Continuing the messages of death that $UICIDEBOY$ have handed out so effortlessly; KILL YOURSELF PART XVII: THE SUBURBAN SACRIFICE SAGA comes stumbling in with three, firecracker tracks of deadly intent. The hellish nature of the 808 percussion that is littered through the seventeenth-$aga lets behind a more aggressive standard than its predecessor.
Ruby and $crim come like full hyenas toward prey as they move quickly, manically, and without mercy. As the first cut, “LAMAR AVENUE” launches into frame, it is instantly apparent that $UICIDEBOY$ will put all their focus into creating three burning, straight-forward sucker-punches with a heavy lyrical focus on the otherworldly style that made them so famous. Ruby explains, “Material world, using diamonds and pearls as a means of self worth when I could die tomorrow, Return to the Earth, suicidal since birth. Fuck a leader, I follow the promise of dirt”. In a miraculous recovery, $UICIDEBOY$ transition into “SECOND LINES COME WITH BROKEN SOULS”, a more dramatic release from both Ruby and $crim.
As a carousel of broken sound slowly rises, $crim becomes a catalyst for the rapidly tapping hi-hat clasp that provides the rhythm of “SECOND LINES COME WITH BROKEN SOULS”. The rest of the production features snare slaps and a bass that contains both 808’s and authentic styled percussive traits. The track soon becomes almost operatic as Ruby delivers an entirely screamed verse as he raises the pitch on his voice and sounds similar to a fallen angel. He illustrates a verse that transitions well from $crim’s, but ultimately, this track is a little unforgettable when compared to the rest of the 14 other tracks present on the $aga’s triplets.
Finally, $UICIDEBOY$ bring “FACE IT” and while the longest track on KILL YOURSELF PART XVII: THE SUBURBAN SACRIFICE SAGA, it is the most well-rounded of the featured tracks on the entire saga. The beat is memorable and stands out for the way it can exist dualistically with the warped pianos and still have moments of beauty where the instrumental clashes well with the verses. It is a classic $UICIDEBOY$ formula of sampled gold, a cutting edge beat, and verses that are powerful enough to stand as poetry. Ruby has especially interesting lines as he describes, “Got your bitch besides my coffin, yeah I call her Juliet. Told her not to weep, just make sure that you fix my fucking neck…”. It is sadistic, but still inviting as it reminds fans of the sounds that $UICIDEBOY$ used to adapt to.
The new style is welcome and the always-changing interface of $UICIDEBOY$ keeps their music fresh and interesting with each release. From the what seems like hundreds of releases over the past few years, $UICIDEBOY$ have a reason to be here and set a picture perfect example of exactly how artists give back to their fans and still make outstanding content consistently.