This is the 2nd solo album from Manhattan’s very own SosMula. Coming up as 1/3 of the trio City Morgue alongside fellow emcee ZillaKami & producer Thraxx, they’ve released 2 full-length albums & an EP together up before branching out on their own for a little bit. Sos was the first to step up to the plate last summer by dropping 13 Songs 2 Die 2, which was a bit of a disappointment in my opinion due to the features & production. ZillaKami followed it up a month later with HIS solo debut Dogboy & the duo reunited to drop Bottom of the Barrel the month after that, both of those I found much more tolerable. Nonetheless, I still went into 2 High 2 Die with an open mind as I’m still very much a fan of City Morgue’s work.
“PARTY ON MY BLOCK” opens the album up with a hypertrap banger talking about partying of course whereas “GIMMIE DAT” keeps the rage beats going thanks to F1LTHY talking about getting slumped as fuck. “HEAD TAP” follows it up with an obnoxious hook going further down the hypertrap rabbit hole spitting gang imagery just before “GET OUT” picks the energy back up with an off-the-wall bone breaker.
Meanwhile on “RICH BOI”, we have Mula over a heavy bass-line to flex his wealth leading into the manic “PULL UP” talking about how he already told us he was a star. “SNAP” returns to rage turf asking where his bands at, but then “BIG GUCCI” has a glitchier aesthetic to it talking about catching a body much like Gucci Mane.
“BIG NARCO” incorporates some crazy synth melodies providing an anthem for the heavy users while “WE SO UP!” energetically boasts his success. “SIERRA LEONE” throws some organs in the mix getting his murder bag while “MOLLY WATER” awkwardly describes getting his head knocked off by a bitch despite the futuristic production.
Following that, “PRESS A BUTTON” with Lil Tracy has to be the biggest mess of a song on the entire album talking about a hoe named Trish while “S.T.I.C.K.” follows it up with an unhinged ode to being strapped. “MAKK BALLA” has a more a rubbery tone to it talking about calling the shots while “MIX N MATCH” fuses some haunting piano melodies saying he can’t shop outside cause he’s too rich.
“YAZUKA 2000” goes into more ghostly turf talking about his body being different while the song “BODY PARTS” is a distorted horrorcore gorefest. The penultimate track “BITE DOWN” talks about getting fucked up off that syrup over a rattling instrumental & “CUTTIN’ SHIT” ends the album with 1 final ode to his shooters.
Now in comparison to Sos’ last album, [i]2 High 2 Die[/i] is definitely more tolerable. I once again appreciate him trying to stray away from the trap metal sound that City Morgue is known for, except this time he got rid of all the redundant features & it’ll be interesting to see him continuing to dabble into hypertrap alongside Kami at some point because it suits him fine here.
City Morgue is a trio from New York City consisting of ZillaKami & SosMula on the mic as well as honorary 3rd member Thraxx on production. I first caught wind of them due to ZillaKami’s verse on Denzel Curry’s magnum opus TA13OO, but the group’s full-length debut that followed shortly after Hell or High Water completely stopped me in my tracks. Mostly because prior to that album, I never heard anyone fuse trap with metal music in the way that they did. This was followed up with the worthy sequel As Good as Dead & the mediocre Toxic Boogaloo EP but after spending these last couple months branching out solo, they’re returning for their highly anticipated 3rd album.
“Death Cult” is a short yet cutthroat trap metal opener telling their competition to run for the hill leading into Jasiah tagging along for the eerie “Cabin in the Woods” comparing themselves to Jason Voorhees from the famous Friday the 13th franchise. “Conscience” works in a heavy guitar & a rubbery bass-line to talk about clearing their minds whereas the Thraxx-produced “Make It Disappear” viciously get in their murder bag.
Meanwhile on “What’s My Name?”, we get a wailing guitar rhythm & some punchy 808s talking about marching like dogs just before “Everything’s Broken” is a grunge/trap fusion about blowing their brains out. The first SosMula solo cut “OHDEE” has a more chilled out trap vibe speaking on grinding nonstop, but then the first ZillaKami solo cut “Flat Lips” brings in a down-tuned guitar talking about moshing.
The duo reunite for the abrasive “Hot Shells” comparing themselves to Captain Price from Modern Warfare 2 whereas “Mother Lover” advises not to get fucked up on their mothers. The song “X-Mas Balla” has a chugging riff with the help of Powers Pleasant proclaiming themselves as rat killers & reptilians while the penultimate track “Outer Space” by SosMula is just so annoyingly repetitive. However, the closer “Mutt B” by ZillaKami makes up for it by energetically lighting up anyone who steps up to him.
Even though I was underwhelmed by Toxic Boogaloo & 13 Songs 2 Die 2, I did enjoy Dogboy yet still didn’t quite know what to expect from Bottom of the Barrel. Now that we finally got the album, it’s pretty decent. It’s definitely more focused than Toxic Boogaloo was, but play middle ground with their signature trap metal sound rather than expanding on it.
SosMula is a 33 year old rapper from Manhattan, New York who came up as 1/3 of the trio City Morgue alongside fellow emcee ZillaKami & producer Thraxx. They’ve released 2 full-length albums & an EP together up to this point, but have recently decided to amicably branch out solo with Sos being the first to do so & dropping an official full-length debut on his lonely.
“Gun Sport” is a unashamedly embarrassing Playboi Carti bite whereas the Nascar Aloe-assisted “Stain” works in some piano embellishments & hi-hats talking about their new ice. “No Heart” goes into acoustic trap territory saying he can’t give his love to any bitch just before Jasiah tags along for the distorted weed smoker’s theme “Can’t Feel My Face”. Meanwhile on “Death Wish”, we have Sos aggressively giving the finger to the opps leading into the poppy Michael Myers tribute “Lil Psychos” with Xanman.
Following this is the nocturnal “DOCTA” finding him & Fat Nick spitting that g shit, but then “Whip Parked” with Bizzy Banks goes into mistier turf going on about trapping. “WHERE MY STICK” apocalyptically spits that gun talk whereas “QUEEF” samples John Williams of all people to compare himself to Bruce Wayne.
The song “Boogaloo” disappointingly sounds like a microwaved leftover from City Morgue’s Toxic Boogaloo EP while the penultimate track “Favela” with Jovem Dex hideously goes into tropical territory talking about their women wanting their kids. “Vinny Rotten” though serves as a mediocre finish with it’s banger beat, the lyrics about being brazy & the annoying Kim Dracula verse
Now despite being a solo effort, I think 13 Songs 2 Die 2 is barely an improvement over Toxic Boogaloo. I appreciate the fact that Sos tries to stray away from the trap metal sound City Morgue is known for, but it’s either hit or miss & almost every feature is weak as fuck.
This is the 2nd EP from New York trio City Morgue. I became a fan of theirs in 2018 because of how ZillaKami, SosMula & Thraxx uniquely fused trap with metal on their debut Hell or High Water. A sophomore effort As Good as Dead came out just this past winter & even through Thraxx hardly did the production on there, Kami & Sos were able to get the criminally underrated Mike Dean to fill in that gap. But with their tour being one of the many to get cancelled due to the COVID-19 pandemic, they’re making it up to the fans with Toxic Boogaloo.
Things start off with “THE ELECTRIC EXPERIENCE”, where the duo compare themselves to Deadshot over a bombastic beat from Powers Pleasant. The next song “HURTWORLD ‘99” talks about wanting to fuck up anyone who comes at them over a trap metal instrumental while the track “YELLOW PISS” finds ZillaKami going solo to talk about death being longer than life over a chaotic beat from Thraxx. The song “BUAKAW” talks about their haters being pussy over some hi-hats & heavy guitars while the track “YAKUZA” is an unfinished SosMula solo joint backed by a beat that sounds something out of a horror movie.
The song “CRANK” sees the duo getting back together to talk about getting into altercations over an eerie beat while the track “YOU CAN SUCK MY DICK” is another ZillaKami solo cut about him bringing the smoke to anyone who wants it over bass-heavy instrumental. The song “ALL KILLER NO FILLER” talks about destroying shit over another trap metal beat whereas “SUPER SOAKA” is of course another SosMula solo song that’s even more half-baked than the previous one. The album finishes with “PROSTHETIC LEGS”, where the duo talk about being wardogs over an abrasive beat.
Coming from someone who enjoyed City Morgue’s last 2 albums a lot, this project is a disappointment. I think their whole style is still unique, but it just sounds like ZillaKami & SosMula rushed the shit outta it. Hopefully they take their time on the next album.
City Morgue is a trio from New York City consisting of ZillaKami & SosMula on the mic as well as Thraxx on production. I first caught wind of them last summer due to ZillaKami’s verse on Denzel Curry’s TA13OO, but the group’s full-length debut that followed shortly after Hell or High Water completely stopped me in my tracks. Mostly because prior to that album, I never heard anyone fuse trap with metal music in the way that they did. They’ve gone rogue since then, but they’re finally re-emerging with their sophomore effort over here.
It all starts with “Neck Brace”, where Zilla & Sos interpolate the classic Death Grips track “Guillotine” over an abrasive trap beat instrumental from Thraxx. The next song “Inferior” talks about how they’re better than their competition over an trap metal beat from Mike Dean while the song “DRAINO” with Denzel Curry sees the 3 talking about self-medication over a slower instrumental. “The Give Up” talks about suicide over a somber acoustic instrumental while the song “Thresh” goes out to everyone who be stuntin’ & the beat on this one sounds like something out of a horror flick
The track “Splinter” talks about killing snitches over an frightening instrumental while the song “Minimiyza” finds ZillaKami & IDK talking about their enemies over a slow guitar riff & some snares. “The Balloons” sees the duo reuniting to vent about their personal struggles over a druggy beat while the song “Soul Burn” is a SosMula solo cut about always being strapped over a distorted instrumental.
The track “16 Toes” is a ZillaKami solo cut about standing strong over a legitimate hard rock instrumental while the song “WOAH” finds Sos talking about his criminal past over a trap beat with some plinky keyboards. The track “DIRTNAP” of course talks about murdering people over another killer trap metal fusion while the song “C4” talks about rioting of the precious cut over a chaotic instrumental.
The track “Babywipes” touches down on violence over a dark, cavernous beat while the song “Mouthgard” talks about build & destroy over an eerie trap instrumental. The penultimate track “Screaming at the Rain” talks about depression over another trap beat with some downtuned guitars & then the album ends with “Peeling Scabs”, where ZillaKami talks about his family as SosMula talks about the system over a gloomy acoustic guitar lead.
To me, this is just as dope as the trio’s debut. It’s like 8 minutes longer & a lot of the beats are ok, but I like how they brought in a couple outside features to break up the monotony & Mike Dean’s mixing is absolutely phenomenal.
City Morgue is a New York hip hop trio consisting of producer Thraxx alongside MCs ZillaKami & SosMula. They dropped an EP back in August & while I thought Zilla’s feature on the latest Denzel Curry album TA13OO was just ok, the trio’s full-length debut over here eventually got the best of me & I decided to give it a shot.
The album begins with “Caligula”, which is a mosh pit anthem with an abrasive trap beat. The next song “Arson” pretty much speaks for itself over a metal/trap fusion while the track “KenPark” sees SosMula & Black Kray spitting gun bars over a sinister heavy guitar lead with some hi-hats. The song “Gravehop187” is the duo reuniting albeit with Black Kray once again to get murderous over a chaotic instrumental while the track “Lamborghini Getaway” talks about 2 drug dealers doing their thing & escaping from the cops over a sinister trap beat from Ronny J.
The song “Nuka Cola” is filled with battle bars over a monstrous Powers Pleasant instrumental while the track “PTSD” gets back on the murder tip over a trap beat with a Halloween-esque guitar in the background. The song “So What” talks about how they don’t give a fuck over another intriguing fusion of metal & trap while the track “Snow on tha Bluff” is a tune inspired by the independent film with the same name with a druggy Ronny J instrumental.
The song “Downer” is all about how asshole-ish the trio are over a nu metal instrumental with some skittering snares while the track “Aw Shit” is a club banger with a cloudy trap instrumental. The song “SHINNERS13” talks about how they’ll ride for each other over a rap metal instrumental while the penultimate track “33rd Blakk Glass” is all about being unbreakable over an electronic/trap fusion. The album then closes with “SK8 HEAD”, which is a tribute to their skate team over a trap beat with some haunting synthesizers.
I really didn’t know what to expect going in, but this is truly one of the wildest trap records I’ve heard all year. It’s a little short & the 2 Black Krey features are meh but the youthful, angry chemistry between ZillaKami & SosMula is adrenaline inducing. And on top of that: the production suits this aggressiveness near perfectly. Especially with the trap/metal fusions, which I don’t recall ever hearing being done prior to this & I think it really does it’s part in helping them stand out in this modern day trap scene.