![]() Much to my surprise, there is actually a silver lining to this album’s sense of emulation. Although its slightly darker undertones and various innuendos about sex and codeine are subjectively fun to listen to, $crim might as well talk about how many M’s he has in his bank account, because his voice and flow sound exactly like 21 Savage. Seven tracks later is “Bizarro,” which is pretty much a glorified love letter to 21 Savage. No matter the content, any group of lyrics can be manipulated by unique vocal dynamism and production value, but the entire song sounds like something off of a Trippie Redd project, boasting ironically upbeat instrumentals, heavy pitch shifting and depressed undertones. Not even three tracks into the album comes their clout manifesto titled “I Wanna Be Romanticized,” in which Ruby boasts about private planes, expensive cars and fancy homes. ![]() Between the catchy hooks, muffled beats and TikTok trends that have caught the world by storm, modern relevance in hip-hop is more about blending in than standing out.Īpparently, Ruby and $crim wanted a piece of the action themselves. The charts do not lie: SoundCloud rap sells. The way I see it, this new album is their effort to adapt to the viral popularity of the mumble rap scene. However, it is definitely odd for rappers of this caliber to hit a sophomore slump this far into their career. I guess a part of them did die in New Orleans, after all.ĭo not get me wrong, this LP does not make me any less of a $uicideboy$ fan. Despite my affinity for their previous breadth of work, “STOP STARING AT THE SHADOWS” serves as an anticlimactic departure from their trademark sound and dynamic lyricism. Following the Louisiana duo’s debut studio album “I Want To Die in New Orleans,” vocalists Ruby da Cherry and $crim of $uicideboy$ have certainly solidified their reputation in the horrorcore scene over the past couple of years. ![]() The boys are back with a brand new, full-length LP to kick off the new decade.
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