New Orleans hip-hop duo $uicideboy$ released their fourth album, New World Depression, on June 14th, 2023, via their very own G*59 Records. Featuring the duo’s signature Southern hip-hop sound, the album fills listeners’ ears with drug-slinging references and aesthetically appealing, hard-hitting Memphis trap beats. Their craft also inspires phenomenal horror-story landscapes. The duo has stayed true to who they are and remains consistent in their creative journey during New World Depression.
The Story of $uicideboy$
Ruby Da Cherry and $crim, the two rappers who make up $uicideboy$, initially bonded over their love for hip-hop as they were both struggling to make ends meet as a punk rocker and a DJ, respectively. They both looked up to Memphis legends Three 6 Mafia and their fellow gangster rappers in Cleveland’s Bone Thugs-n-Harmony.
To anyone who knows this history, there is a clear stylistic thread between the bands, and few have carried the gritty sound of southern rap better than $uicideboy$. Though critics might say they are an unoriginal pastiche, they have continued to develop their Memphis-inspired sound and have proven themselves to be masters of the burning light they were born out of throughout New World Depression.
$uicideBoy$ Show Respect To Their Roots On New World Depression
New World Depression features popping and dark horrorcore trap beats, typical of $uicideboy$ discography, but this time around, the beats crack a little bit more. Budd Dwyer & Sam Bo Bachrack produced the album, and they carry their musical experience across the whole album. “The Thin Grey Line” opens with a classic triplet hi-hat, focused mid-low drum-machine kicks, and glistening electronic pianos. The mixing is un-muddled, professional, and colorful. Ruby Da Cherry’s verse opens the track: “I-I-I feel like Princess Peach, rose gold on my Mercedes / Rose gold on my *****, lookin’ like her name Mercedes / I need a ho who down, one who’ll ask, ‘What up, ladies?’ / Switched out the friendly smile with a face that reads, ‘**** you, pay me.’”
$crim finishes the track, “When they bury me put the scripts (prescription drugs) in my jacket / **** in my casket, think I need four?” He builds on the album’s theme of drug use and street culture in “Mental Clarity is a Luxury I Can’t Afford.” He raps, “Crushing 911’s boy I’m feeling like Osama / Underground Obama, my .44 give a speech.” By referring to himself as Osama Bin Laden, $crim furthers the duo’s legacy of using dark and horrifying imagery, a staple to their horrorcore roots.
Their lyrics are often musically complicated and lyrically simple, but not to a detriment. They fill up their tracks with classic Memphis triplet flows. In “Thorns,” Ruby raps, “Hate on suicide, but we all know that you stan it / The way I played the hand, that I was dealt you’d think I’m Gambit / Holdin’ up the five-nine skull like I’m Hamlet.” In standard rapper fashion, these lyrics flex Ruby’s confidence in his skills. The album features much of this survival sense. The duo tells a story of two young men protecting what’s crucial to them, whether it be their rough-and-tough lifestyle or the people essential to their empire: G*59 records and all the people on their team.
Conclusion
$uicideboy$ does not seem too concerned about camaraderie. Most of the songs on New World Depression reveal that their primary interest is gritty lone-wolf survival instincts. Their songs are concerned with living true to who they are and getting what they deserve: money and achievement. The album is imperfect, with many tracks sounding repetitive or shallow, but that’s not the point. Instead, $uicideboy$ shows up to work as hustlers sophisticated in street culture. They are honest and straightforward, and that’s all that matters regarding quality music.
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