$uicideboy$ – “Yin Yang Tapes 4: Winter Season” review

This is the 27th EP from New Orleans duo the $uicideboy$. Consisting of Ruby da Cherry & $crim, these guys released a plethora of projects within the last decade whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$’ just dropped their last album Sing Me a Lullaby, My Sweet Temptation over the summer & are wrapping up the month of May by concluding the Yin Yang Tapes tetralogy.

After the intro, the first song “Bossier City Kidnap Victims” starts the final entry of the saga by making the block wet with an eerie trap instrumental backing them while the penultimate track “Didn’t They Give You Percoset?” takes a more straightforward dirty south turn talking about getting the money. “I Deleted Facebook a Long Time Ago” rounds out the EP with a cloudy Memphis trap banger knocking motherfuckers out they case, thus ending the Yin Yang Tapes era & marking the beginning of the Grey Sheep III rollout.

People were complaining about the predecessor to be 1-dimensional & I think I can just come straight out the gate saying that’s not the case with this final installment of the series. I mean yeah we still get doses of cloudy Memphis gangsta rap & rare phonk, but the dirty south opener was a refreshing change of pace from what we heard throughout the dozen joints we got from the boy$ this month excluding the intros & makes me confident about the Grey Sheep trilogy coming to a conclusion this summer since the original contains some of their strongest material.

Score: 3.5/5

$uicideboy$ – “Yin Yang Tapes 3: Fall Season”

The $uicideboy$ are a hip hop duo from New Orleans, Louisiana consisting of Ruby da Cherry & $crim. For almost a decade now, these guys released a plethora of projects whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$’ just dropped their last album Sing Me a Lullaby, My Sweet Temptation over the summer & continuing the Yin Yang Tapes series in the form of their 26th EP.

After the “Fall Season” intro, the song “whatwhat” opens things up with some gritty synthesizer patterns & hi-hats cautioning that you better stay the fuck away from them while the penultimate track “Every Dog Has His Day” gives off a more atmospherically Memphis kind of vibe to it this time around getting on their Scarface shit. “Provolone & Heroin” featuring Freddie Dredd however happens to be a mediocre closer despite its mystic trap production the lyrics representing the north side of New Orleans.

If you’re already familiar with the last 2 installments of the series, then you pretty much know what you’re getting yourself into here as they drop off 3 songs that fans can get themselves into the fall mood in about 4 months when the leaves actually start to turn brown. The feature at the backend is probably the weakest of the tetralogy so far, but they continue to expand on the cloudy rare phonk sounds from before & dropping their signature gangsta-infused lyrics on top of it.

Score: 3.5/5

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$uicideboy$ – “Yin Yang Tapes 2: Summer Season” review

This is the 25th EP from New Orleans duo the $uicideboy$. Consisting of Ruby da Cherry & $crim, these guys released a plethora of projects within the last decade whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$’ just dropped their last album Sing Me a Lullaby, My Sweet Temptation over the summer & are now coming off the EP they dropped last weekend Yin Yang Tapes: Spring Season for the sequel Summer Season.

After the intro, the first song “5 ‘n the Mornin’” is an occult trap opener with the boy$ declaring that players never die while the penultimate track “Starry 9” has more of a Memphis-inspired sound to it à la one of my all-time favorite groups & one of the Nawlins duo’s biggest inspirations Three 6 Mafia sonically so they can rep the 7th ward. “Bloody ‘98” featuring Ghostmane concludes the first half of the Yin Yang Tapes tetralogy with the trio collaborating for the first time with a demonic trap closer & all 3 MCs gelling with one another better than one would anticipate discussing their killer instincts.

I can only assume Fall is coming next Friday & eventually Winter the weekend after, but I really can’t complain because this is a tad bit superior to Spring in my personal opinion & it has me anticipating the 6 songs from the other 2 installments later on in the month ahead of Grey Sheep III afterwards. Blanco & Wetto continue to build upon the cloudy trap sounds of the predecessor with their production here as they keep spitting some gangsta-laced braggadocio for us to vibe to in time for next month.

Score: 3.5/5

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$uicideboy$ – “Yin Yang Tapes: Spring Season” review

The $uicideboy$ are a hip hop duo from New Orleans, Louisiana consisting of Ruby da Cherry & $crim. For almost a decade now, these guys released a plethora of projects whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$’ just dropped their last album Sing Me a Lullaby, My Sweet Temptation over the summer & are now coming off the collaborative Shameless $uicide with G*59 Record$ signee Shakewell by ringing in the warmer weather with their 24th EP.

After the “Spring Season” intro, the first of 3 songs that we get here “Hot Razor” sets off the whole EP with a Memphis rap banger keeping it gangsta as a motherfucker while the penultimate track “Realism vs. Idealism” comes through with a straight up dirty south vibe as they talk about squeezin’ like they fiendin’ for a reason to give up & asking where your Makaveli is. “Château Gris” though finishes things up with a quirky yet cloudy trap jam admitting they be psychopathic with the 9 & that they be heaven sent.

They’re saying we’re getting a 3rd installment of the Grey Sheep series at some point this summer & for the boy$ to celebrate spring by giving us a 10-minute kickoff to the Yin Yang Tapes series is a fine way to hold everyone off until it’s time to complete the trilogy the way they started it. The production remains grounded in the duo’s southern roots as they stick to their guns (no pun intended) covering the usual topics that one would expect going into one or their projects.

Score: 3.5/5

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Shakewell & $uicideboy$ – “Shameless $uicide” review

This is the brand new collaborative EP between Shakewell & the $uicideboy$. The latter is a well regarded underground duo from New Orleans with the other being a recording artist out of Los Angeles that Ruby da Cherry & $crim signed to their very own Virgin Music imprint G*59 Record$ during the pandemic. The trio have a couple songs together like “Venom” & “Solutions” but considering that the boy$ have a few collab EPs with fellow G*59 signees Germ & Ramirez, it was only right for them to get one in with Shakewell in the form of Shameless $uicide.

The title track sets it off with the trio getting locced the fuck out accompanied by a somber trap instrumental whereas “Whole Lotta Grey” works in some synthesizers & hi-hats talking everything that they got. “Gutter Bravado” keeps the futuristic sounds going as all 3 of them spit that gangsta shot while the song “Went to Rehab & All I Got Was This Lousy Shirt” is an eerie trap banger about half men, half demigods. The penultimate track “6 Lines, 2 Dragons & a Messiah” has a more shimmering quality to the beat sampling “Tire Shop” by Gangsta Blac as they refer to themselves as the founders until the spacious closer “Big Shot Cream Soda” gets to the paper.

It’s always interesting when the $uicideboy$ link up with another one of their artists signed to G*59 Record$ for a collaborative EP & not only do I consider Shameless $uicide to be amongst my favorites of the bunch, but it makes me hope that this is only the beginning from them & Shakewell going forward. There are some interesting ideas with the production & the chemistry between everyone on the mic is better than it was on DIRTIESTNASTIEST$UICIDE a couple months back with all respect to Germ.

Score: 3.5/5

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Chetta – “Falling Off” review

This is the 19th EP from New Orleans emcee/producer Chetta. Emerging in the spring of 2014 off his debut mixtape Nino White, he would go on top follow it up in the form of his previous 18 EPs as well as 11 more tapes & a full-length debut. He signed G*59 Record$nearly 2 years ago & put out his $crim-produced sophomore effort Been Here Forever last summer that I really enjoyed, so didn’t see a reason not to be excited for Falling Off.

“Heaven for a Thot” is a synth-trap opener addressing those who be trying to eat him up whereas “Boohoo” works in some rubbery bass & hi-hats so he can clap back at everyone who says they miss the old him. “Lovers & Øpps” gives me more eerier vibes to the instrumental getting more boastful lyrically only until “#GotMeFuckedUp” admits that he’s too fucked up over a trap instrumental with some pinky keys.

The 2nd half of the EP starts off with “Pantone 10c” fuses some electronic qualities with trap to spit that gangsta shit while the song “Before/We/Forget” embraces more of a cloudier sound talking about focusing on himself. The penultimate track “Nightmares Shaped Like You” has a more desponding groove to the beat hoping his girl don’t end up leaving him & “…Disintegrate” is an auto-tune heavy closer with a atmospheric trap beat telling his lady to come kill him & acknowledging that she sees him alone.

Now I’m not sure whether or not this is something to warm us up for the next album but either way, I still think Falling Off is one of Chetta’s most interesting EPs that he’s whipped up yet. I respect how he decided to take the risk of producing the whole thing by himself & am excited to hear where his style behind the boards evolve from here as he pokes fun at those who believe he fell off.

Score: 3.5/5

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Ramirez – “The Tragedy of a Clown” review

This is the 8th mixtape from San Francisco emcee Ramirez. Coming up in 2014 as a longtime affiliate of the $uicideboy$, he would go on to co-found to the New Orleans-based indie label G*59 Record$ with them & build himself as an artist by dropping his last 7 tapes, 10 EPs & 4 full-lengths in the span of nearly a decade. The last album Tha Playa$ Manual was his best yet with it’s g-funk production from Rocci & the gangsta rap lyricism, so that definitely intrigued me to check out The Tragedy of a Clown over here.

After the intro, the first song “Return of the Corpse” kicks off the tape with some heavy bass & a plucky loop asking if there’s a problem whereas the Pouya-assisted “Bacon, Eggs & Grits” finds the 2 over trap beat with a violin sample belittling everyone who be on their balls. “The Dungeon” dives into boom bap territory declaring himself to be the motherfucker you better run from, but then Germ tags along for the quirky yet alien-like trap banger “Carthart Vest” spitting aggressive braggadocio.

Meanwhile on “What the Hook Gon’ Be?”, we have Shakewell & Fat Nick joining Ramirez for an energetic Memphis gangsta rap heater just before “6 Feet Under” shoots for a more haunting aesthetic talking about being in rehab. “The Root of Demise” follows it up with a twangy trap ballad detailing depression leading into the misty yet rowdy “Murdered Out Vehicles” spitting some wicked shit.

“The Gallows Wait” has a more psychedelic quality to the production especially with the chopped & the screwed sample at the start & finish talking about being 1 gangsta ass ghost with Shakewell returning for the closer “Shameless Gorilla” boasting that there’s no shame in their game” with some morbid production from Mikey the Magician.

For him to give us this coming off his most critically acclaimed work to date, I think G*59 fans like myself are gonna be more than satisfied with it considering how consistent they’ve been. Ramirez takes it back to a more Memphis rap emphasis as far as sound goes with the lyricism being a bit more darker 2 & a half years later.

Score: 3.5/5

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$uicideboy$ – “Sing Me a Lullaby, My Sweet Temptation” review

This is the 3rd full-length album from New Orleans duo $uicideboy$. Consisting of Ruby da Cherry & $crim, the released a plethora of projects within the last 8 years whether it be the Kill Your$elf saga & Eternal Grey or even I WANNA DIE IN NEW ORLEANS & the Travis Barker-produced Live Fast, Die Whenever. The boy$’ just dropped their last album Long Term Effects of Suffering last summer & are ringing in another one in the form of Sing Me a Lullaby, My Sweet Temptation.

“Genesis” kicks off the album sampling the greatest Mario game of all-time Super Mario World with Ruby & $crim talking about reinventing themselves whereas “Matte Black” takes a cloudier route to rep the ever-growing G*59 Record$ that they founded from their inception. Fucking Your Culture” shoots for a darker aesthetic to flex just before “1,000 Blunts” works in a vocal sample talking about not giving in & relapsing on drugs.

Meanwhile on “In Constant Sorrow”, have the boy$ over some jazzy production tackling their depression leading into “Escape from BABYLON” returning to cloudier territory talking about finding love in the wrong places. “Ashes of Luxury” comes through with a mellow weed-smoking anthem, but then “Resistance is Useless” flips the late Koopsta Knicca talking about stacking up addictions & the only thing that’s changed is that they cut off one of their homies.

“Eulogy” has a mystical feel to it asking to play this song at their funerals while “No Matter Which Direction I’m Going In, I Never Chase These Hoes” atmospherically opens up about troubled relationships. The song “$uicideboy$ Were Better in 2015” is a piano-laced diss towards those who preferred their music when they were on drugs while the penultimate track “Unlucky Me” is an impressive sequel to “Lucky Me” down to the SWV sample. “THE_EVIL_THAT_MEN_DO” ends the album on a boom bap note addressing trust issues & being away from the public eye.

For the people who keep complaining that the $uicideboy$ sound the same every time they put a project out together, this is another reminder for them to shut the fuck up. The production that $crim cooks up is some of his most versatile that he’s ever made with him & Ruby giving the listeners a wide range of emotions from braggadocio to heartbreak, anger & even anticipation about their reinvention.

Score: 4/5

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Chetta – “Been Here Forever” review

Chetta is a 31 year old rapper from New Orleans, Louisiana who came up in the spring of 2014 off his debut mixtape Nino White. This was followed up with 18 EPs as well as 11 more tapes & a full-length debut but now after signing to G*59 Record$ last spring, he’s returning in the form of a sophomore album that he himself has claimed to have waited a long time to give the world.

“Blair Witch” is a grim trap opener produced by none other than $crim with Chetta talking about how it pays to be a boss whereas “Heaven Ain’t Free” sinisterly admits that he’s just doing him. The $uicideboy$ tag along for the hyphy-laced “Poydras” talking about re-upping on these hoes just before “All Thug No Love” solemnly detailing how bad the ecstasy got him geekin’.

Meanwhile on “Dracula”, we have Chetta over a cloudy trap instrumental declaring himself as a real rockstar leading into the ghoulish “Hiroshima!” talking about how he hates himself too. “Take You Out This World” shoots for a wavier approach to the beat getting in his murder bag, but then $crim comes into the picture for “Murder He Wrote” to talk about hittin’ the road when it’s frozen & going ghost.

“Save Me the Rain” however fuses a guitar & some hi-hats telling a hoe he don’t need her anymore while “(Killers Cry Too)” is an impressive spiritual successor to “Thug Cry” off his last EP Major Pain. The song “Spend My Whole Life Getting High” returns to a cloudier sound talking about putting his money on him while the penultimate track “Drugs in Her Gut” telling a bitch he can’t stop now over a surprisingly elated instrumental. “When Life Hands You Nothing” ends the album by disturbingly confessing he feels like he’s drowning & sinking.

Now for those of you who’re new to Chetta & his music, then I’d say Been Here Forever is a good place to start because it happens to be my favorite that he’s ever done so far. He takes the listener through where he’s at now in his life & $crim also happens to do a really great job behind the boards as well.

Score: 4/5

Shakewell – “Pray 4 Shakewell” review

Shakewell is a 30 year old MC from Los Angeles, California who came up in the spring of 2017 off his debut EP Keystone Prince. This was followed up a year later with his 2nd EP Big Juice tha Sip but in light of him signing to G*59 Record$ right when the pandemic started & the 5 year anniversary of Keystone Prince approaching this weekend, Shakewell is finally dropping his long-awaited full-length debut.

“Symphony No. 1” is a quirky yet fun opener talking about getting a new phone whereas “Take the Field” has a earlier tone to it asking why he’s still depressed despite his success. “The Foil & The Damage Done” takes a cloudier route melodically saying that you don’t wanna feel the pain he’s lived just before “Felonious” declares himself as a prodigy over some eerie trap production.

Meanwhile on “Nuestra Señora”, we have Shakewell talks about his ride or die bitch accompanied by a beat with a vintage west coast flare to it leading into the aggressive “Biscuit” confessing that he always rides strapped. “20/20 Vision” incorporates some organs talking about seeing shit clearly, but then Fat Nick tags along for “Survival” to passionately express their hatred for the pigs.

“Late Night” returns to more atmospheric trap territory talking about serving packs to get his change while Boobie Lootaveli comes into the picture with one of the weaker features on “Woke Up” despite the piano instrumental & concept of what kind of man he wants to be today. The $uicideboy$ themselves make up for this on the tropical “Solutions” talking about using drugs to solve their problems while the song “Voodoo Walked” shoots for a more pillowy aesthetic bragging about the famous life.

The penultimate track “5 Ways” returns to a more quirkier yet bassy sound asking his opposition to choose 5 ways he can kill you & last but not at least, “Branzino” ends the album with some ghoulish trap talking about how he’s the type to pull up on you with the sticks.

Coming from someone who got introduced to Shakewell prior to his performance at the 20th annual Gathering of Juggalos the summer before COVID hit, I’ve been waiting eagerly for this full-length debut of his & it just goes to show that he fits right in with G*59. He comes through with some raw pen-game & the production is really interesting from the poppy & trappier cuts to the more hardcore & vintage west coast shit.

Score: 4/5