When you go to a festival like SXSW, one of the things you’re always hoping for is that moment when you unexpectedly come across a new talent. It doesn’t always happen, but when it does happen, it’s special. It didn’t happen this year, but in 2011, J-Live’s turned the stage over to a young emcee by the name of YC the Cynic for part of his set. Most of the time, when I see an artist as young as YC (still not old enough to drink), I spend most of my time frustrated, thinking of all the things that they still haven’t figured out, whether it be their flow, or shifting the focus from style over substance. When YC hit the stage and did his mini-set, I thought about his age for about a second, and was just able to enjoy a great couple of songs from a young man who was performing like a much more seasoned artist. His mixtape, Fall FWD, released last year, confirmed that this performance was no fluke. I knew I needed to keep an eye on him.

Following up even a small amount of buzz can be difficult, especially when you’re young and still establishing identity. With the release of Good Morning, Midnight, an EP done in collaboration with producer Yuri Beats, a fellow New Yorker, YC is able to build upon his success. The first thing to note about Good Morning, Midnight is how good the chemistry is between Yuri Beats and YC the Cynic. It’s not an EP with huge hits or obvious hooks, but Beat’ production is so musically intricate and full of subtle developments, with great re-appropriations of interesting samples, it really encourages YC to rise to the challenge, which he does. Beats includes samples of artists like tUnE-yArDs and TV on the Radio, but uses them in such a way that moves beyond novelty, and you’re able to loose yourself in the music without getting caught up on the source material. Even a song like “Brain Stew 2012,” which borrows the chord progression from and uses lyrics from the Green Day song, completely stands on it own. This is largely due to the way in which Yuri Beats fleshes out the song, with great organ and piano work, really funky drums, and the use of a slowed down voice on the chorus declaring, “At night I can’t sleep - I toss and turn.” It’s also due to the way that YC transforms the lyrics of Billie Joe Armstrong with a little expansion of his own words, but mostly through delivery. While Armstrong still crutches on delivering his vocals in the fashion of a bratty punk teenager, YC’s intimate and gentle delivery do a much better job of communicating the feeling of insomnia. He shines on the rest of the EP as well, delivering lyrics that do a superb job of discussing intimate feelings of pain, disappointment, heartbreak, joy, strength, peace, and whatever else life deals him. A song like “Shut Up!” could have become petulant and bratty and sexist in the hands of many other artists his age, but YC gives us a much more mature breakup song, taking us through the confusing whirlwind of emotions that happen at the end of a relationship. “Rude Boy Jamaican” gives us a peek at how his background helped shape him, from the angst he felt at his father for leaving and the strength he found in his mother, and how music gave him an outlet to express himself.

Good Morning, Midnight didn’t blow me away upon first listen, but it did get under my skin and quickly grew on me. There’s so much to like from YC and Yuri, who take us on a really complicated and nuanced journey over the course of just eight songs. I can’t wait to see where YC the Cynic goes from here, but I’m perfectly happy with what he’s given us right now.