Acetone Boogie – “R U Still Dead? (Remember Me)” review

Acetone Boogie is a 36 year old MC from Tucson, Arizona releasing his debut album Karma Circus in the spring of 2013 & dropping a sophomore effort The Divine Trickster during the summer of 2017 respectively. He has since joined the Swamp Society collective, dropping Rayamiento & Southwest Phonk both produced by Devereaux along with forming the Gloom Unit with Frankie Goldie. And to coincide with him performing at the Gathering of Legends next month, his 3rd studio LP looks to gives juggalos a preview of what’s to come during his set.

After the “R U Still Dead?” intro, the first song “Gittin’ Nutty” was a great southwest phonk single talking about making money being reckless whereas “Self Inflickted Success” produced by Devereaux talks about working overtime simply because he wants what’s his. “Suffokate” featuring Jvztizzo finds the 2 fusing the Memphis phonk sound with horror-themed lyricism just before “Double Dosin’” thinks of the days when he had no worries or pain when the maggots get in his head.

“Mantra uv da Maniaccs” starts the 2nd half of the album talking about shawty making it crash like it’s broken & the cash flow leading into “Juggin’ in Hell” bringing a cloudy trap vibe to the table representing the juggalo lifestyle until he can’t anymore. “Disposable Stalefaced Raps” talks about people loving what he can do for them instead of loving him personally while “Santacruzriver” pulls inspiration from the Memphis scene once again keeping only real ones around.

The song “Dead Dude Muzik” starts the clock regarding R U Still Dead? (Remember Me)’s final minutes turning the Memphis influences up even higher fusing horrorcore & gangsta rap subject matter with one another prior to “Bleeding Out” featuring Jvztizzo wrapping everything up with a rock ballad & both artists we got to hear team up 18 months ago on their Children of the Moon collaborative EP produced by Shaggytheairhead getting emo thematically.

You’re gonna wanna give Rayamiento & Southwest Phonk when discussing Acetone Boogie’s EPs, but R U Still Dead? (Remember Me) sticks out as some of the craziest shit he’s ever done in his whole entire discography & any juggalo getting to see him rock some of these cuts on the Detonation Stage on August 14 at 1am at the Gathering will be very lucky to hear his continued artistic growth whilst celebrating the biggest family reunion’s silver jubilee.

Score: 4.5/5

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Gloom Unit – “Come Heavy II: Mo Heavy” review

This is the 2nd EP from west coast horrorcore duo the Gloom Unit consisting of Acetone Boogie & Frankie Goldie. One of whom comes straight out of Tucson, Arizona & the other representing Sin City Las Vegas, Nevada respectively as part of the Swamp Society collective. Acetone’s been putting it down for the underground for over a decade at this point putting out a total of 3 solo LPs as of me writing this review & Frankie has been establishing himself artistically by doing a couple features & even releasing 2 solo singles. Come Heavy last New Year’s Day produced by Devereaux was a phat introduction to the unit & are returning 12 months later unloading Mo Heavy.

After the “Mo Heavy” intro, the first song “Money Makin’” is a dark-synth trap opener telling everyone to move out the way so they can get to the bread whereas “Honey Berry” takes a tropical trap vibe to the beat getting on their Gloom type shit. “D.M.M.D.I. (Devil Made Me Do It)” heads for a cloudier direction asking for people to check their shit in since they need it leading into “Denzel” calling for the roof to burn.

“No Sleep” continues the other half of Come Heavy II: Mo Heavy by Frankie Goldie atmospherically gettin’ on his count-up shit while “Raindance” manically declares that the Unit be running every piece of the underground at this point. “This is How It Endz” wraps up the duo’s 2nd EP with an Acetone Boogie solo cut that he dropped last spring by working in some sampling walking alone under the moonlight.

Over a whole year since Come Heavy marked their introduction to the the world, the Gloom Unit are back with another EP carrying over every single thing that made it’s predecessor a fun New Year’s listen as Devereaux expands on their dark trap sound in favor of drawing inspiration from cloud rap to the Memphis scene & both MCs leveling up their chemistry after a whole 54 weeks.

Score: 4.5/5

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Gloom Unit – “Come Heavy” review

The Gloom Unit are a West Coast horrorcore duo consisting of Acetone Boogie & Frankie Goldie. One of whom comes straight out of Tucson, Arizona & the other representing Sin City Las Vegas, Nevada respectively as part of the Swamp Society collective. Acetone’s been putting it down for the underground for over a decade at this point putting out a total of 3 solo LPs as of me writing this review & Frankie has been establishing himself artistically by doing a couple features & even releasing 2 solo singles. But after coming together in the fall & preluding their debut EP in the form of a few singles, Acetone & Frankie are looking to Come Heavy by properly introducing themselves to kick off the new year with Chapter 17/Psychopathic Records in-house producer Devereaux behind the boards start to finish.

After the intro, the first song “Anna in da Attic” is an occult trap opener paying homage to the Insane Clown Posse’s best storytelling track ridin’ dirty with the chromes “Amy’s in the Attic” whereas “Blood on My Chucks” instrumentally gives off more of a west coast vibe to spit the wicked shit with the bells calling back to “Real G Shit” off of Blaze Ya Dead Homie’s self-titled debut EP & I just wanna say I mean that as a compliment. “Dead Ringer” shifts back into trap turf trying to figure out why they hatin’ just before “Bury da Bones” works in some pianos & hi-hats talking about how no one else like them. “LeanGutt” then closes out the EP on a triumphant trap note with elements of chopped & screwed dedicated to the thuggalos.

These guys have only been getting better with each single they’ve been giving us, so it was more than enough to convince me that Come Heavy was gonna be a promising introduction to who the Gloom Unit really is. Now that we finally got their debut EP to start 2024, it should absolutely please the juggalos & maybe even some G*59 fans too. Devereaux’s production is chiefly trap-oriented with additional elements of west coast hip hop or even chopped & screwed mixed in leaving it up to both Acetone Boogie & Frankie Goldie to further hone in their chemistry.

Score: 4/5

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Acetone Boogie – “Rayamiento” review

Brand new EP from Tucson, Arizona emcee Acetone Boogie. Emerging from the depths of the Dark Carnival a decade ago this spring off his full-length debut studio Karma Circus, the summer of 2017 saw the release of his sophomore effort The Divine Trickster & has since joined the Swamp Society collective forming the Gloom Unit with fellow Swamp Society member Frankie Goldie. So keeping that in mind, it makes sense for Chapter 17/Psychopathic Records in-house producer Devereaux to fully produce Rayamiento.

After the titular intro, “Carousel Spinners” opens with an occult trap instrumental suggests not to be looking his way since he be posted up with the criminals whereas “Oya’s Betrayal” featuring .strife talks about getting cracked in the mosh pit & not wanting problems with either one of them. “Witch Blood” featuring Darby O’Trill gets on some wicked cloudy trap shit asking if you’d die for them while “Spinesnappin’” aggressively takes a couple minutes to find himself breakin’ backs.

“Hitta Licc” starts the final leg of Rayamiento bringing some chaotic trap vibes into the fold with lyrics from a gangster’s perspective & after “All My Heroes Are Dead” featuring Jvztizzo gives off a murky trap atmosphere to the beat referring to themselves as outcasts when that’s what being a juggalo has always been about, “Been Been Wicket Shit” featuring Darby O’Trill closes the EP with both of them channeling Acetone’s southwest phonk style calling to put your middle fingers high.

There were always hints of potential on both of Acetone Boogie’s previous LPs, but Rayamiento elevates himself artistically & has made itself comfortable in being the greatest thing he’s ever done in this decade long career. Devereaux’ production on here is a vast improvement compared to the Tucson artist’s earlier albums & the guests are far stronger than they were during The Divine Trickster, giving Ace the opportunity to step up his pen & that’s what he sure as Hell did.

Score: 4.5/5

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