MusicYunk Vino opens his heart in a sentimental mixtape: ‘I’m leaving my diary public’One of the main Brazilian trap artists, part of the label Labbel Records, Yunk Vino reveals several facets in the second part of MADtoday at 07:00

Throughout his career, Marcos Vinícius Albanobetter known in the trap world as Yunk Winebecame known for his synthesizer-laden songs, lyrics about ostentation and drugs, but decided to show a more personal side in his last two major releases, the two mixtapes of the project My Daily Friend (MAD).

Born on June 7, 1997, he was raised in CarapicuíbaMetropolitan Region of São Paulo, where he formed his taste for music. Rap came later to Vinowhose first contact with songs happened through MPB (Brazilian Popular Music) and gospel music thanks to family.

“My grandparents sang a lot, my grandfather played a lot of instruments – guitar, piano, keyboard and a few others,” he recalled in an interview with Rolling Stone Brazil. “My relationship with music started from there, from a very young age.”

His first contact with instruments was at the church’s Sunday school, when he learned to play the drums and began to understand a little musical theory, how some musical elements worked. As a teenager, he formed a rock band in which he played guitar. When he was 19 years old, he entered the world of rap, with rhyme battles.

Nowadays, I play no instrument and I don’t add it to my music, but I have a say in the production part. I’m going back to making beats, so I’m kind of in tune with that world too, but without playing an instrument. I won’t even lie

Below, read the full interview that Yunk Wine granted to Rolling Stone Brazil:

You released the MAD 2 mixtape in August. What was the creative process like for this album? How did it get off the ground?
Well, since the last My Friend Diary I’ve been thinking a lot about how music works like a diary for me and several other friends who work use it as a way to vent. A psychologist, so to speak. Since 2023 I saw that it was good for me to be a little more personal in my art, trying to talk a little about things that we often can’t communicate well or have a little difficulty and blockage.

Thank God, since the last project until now, it’s been working well, my head is helping me try to make songs where I can vent and make it easy for the public to understand.

Did the release of Meu Amigo Diário, Vol. 1 – MAD impact this new release in any way? How do they talk to each other?
It’s as if the first project was some journal pages and the second was added sheets. It’s as if they were one book, after all, it’s only divided between ‘volumes,’ so to speak.

Volume 1 was responsible for the public starting to understand what they wanted to do, what would come next and next steps. I had to get the public used to it, somehow, to understand a little of the idea so they could start to see it with a little more affection and understand that it is often a lighter project, of trying to identify with each other many times, because it has a lot of songs and vibes. different areas where we cover a lot of things.

So there will be a song that will be more party, more playful… there will be others that will be more serious, involving, perhaps, a friendship of yours that you had a connection with, you don’t talk about anymore. More intimate things in life.

His studio albums have diverse themes, but these two mixtapes have more introspective subjects. What’s it like to look more at yourself in these songs and put this “diary” out into the world, without it being something private?
I think it takes a while for you to find a way… I’m making my diary public, so I need to leave it in a way that the public can understand me, identify with me and that it doesn’t become too heavy, because there are people who use diaries to vent so much that ends up forgetting to include the good things, and leaves very heavy things, which are nice to address, but I don’t know to what extent.
I try to take a little bit of everything, in a calm and light way, so that the public doesn’t get confused. bad When you listen, don’t be like, “Wow, my God. True, life is so bad!” No, man, life is good, we just need to change our point of view sometimes.

You are also part of the Labbel Records team. How is your relationship with the record company? What does having a company supporting you add to you as an artist?
This is essential. I see them as a family in many ways. I see that I learned a lot from them over time. In my first contact with them I was able to understand and learn a lot about the industry and my career. How I was going to have to behave with what I was going to have to do. Things that are really important and what are not so important.

I am very grateful for them, for everything they show me, teach me and everything that encompasses the boys. Without them, my career would be very different, it wouldn’t be as mature, as serious, at this point where we are. Thank you in advance. Thank you very much, Labbel Records, thank you very much, Boogie Naipe, you are unique, there is nothing to say about you.

Rap in Brazil has always been very influenced by what comes from the foreigners, whether in terms of themes or visuals, especially trap. How do you bring Brazilianness to this genre?
Nowadays, the music market is so hot, there are so many things and so many new things. Sometimes it’s even a little difficult for you to try to do something different and original – while at the same time being able to show who you genuinely are, without making a copy of someone or something.

It often happens naturally that I do the same. When I started making music there was this thing about mixing English with Portuguese in some phrases, but it wasn’t used so well in the rap that was coming. This was one of the points that perhaps the public found different in me, they had an affection for the way I did it, for the words I often used. Like, people had never heard that word and with that they started looking for other words and understanding a little more of my vocabulary, of what my aesthetic is.

The other things just flowed naturally, I can’t even say what I do differently than other people. I simply am me and I make music the way I think it needs to be, especially because I’m deaf in one ear, I think I have fewer audio references than other people. So who am I to say anything.

Three years ago, you made a collaborative album with MC Igu. What was it like sharing work with another artist?
Bro, it was really crazy, it was really good. And I’ve always been a fan of Igu, he’s always been a guy who, musically, I looked at and said: “Wow, this guy here is different. He really knows how to do trap.” So, when we linked up to make this collaborative album, for me it was kind of unique to have an experience with him, several experiences over days, weeks, months… so much so that nowadays we are quite friends, I see that A lot of this friendship was thanks to the mixtape, how much we had to live together.

I got to know a lot about the person he really is, and that made my affection grow even more. He is a sensational artist. Working collaboratively like this with an artist to build a mixtape, something a little bigger than a single, demands a lot from both. You need to understand each other, respect each other throughout this process… the ideas are still kind of linked, because I think that in the midst of this there is a chance that the process will get lost, that we will each want to make a mess and kind of clash.

But thank God with Igu it was very good. It’s a connection we have musically.

Speaking of partnerships, tell us a little about how you came into contact with Ryu, The Runner and Alee on MAD 2.
Well, in relation to the participation in MAD 2, it took a while for me to understand who I wanted to feature, who I had to invite. Lately Ryu and I have been working on a lot of tracks, which really fit together. The public accepted it very well. The reception at the show is also very good. Seeing all this, it was a time to be with him. It was very good for both me and him. This is necessary. It’s coming in an aesthetic that matches mine a lot too.

Alee is someone I’ve had some experiences with and it never resulted in music. It has always been an experience of life. And we always had this thing like “we need to make a song, bro!” Our vibe matches, people ask for it, but we never had a good time. This year we even had a lot of coexistence in the studio, we managed to do a lot of things, each understanding a little of what the other was doing. This time it went well and it was the right moment for both things.

Coincidentally, in a Volume 2 (this time it wasn’t yours), you did “Purple Rain” with Duquesa. The song was one of the main songs, at least in terms of numbers, on her album. I interviewed her before she released Taurus, Vol. 2 and she was super complimentary of you and everything. I wanted to know what this partnership with her was like and how you see the success of the song. Do you plan on continuing in this style?
The music itself sometimes surprises us, because we often hear a song and don’t think it will have the proportion it ends up having. This song with the Duchess, unlike “GEMINI,” we had a good look at her, but I didn’t imagine she would walk as well as “GEMINI,” but it’s good that people have affection for her, they’re embracing her nicely , enjoying and listening a lot.

I also want to thank the Duchess for inviting me to this song. Both “GEMINI” and this one. Even though they are very different, I think the ideas and vibes are linked. Her rap is a little different from what I do, but when it comes together, it fits. It’s a good combination.

In MAD 2, I noticed that you turned down the autotune a lot. Did this more intimate approach cause this? How do you approach your sound in that sense?
Worse than not. I tried to try some things in some songs, so there will be music that you will feel more natural, a voice maybe cleaner, cleaner, and there will be another one where my voice is in a totally different pitch, very modified, with a kind of crazy texture . So there’s a little bit of everything and I think people will notice that I wanted to experiment a little, but without deviating from what I do. Without going too crazy.