$uicideboy$

September 4, 2017 at PDT

For the Last Time - Single

1 Trackfalse

January 25, 2016 at PST

Antarctica - Single

1 Trackfalse

July 28, 2022 at PDT

Sing Me a Lullaby, My Sweet Temptation

With great fame comes at least a few nitpicky fans, and $uicideboy$ were keenly aware of this when they dropped their third studio album, Sing Me a Lullaby, My Sweet Temptation. Toward the end of the 2022 LP, $crim and Ruby da Cherry address their disgruntled listeners in typically sardonic fashion with "$uicideboy$ Were Better In 2015," the title nodding at social media complaints about how their music didn't stack up to their older stuff. The song sees them revisit themes of suicide and drug use, but now, having embraced sobriety, they aren't eager to stay in the past. And Sing Me a Lullaby, My Sweet Temptation—with its distortedly surrealistic soundscapes, playful introspection, and agile flows that never grow stale—offers plenty of reasons for folks to join them in the present.

As with other releases, $crim and Ruby have no problem taking their demons for a dance, with the former giving them an inventive soundtrack. The opener, "Genesis," features a sample from a pinball videogame and a classic Ruby couplet that's as funny as it is profound: "I climbed to the top just to see how far down I would fall/Looked up at the heavens and thought it looked small." Elsewhere, on "Escape From BABYLON," the two imbue the kinetic energy of classic 808 cowbells with a fraught rumination on romance, connecting Memphis street rap aesthetics with an exceedingly relatable premise. The eclecticism doesn't stop there. With "Unlucky Me," they combine SWV vocals with more frenetic Memphis percussion for a playboy's joyride.

Freewheeling but technically precise, imaginative but rooted in the duo's tradition, Sing Me a Lullaby features all the magnetism of their best releases. On "Resistance Is Useless," $uicideboy$ once again address the fans foolish enough to think they'd abandoned their essence: "Still in that 7th, ain't nothing has changed/Still wearing FTP fits to the grave/Still f*ck the fame, f*ck the pressure and pain/Only thing changed is I cut off my mane."

13 Tracks

September 6, 2018 at PDT

I Want to Die in New Orleans

It would take a group called $uicideBoy$ to pen a love letter to their hometown and call it I Want to Die in New Orleans. The duo—cousins Suicide Christ and Ruby da Cherry—maintain that their music is an outlet for their darker, depression-driven impulses, but their appreciation for The Big Easy (along with scuzzy pop-punk vocals and mid-’90s, lo-fi Memphis rap) shines through on the first major release since their Kill Yourself series of EPs in late 2017. NOLA references are less Easter eggs than ornaments: The bass-heavy “Krewe du Vieux” honors the Mardi Gras parade of the same name, while “Carrollton,” which features an intro from Three 6 Mafia’s Juicy J, is named for an uptown neighborhood. The beat for “Coma” is built from a sample of Memphis legend Playa Fly’s “Kreepin Out Da Kut,” and the album’s interludes come in the form of local news clips about city-specific tragedies, like when the levees broke.

14 Tracks

June 13, 2024 at PDT

New World Depression

Say what you will of their notoriously unruly behavior, $uicideboy$ fans know how to leverage collective power. The loyal cohort helped catapult the New Orleans duo’s cathartic emo-trap to a first official album debut within the Billboard Top 10. They’ve also come down hard when $uicideboy$’s menacing dirges for drug binges and depressive episodes past don’t meet expectations. On New World Depression, $crim and Ruby da Cherry’s first full album since 2022, the cousins address this doubt and dedication in equal measure, introducing newly measured textures to outline the long journey from a dark-sided fast life to international success.

Sobriety has only synthesized $uicideboy$’s perspective on drug dependence and depression. That personal progress leaves these 13 tracks more meditative than ever, despite the bacchanalia still simmering on the back burner. Triplet flows and pounding 808s link the different moments across this record, but $crim and Cherry find new pockets to play in, maintaining a thread through their work without tweaking a style until it frays. “Are You Going to See the Rose in the Vase, or the Dust on the Table” channels the joy of Southern icons Big K.R.I.T. and Kevin Gates, while “Us Vs. Them” clatters and cascades through all the movements of a jazz symposium, the kind that lays $uicideboy$’s New Orleans heritage thrillingly bare.

$crim’s new beats still favor classic Memphis flows rejuvenated in post-2010s cloud-rap sound baths. But his elegant touches on New World Depression still allow for playful experimentation, moments where Ruby da Cherry or $crim take unexpected leaps to tumble through vignettes recalling near-death nadirs and cloud-nine career highlights; $crim even throws in a snippet from a news interview with a confessed serial killer. With no features and just one remix, $uicideboy$ stick to what they’ve learned over a hard-won decade in the scene on New World Depression—and cook up something entirely new in the process.

13 Tracks

July 21, 2016 at PDT

Radical $uicide - EP

5 Tracks

June 14, 2015 at PDT

High Tide in the Snake's Nest

From the time they dropped their first EP in 2014, $uicideboy$ have specialized in colorful fatalism. Attacking Three 6 Mafia–inspired soundscapes with a barrage of athletic flows, the duo of $crim and Ruby da Cherry have flaunted a knack for bleak yet inventive quips to describe their suffering and their resignation to it. The flippant spirit imbues the whole of their discography, but it is especially pulsating on High Tide in the Snake's Nest. Here, the duo wraps subtly devastating images in wry humor and sinister production fit for a graveyard trap house. With spurts of Bone Thugs-n-Harmony-esque melody and all the ominous sounds fans had already come to expect, it's an immersive experience coated in irony and mania.

Situated between existential dread and an exhilarating thrill ride, the mixtape begins with "Diemonds," which sees Ruby planning his suicide while $crim reflects on his commitment to drug abuse. "Rehab's for quitters and I don't give up," $crim raps over some synthy atmospherics that feel plucked straight from Minecraft. The unfortunate, grimly funny bits don't end there. For "Ugly," Ruby raps that his slit wrist is the same color as a red Corvette. The sonics only enhance the all-around depravity; the beat is a Frankensteinian collision of eerie keys and samples from Nas' "Made You Look" and "Life's a Bitch." It sounds like an emo "Boyz-n-the-Hood."

While there's a consistently haunting aesthetic to the album, the beats feature splashes of the unpredictable. “Mannequins Are My Best of Friends” features creepy flourishes of New Wave. Meanwhile, the $uicideboy$ themselves alter their cadences and vocal approach so nothing ever feels monotonous; nearly every version of $crim and Ruby dwell within the confines of High Tide. Songs like "Fake Pontchartrain" see them veer into codeine-drenched Auto-Tune, while their Pouya-assisted "$outh $ide $uicide" features their typically percussive flows. It's a shapeshifting affair that works to evoke either frenzied aggression or the unsettling isolation that comes with troubling thoughts.

10 Tracks

August 10, 2023 at PDT

I No Longer Fear The Razor Guarding My Heel (V) - Single

The duo of Ruby da Cherry and $crim (or whichever fanciful aliases they’ve happened upon lately) have gotten lots of mileage out of nihilism over the years, reconfiguring ’90s gothic trap for a new generation of hip-hop heads who favor the morose. Their sixth EP of 2023 doesn’t reinvent the wheel—the gorgeously melancholy beats, lyrical preoccupations with addiction, and songs titled like bleak haikus (“A Little Trauma Can Be Illuminating, and I’m Shining Like the Sun”) are all familiar. Still, here and there, something like acceptance creeps in through the cracks. “Not Even Ghosts Are This Empty” begins with sampled dialogue from the movie Troy: “The gods envy us because we’re mortal, because any moment might be our last. Everything is more beautiful because we’re doomed.”

3 Tracks

July 31, 2015 at PDT

I No Longer Fear the Razor Guarding My Heel - Single

3 Tracks

February 12, 2020 at PST

Stop Staring at the Shadows

Leading up to Stop Staring at the Shadows, $uicideboy$ had already made a home in the darkness, swirling sinister, Juicy J–indebted soundscapes with punk melodies, nihilistic lyrics, and sprightly triple-time flows that sound like a devil's incantation. From the time they dropped their first projects in 2014, the duo comprising $crim and Ruby da Cherry merged the past and present for dozens of exhilarating releases that could be hedonistic, reflective, and cathartic—the type of transformation that happens when the sky is jet black. Their grim, surrealistic aesthetic remains on Stop Staring, with traces of profound humanity sandwiched between pummeling flows and hymns to opiates.

They revel in the dark side on "All Dogs Go to Heaven," hopscotching through fried bass and jittery piano for a thrill ride featuring drugs, gunplay, and braggadocio. "What the F**k Is Happening" lives up to its title, with its hellish horns and a kinetic King Goldy sample evoking disorienting intensity; Ruby and $crim's jumpy flows only multiply the immersive effect. With its eerie sound and brutal symbolic lyricism, "F**k Your Culture" plays out like a gruesome horror movie, with $crim letting loose couplets befitting of Satan himself: "I'm blooding, gunning, running with the devils, man/Triple the six up, fuck my b***h up, flipping crucifixes, man."

The shadows are Ruby and $crim's natural habitat, but they can also find refuge in lucid emotionality. "I Wanna Be Romanticized" sees the two remember dead romances with penetrating honesty. Adorned with gleaming bells, ethereal synths, and punk-inflected melody, the track is coated in sincerity, but there remain flashes of the gruesome. "I have two sides/One that wants to see you all thrive and one that wants to see you die," sings Ruby. On "This Just Isn't Empirically Possible," Ruby and $crim traverse a dazed electric-guitar line for a trip back to fatalism; the staccato rap and sing-song harmony imbue the track with discordant beauty, a throughline for a project that instructs you to stop gazing at shadows, even as Ruby and $crim stare right through them.

12 Tracks

December 15, 2022 at PST

DIRTIESTNASTIEST$UICIDE

Cloud rap heroes fuse acrobatic flows with distorted neon production.

7 Tracks

September 14, 2015 at PDT

$Outh $Ide $Uicide - EP

5 Tracks

April 11, 2018 at PDT

Either Hated or Ignored - Single

1 Trackfalse

February 12, 2020 at PST

Stop Staring at the Shadows

12 Tracks

September 14, 2016 at PDT

Paris - Single

1 Trackfalse

May 29, 2018 at PDT

JOAN OF ARC (feat. $uicideboy$) - Single

1 Trackfalse

February 23, 2023 at PST

SHAMELESS $UICIDE - EP

A G*59 summit reveals new directions in darkly melodic trap.

6 Tracks

June 9, 2022 at PDT

Escape From BABYLON - Single

1 Trackfalse

September 7, 2016 at PDT

Eternal Grey

14 Tracks

September 20, 2015 at PDT

My Liver Will Handle What My Heart Can't

In the minds of many a tortured artist, self-loathing goes down easier with a little liquor—and in the case of the $uicideboy$, a healthy dose of irony. That's the underlying thesis of My Liver Will Handle What My Heart Can't, a mixtape that explores troubling thoughts with fatalistic lyrics and bleak humor. Released in 2015, the tape features plenty of retro samples, raucous soundscapes, and typically hyperactive flows from $crim and Ruby da Cherry, cousins who made a pact to either become rap stars by the age of 30 or commit suicide. By the time My Liver hit the internet, they'd become underground stalwarts known for delivering nihilistic anthems. My Liver embodied their natural, idiosyncratic flair.


At a sparse 29 minutes, the tape is brief but intense, with its intentions made clear from the outset. For the opener, "Vincent Van Gogh Ain’t Got Shit on Me," they allude to the famous painter who cut off his own ear. It's a sad-boy contest that doubles as a morbid portrait of drug use, hedonism, and suicidal thoughts; the opiate beat sounds like an ambulance from hell. Wielding eerie bells, they continue their ominous dance for "Reign in Blood." $crim, rapping in a stilted cadence that evokes a demonic chant, embraces the dark side with macabre symbolism: "The satanic killer, the gripper of triggers that haunts all the rivers/The blood is my liquor."


While $uicideboy$'s absurdist quips are equal parts funny and disturbing, all their verses are threaded with raw honesty. There's an understated beauty in how they use poetic writing to illustrate simmering tragedies; it's subtle but devastating. On "Kill Yourself (Part III)," Ruby presents himself as a vessel of darkness, combining a forlorn piano sample with a striking image of fracturing mental health: "I be the silhouette of a sunset/Smoke a cigarette while I compress my depression." He speaks of compression, but My Liver plays out more like a series of controlled explosions: flashes of light ripping through the smog of controlled substances and conflicting emotions.

13 Tracks

May 4, 2023 at PDT

YIN YANG TAPES: Spring Season (1989-1990) - EP

Vocal distortion and nihilism rendered with retro Memphis style.

4 Tracks

December 16, 2016 at PST

I No Longer Fear the Razor Guarding My Heel (III) - Single

3 Tracks

April 21, 2022 at PDT

THE_EVIL_THAT_MEN_DO - Single

1 Trackfalse

April 15, 2021 at PDT

NEW PROFILE PIC - Single

1 Trackfalse