influence in the final product. Any group worth their salt could build a field show around the opening triplet of âmisdemeanor,â âafrovayâ and âskyy.â
Elsewhere on VAYTRIX we have âsi, si,â which features the same bilingual playfulness that catapulted Ambjaayâs âUnoâ in 2019, and the groovy âmorpheus,â which gives space for a wordy offering from Mavi that hangs like incense near the end of the album. The albumâs pinnacle though, if I may be so reductive, is âwhere tf beyonce atâ. It sits near the middle of the album like a hypnotic whirlpool. With lines like âsaid some real shit, now I got a carâ she reaches heights of relatability that the name-dropped pop behemoth can no longer attempt because of her distance from the average listener. Thereâs no need to mention the carâs make or model. (Vince Staples once said a Honda is still a foreign). Vaydaâs flexes feel reachable, more like getting the deposit for a class-action lawsuit you forgot about than hitting a $20k lick. Through all of VAYTRIX she maintains the blunt emotional clarity that characterizes her music. If before she presented it to her audience as messiness, now sheâs playing her cards straight.
I tried to find the link to the Vince Staples tweet where heâs talking about a Honda being a foreign, but itâs either been deleted or search engine tech has become so shoddy it couldnât be found. Thatâs indicative of an infrastructural problem affecting both historical records and contemporary artists like Vayda. The transient nature of digital media and the âghostsâ of artistic output feel ephemeral and that nothing sticks in the collective consciousness. Thatâs part of the reason why no publication with a âbroad reachâ (itself a troublesome framing) felt the need to review or do some small part to grease the wheels of reception for VAYTRIX.
The album is shortâjust twenty-four minutesâbut its brevity shouldnât dictate its reception and, for most of us, thatâs only an 1/8th of daily screen time. If we wanted to we could pinpoint specific institutions and people to blame, but thatâs not what this review is meant to encompass. In a better world, one where the artsâand their machinery of critical receptionâarenât seen as investment vehicles for the necromancy of private equity firms, Vayda and the rest of her musical cohort wouldnât be treated as assets that could lead to a payoff for vampires who drape themselves in abbreviated titles. What we do in the interim and how we engage with the struggle that defines reception, is still important.
In November of last year, Vayda supported Ocho Worldwide in Los Angeles for the release of his album Top of the World. At one point, a few songs into her set, she asked which song the crowd wanted to hear. Someone yelled âprimadonnaâ and, after considering it, she decided to perform âTEN,â to which the requester shouted, âThat oneâs good too!â That might be the best heuristic for presenting Vaydaâs music: list her tracks and say âThat oneâs good too.â