The $uicideboy$ are a duo from New Orleans, Louisiana consisting of Blood-red da Cherry & $crim. They've released a plethora of projects within the terminal 7 years like the Kill Your$elf saga, Eternal Gray, I WANNA Dice IN NEW ORLEANS & the Travis Barker/produced Live Fast, Die Whenever. The boy$' final project together Stop Staring at the Shadows came out last Valentine's Mean solar day & now for Friday the 13th, they're reuniting for a sophomore album.

"Degeneration in the Key of A Pocket-sized" is a heed-altering opener comparison Earth to Hell whereas "If Self-Destruction was an Olympic Event, I'd be Tonya Harding" ghostly reflects on their career upwardly to this point. "Life is a Stream~" is a guitar/trap ballad about wasting your life & drug abuse just before "5 G at viii to 1" brings in some jazzy undertones comparing & contrasting their lives then & now.

Meanwhile on "WE ENVY Goose egg IN THE WORLD", we take the male child$ coming through with an abrasive riot starter leading into them
somberly comin' straight out of the dark for "Lighting the Flames of My Own Personal Hell". They over again speak on addiction while shit-talking at the same time on the dreary "New Profile Motion-picture show" prior to the duo calling out those who tell them what to think for the devilish "Bleach".

"Forget It" is a spacey breakup theme whereas "Avalon" spookily talk about existence dons. The song "Materialism as a Means to an Stop" nocturnally speaks on being full of hate while the penultimate track "Ugliest" rounds out the trilogy "Ugly" started vi years back. "The Number You Have Dialed is Not in Service" ends things past somberly telling fans to proceed marching when life gets hard.

I really enjoyed the singles leading up to this album & as a whole, Long Term Effects of SUFFERING didn't let me down at all. I admire how the boy$ challenge themselves to new sounds & opening up on their lives within the terminal few years.

Score: four/five

$crim is a 31 year quondam rapper & producer New Orleans, Louisiana known for beingness 1/two of the $uicideboy$. The duo has been impeccably consistent since their formation in 2013, but it seems like we're finally getting solo efforts from them with the youngest of the ii being the first at bat.

The album begins with "Delusions of Grandeur", where $crim vents near how he can't tell what's existent & fake over a cloudy trap beat. The next song "Scars" gets on the more than melodic side of things opening up about his low while the track "Jesus Wept" is a bombastic moshpit starter. The song "Naloxone" depressingly speaks on his drug utilise with some heavy auto-melody in his voice while the rails "Feel It Too (It's Also Much)" talks nigh how this woman left him injure & I really love how hard the drums hit on hither.

The song "Tell Me When I'thousand Skilful Plenty" stays on the theme of being heartbroken over a weary beat out while the runway "He Got Game" finds $crim bragging over a psychedelic instrumental. The song "Portola (Blood Jell!)" robotically talks nearly feeling delirious over a solemn instrumental while the rail "El Paseo" sings about getting rowdy over a surprisingly tropical instrumental.

The song "Nightmares from the Northside" is of grade a nod to the iconic Juicy J cut "Soldiers from the Northside" down to the dynamic production while the track "Euphoria Euphoria" gets back on the drug use tip over a nightly instrumental. The song "Violent Secrets" is a lifeless love tune while the track "Side Effects" discusses how it's lonely at the superlative over a bland instrumental. The song "Carcosa" talks about self-destructing over a dull instrumental while the track "Fight Club (Psychosis)" gets murderous over a bass-heavy beat.

The song "Percocets & Papers" talks virtually existence loftier over a skeletal instrumental while the track "PTSD" talks about living lies over a trap vanquish with some decent guitar passages. The song "El Guerro" is another riot starter while the penultimate track "The Devil I Know" gets back on the lifeless heartbreak bullshit. The album finishes with "Lost Child", where $crim talks about how he just wants to smile over a dreary shell.

Coming from someone who'due south been following $uicideboy$ for quite a while now, what a disappointment. I don't mind the overall audio, but $crim's singing on a adept bulk of this album is pretty bad & the machine-melody doesn't help at all. Too I capeesh the fact that he wanted to it to be all him & all him only, only the lack of features really brand information technology monotonously boring.

Score: 2/5

This is the 9th mixtape from New Orleans hip hop duo $uicideboy$. Who've been releasing a plethora of EPs & mixtapes since 2013, simply it wasn't until 2018 that they made their total-length debut with I WANNA Dice IN NEW ORLEANS. Last fourth dimension we heard from them was last May with the Travis Barker produced Live Fast Dice Whenever EP & now 9 months later, they're hitting fans with Finish Staring at the Shadows.

The opener "All Dogs Go to Sky" finds the duo getting bloodthirsty over a bass trap beat with some Atari-esque synths & then the next song "I Wanna Be Romanticized" talks virtually being on the verge of killing themselves over a moody beat. The track "One Last Look of the Impairment" talks most making information technology to 30 over a cloudy shell while the song "[whispers indistinctly]" talks about death over a woozy beat out. The track "MEGA ZEPH" gets apocalyptic over an frightening trap beat while the song "Putrid Pride" speaks on fourth dimension moving fast over a dreary beat.

The runway "That Just Isn't Empirically" talks about losing their minds over a bleak instrumental while the song "What the Fuck is Happening?" thematically picks up where the previous joint left off over an annoying beat. The rail "Bizarro" is a horrifically delivered drug anthem backed with an exhilarant crush while the song "Scope Prepare" talks nigh murder over some sirens & loud bass. The penultimate track "Fuck Your Culture" is a dedication to 2 of their late homies that appear on the refrain over a chilling instrumental then the closer "…& to Those I Love, Cheers for Sticking Around" reads off as a suicide note backed with a cumbersome instrumental.

While it'southward non a cutting above Eternal Grey & I WANNA Dice IN NEW ORLEANS as hyped up to exist, this is nonetheless a solid record from Cherry da Cerise & $crim. It's a fiddling too short running at just 26 minutes merely both of them nonetheless go hard in terms of commitment, lyrics & their Three 6 Mafia-influenced sound.

Score: iii.v/5

The $uicideboy$ are a hip hop duo from New Orleans, Louisiana consisting of Ruby da Cherry & $crim. They've been releasing a plethora of EPs & mixtapes since 2013, only information technology wasn't until terminal September that they made their full-length debut with I WANNA Dice IN NEW ORLEANS. But now 8 months afterwards, they're delivering their 23rd EP & accept enlisted the legendary glimmer-182 drummer Travis Barker to produce information technology in information technology'southward entirety.

The EP kicks off with "Killing two Birds with 22 Stones", where the duo get murderous over a grimy trap/metal fusion. The next song "Sour Grapes" calls out the music manufacture over an druggy instrumental while the runway "DON'T TRUST ANYONE!" talks near paranoia over a noisy trap beat. The song "Individuality Was So Terminal Year" talks nigh wanting to be left lone over an atmospheric beat out while the penultimate track "Aliens are Ghosts" brush off their naysayers over an eerie trap trounce & I dear how they incorporated samples of Anthony Fantano all over. The EP then finishes with "nothingleftnothingleft", which is a dime a dozen digital hardcore cutting about wanting to commit suicide.

All & all, this was a solid EP. The duo pretty much stick to their Three 6 Mafia influenced guns & Travis really helps heighten their aggression quite a bit. I also dearest how they got Munky from KoЯn to play guitar on one-half of the cuts to enhance the rock feeling to the project.

Score: three.5/five

The $uicideboy$ are a hip hop duo from New Orleans, Louisiana consisting of Ruby da Ruby-red & $crim. Since their formation in 2013, they take dropped a total of 8 mixtapes & 19 EPs. However, they are at last delivering their full-length debut.

Things showtime off with "King Tulip", where the duo talk nigh fame & thoughts of suicide over a gloomy trap shell. The next vocal "Bring Out Your Dead" talks about killing this hoe over a bass-heavy trap beat while the rails "Nicotine Patches" talks near their dying days over a trap beat with some chimes in the groundwork. The song "10,000 Degrees" gets murderous over an ominous beat with a funky bass-line while the runway "122 Days" talks about being true yourself over a spacey instrumental.

The song "Phantom Menace" reminisces well-nigh the duo's early days over an eerie instrumental from none other than Juicy J while the track "Krewe du Vieux (Comedy & Tragedy)" is a short yet gritty description of Nawlins over a somber trap vanquish. The song "War TIME ALL THE Time" gets confrontational over rattling hi-hats & monstrous bass while the track "Coma" vents almost depression with an flawless sample of Kreepin' Out da Kut" by Playa Fly.

The vocal "Long Gone (Salvage Me from This Hell)" continues the theme of the previous track over a moody trap beat while the song "Meet Mr. NICEGUY" is mediocre melodic breakup melody with a distorted guitar. The song "Carrollton" gets confrontational once once more over an abrasive crush while the penultimate track "Fuck the Industry" pretty much speaks for itself over a spacey trap beat. The album and so closes out with the 8 minute "I No Longer Fear the Razor Guarding My Hell 4", where the duo become introspective & the beat switches are amazing!

I've been waiting for the duo to drop their debut anthology for quite some time & this did non disappoint. The duo continue to modernize the Three 6 Mafia's signature audio & it really enhances the gritty lyricism more than ever.

Score: 4/v