For decades the bright lights of New York have drawn artists to its storied city streets — those
seeking their tribe, those looking to solidify their identity, and those hungry for inspiration and fresh
encounters, all there for the taking on this new, broadened horizon. And now 26-year-old Ryan
Kaiser has joined those ranks, moving from Nashville to Brooklyn, at the tail-end of 2022. Except,
unlike so many who have come before him, Kaiser’s already made a name for himself creating
daydreamy, sun-blasted, Polaroid-pop as Yot Club.
With Yot Club’s second full-length, Rufus, Kaiser is expanding his sonic palette and challenging his
own established modes of music making by letting collaborators in. The record includes co-writes
with the likes of Tommy English (Carly Rae Jepsen, Kacey Musgraves), and singers Charli Adams and
Harrison Lipton, with Patrick Wimberly (Lil Yachty, Joji, Blood Orange, MGMT
) on mixing duties, and the result is a collection of songs that sounds bolder and brighter. From the
shimmering surf-pop of opener “Stuntman,” to the minor chord angst and quiet-loud-quiet pulse of
“New Day,” to The Strokesian swoon of album closer “Lazy Eyes,” Kaiser lo-fi hooks have a new
cinematic scope.
But let’s rewind to 2019 when his music first captured the ears and imagination of listeners thanks to
the song “YKWIM?” off his Bipolar ep, one of three EPs he released that year alone. Newly graduated
and still living in his college town of Hattiesburg, Mississippi, it was a pivotal year for Kaiser.
Seemingly out of nowhere the streams on “YKWIM?” started climbing: 500k streams a day soon
ballooning to a million. Unbeknownst to Kaiser, his song — which is now 2x RIAA Platinum — had
become a go-to sad song for nostalgia-centric TikToks. The virality didn’t stem from a dance craze. It
was about a vibe.
The knock-on effect was every major label came calling, but for Kaiser, signing his music away for 25
years in exchange for an non-recoupable advance was a hard no. Ultimately, Kaiser signed with
Amuse, a distro company-turned-label, where he retained ownership of his masters and gained their
full support for his vision. Kaiser followed 2020’s Nature Machine EP with 2022’s Santolina EP, and
then, in 2023, he released his debut album off the grid and the EP amateur observer. Not to mention
a ton of loosies including “LAUREN” with spill tab, and “Safe House” with Jordana, releases which
underscore his newfound explorations in collaboration.
Nostalgia is an oft-used descriptor too, but it’s one that Kaiser’s unafraid to lean into — “I don’t like
anything that sounds like it was made now,” he notes — with his own song titled, “Nostalgia,”
ringing out like the perfect soundtrack to a movie montage directed by John Hughes (with just a
pinch of The Postal Service). And then there’s “Drowning,” written with Charli Adams, where
Kincaid’s razored guitars recall Bloc Party. With production credits including MGMT, Solange, and Lil
Yachty’s latest LP, Patrick Wimberly mixing brings a different dimension to Yot Club’s sound.
There’s an economy to Kaiser’s songwriting, a feel-it, sing-it straightforwardness that cuts to the
meat of the matter, with his titles often providing the jumping off point, like lead single “Pixel.” With
its ticking urgency and cascading guitar line, it was written and recorded in two days with producer
Tommy English, and features Kaiser on live, looped drums, with additional slide guitar. “That song’s
about getting caught up in your own life and technology in relation to self-importance and how you
see yourself,” offers Kaiser. “It’s never been harder to appreciate your own circumstances than it is
today because you can play the comparison game. It’s a complicated dynamic: the people whose
lives look the best can often suck, ’cos why else would they go to such efforts to make it look like their
lives are great!”Then there’s “Human Nature,” written with artist Harrison Lipton, who also plays in the band
MICHELLE and happens to live down the street. Written and recorded at Lipton’s parents’ 100+ year-
old Connecticut house, Kaiser describes it as a driving-down-the-Pacific-Coast-Highway kind of tune.
But those sunny sonics belie the melancholic inevitability of so many splits: the lover you spent every
day with can eventually turn into someone you don’t recognize at all. “This album is not meant to
serve as an eloquent story where there’s characters and side characters and betrayal and
heartbreak,” he says. “It’s just 13 separate episodes that restart and don’t necessarily match each
other, but I wanted to give it a character to wrap it all together.”
Rufus is not exactly Ryan Kaiser, but these snapshots capture the essence of his experiences: a bad
relationship and fresh realizations; leaving it all behind to try and find footing in a shiny new city that
maybe isn’t exactly the imagined, mythologized creative utopia. It continues Kaiser’s coming of age
— looking back, picking it all apart, trying to work it all out, and constantly pushing forward.
For decades the bright lights of New York have drawn artists to its storied city streets — those
seeking their tribe, those looking to solidify their identity, and those hungry for inspiration and fresh
encounters, all there for the taking on this new, broadened horizon. And now 26-year-old Ryan
Kaiser has joined those ranks, moving from Nashville to Brooklyn, at the tail-end of 2022. Except,
unlike so many who have come before him, Kaiser’s already made a name for himself creating
daydreamy, sun-blasted, Polaroid-pop as Yot Club.
With Yot Club’s second full-length, Rufus, Kaiser is expanding his sonic palette and challenging his
own established modes of music making by letting collaborators in. The record includes co-writes
with the likes of Tommy English (Carly Rae Jepsen, Kacey Musgraves), and singers Charli Adams and
Harrison Lipton, with Patrick Wimberly (Lil Yachty, Joji, Blood Orange, MGMT
) on mixing duties, and the result is a collection of songs that sounds bolder and brighter. From the
shimmering surf-pop of opener “Stuntman,” to the minor chord angst and quiet-loud-quiet pulse of
“New Day,” to The Strokesian swoon of album closer “Lazy Eyes,” Kaiser lo-fi hooks have a new
cinematic scope.
But let’s rewind to 2019 when his music first captured the ears and imagination of listeners thanks to
the song “YKWIM?” off his Bipolar ep, one of three EPs he released that year alone. Newly graduated
and still living in his college town of Hattiesburg, Mississippi, it was a pivotal year for Kaiser.
Seemingly out of nowhere the streams on “YKWIM?” started climbing: 500k streams a day soon
ballooning to a million. Unbeknownst to Kaiser, his song — which is now 2x RIAA Platinum — had
become a go-to sad song for nostalgia-centric TikToks. The virality didn’t stem from a dance craze. It
was about a vibe.
The knock-on effect was every major label came calling, but for Kaiser, signing his music away for 25
years in exchange for an non-recoupable advance was a hard no. Ultimately, Kaiser signed with
Amuse, a distro company-turned-label, where he retained ownership of his masters and gained their
full support for his vision. Kaiser followed 2020’s Nature Machine EP with 2022’s Santolina EP, and
then, in 2023, he released his debut album off the grid and the EP amateur observer. Not to mention
a ton of loosies including “LAUREN” with spill tab, and “Safe House” with Jordana, releases which
underscore his newfound explorations in collaboration.
Nostalgia is an oft-used descriptor too, but it’s one that Kaiser’s unafraid to lean into — “I don’t like
anything that sounds like it was made now,” he notes — with his own song titled, “Nostalgia,”
ringing out like the perfect soundtrack to a movie montage directed by John Hughes (with just a
pinch of The Postal Service). And then there’s “Drowning,” written with Charli Adams, where
Kincaid’s razored guitars recall Bloc Party. With production credits including MGMT, Solange, and Lil
Yachty’s latest LP, Patrick Wimberly mixing brings a different dimension to Yot Club’s sound.
There’s an economy to Kaiser’s songwriting, a feel-it, sing-it straightforwardness that cuts to the
meat of the matter, with his titles often providing the jumping off point, like lead single “Pixel.” With
its ticking urgency and cascading guitar line, it was written and recorded in two days with producer
Tommy English, and features Kaiser on live, looped drums, with additional slide guitar. “That song’s
about getting caught up in your own life and technology in relation to self-importance and how you
see yourself,” offers Kaiser. “It’s never been harder to appreciate your own circumstances than it is
today because you can play the comparison game. It’s a complicated dynamic: the people whose
lives look the best can often suck, ’cos why else would they go to such efforts to make it look like their
lives are great!”Then there’s “Human Nature,” written with artist Harrison Lipton, who also plays in the band
MICHELLE and happens to live down the street. Written and recorded at Lipton’s parents’ 100+ year-
old Connecticut house, Kaiser describes it as a driving-down-the-Pacific-Coast-Highway kind of tune.
But those sunny sonics belie the melancholic inevitability of so many splits: the lover you spent every
day with can eventually turn into someone you don’t recognize at all. “This album is not meant to
serve as an eloquent story where there’s characters and side characters and betrayal and
heartbreak,” he says. “It’s just 13 separate episodes that restart and don’t necessarily match each
other, but I wanted to give it a character to wrap it all together.”
Rufus is not exactly Ryan Kaiser, but these snapshots capture the essence of his experiences: a bad
relationship and fresh realizations; leaving it all behind to try and find footing in a shiny new city that
maybe isn’t exactly the imagined, mythologized creative utopia. It continues Kaiser’s coming of age
— looking back, picking it all apart, trying to work it all out, and constantly pushing forward.
