Go To Hell


This is it, the final day for the WEEK OF $UICIDE. I need to go outside and get some sun after all this death. Anyway, the final Saga was chosen for its sheer audacity to cut through the competition like a steel katana, to split the skull of the masses, and to blow apart any that oppose the power behind $UICIDEBOY$ style of music. Their brash, unfiltered, and immaculate sudden punches of power shine through a blackened filter and illustrate one of the most glorious uses of fear, production, and raw, artistic emotion into one, red-wrapped present of hellish flames.

The KILL YOURSELF PART XI: THE KINGDOM COME SAGA comes like a lightning bolt from the underworld, the first track, “TEMPLE SPRAY” is a difficult, ugly, and sadistic playlist of rough screams from both Ruby and $crim. The track acts like a gateway into the madness behind the record, and the sample from ScHoolboy Q’s “Dope Dealer” is a nice addition and was instantly recognizable from the swirling synths that makes the madhouse effect. Matching perfectly with the rapid fire verses, $crim opens the bowels with describing, “Bitch, I step in your hood like it’s fly by night. You got the nine? That’s alright cause hoe I ain’t afraid to die”. Ruby then blasts in with an equally destructive verse, “Find a puddle, grab a shovel, lets keep digging them holes. The grass is always stained red when you slit your wrist, grave wet from the rain, dead weight, remain dead and wait”. The KILL YOURSELF PART XI: THE KINGDOM COME SAGA while the first Saga in the numerical list, is actually a perfect closer as it leaves the mark of $UICIDEBOY$ in such a devastating way; acting like a black hole in a china shop. The annihilation of remains is everywhere and even within only six-minutes; the track listing is manages to be an overbearing attack on the psyche.

Following is the track, “NIGHTMARE CHOIR (I’VE BEEN ASLEEP TOO LONG)” which involves exactly what the title describes. A nightmare choir of sampled ethereal voices and the screams of distraught and disgruntled voices as both $crim and Ruby just let loose everything they had bottled up in a single track. It sounds the closest to hardcore rap that any of the Sagas come even close to and the emotion is a welcome addition to an already emotional roller-coaster. To what seems like an endless onslaught of lyrical might, $crim has a well-fitting verse that reflects like a mirror on his own personal addiction and intuition, “When I walk you can hear the pill bottle rattle, Young Christ, bitches fuck me in my tabernacle… Straight out of hell and I’m the maestro of this fucking choir, twenty-seventeen might turn me into a mass shooter, pull a drive by while I’m hanging out the fucking Uber”. Ruby then follows suit and instantly gets to banging on his verse, “Gather the masses to tell ‘em that god is dead, I can prove it. Pointed at the pyramid and moved it. Who been making waves and used it to put out the flames that you’ve been lighting. Try igniting, but you blew it”. KILL YOURSELF PART XI: THE KINGDOM COME SAGA remains a six-minute kiss of death and the final track, prepares no salvation.

“YOU’RE NOW TUNING IN TO 66.6 FM WITH DJ RAPTURE” is just about as vengeful as the last two tracks, but instead; there is no nothing holding back Ruby or $crim from just unloading on their verses. The samples of machine gun fire, the chanting, the “TRAP-O-HOLICS MIXTAPES” sample, everything lines up for the $UICIDEBOY$ to create this massive push toward death. $crim explains, “Who am I? I am god, I am Basquiat. Young Kurt Cobain with the scarred veins, mentally deranged, hear the crows say my name”. Without fail, KILL YOURSELF PART XI: THE KINGDOM COME SAGA is the loudest, most crushing set of three-tracks that the $UICIDEBOY$ have ever released and it is a welcome end to the WEEK OF $UICIDE, but also to the Sagas as a whole.

The message of $UICIDEBOY$ stays the same, but the words become changed with each release; ideas are a powerful tool that can be used to control or to assist, the choice lays with the hand.




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