Part three of a five-day binge includes, KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA; the third installment of the devilish $uicidal $agas. Ruby and $crim become a much more aggressive with PART XVIII, almost reaching full machine gun-esque screams as the fire and fury comes crashing in full effect.
From the blood-stained cover art to dark, foreboding clouds of “I AM THE APOCALYPSE” where both $UICIDEBOY$ become moving parts of a three-piece puzzle of hardcore lyricism and production that relies on the occult styling of satanic imagery and and true villainy. Where the other $agas were introductions to the madness, KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA is the first that truly adopts the sinful nature and devious fun that the $UICIDEBOY$ have become naturals at. The moments of ripping percussive hits and screaming ad-libs in the background that $crim uses to only further carry his voice, increase the mood to new heights. He acts as his own hype man, explaining through his first verse, “Fate laid out no changing it, found my peace, accept it. That I am my own apocalypse”. Ruby Da Cherry then moves to launch after a short interlude where the beat repeats, shouting straight from his chest, “Digital villain, the sin of the internet. Your Wi-Fi password is incorrect throw up the set. G59 in full effect”. Ruby and $crim seem to be more focused on taking the slower instrumental pathway, but delivering faster styled verses. It conflicts, as does most of $UICIDEBOY$ works, but only aids in the delivery of the final product.
As they then move on to “GOODBYE”, $crim busts the track wide open with a suicidal verse that describes, “I got the gun to my head, soaked in that bloody red. I’m coming out of my body, I can’t let go of the shotty”. The distant screams of agony and the near dog barks that are both sampled and expressed by $crim, as well as the distorted vocal choir that creates the backing layer is a fantastic ship that carries the $UICIDEBOY$ to the eternal darkness in which they thrive. It is truly the final track however, “FROM THE BEGINNING OF TIME UNTIL THE END OF TIME” is where $UICIDEBOY$ shine their brightest as both the verses and samples chosen completely create one of the best tracks from the $uicidal $agas.
The gospel that Ruby raps over on the first beat is intimidating and fits well with his abrasive style of screams and cheers. He mixes biblical imagery and exclaims, “Rip out a piece of my rib and give it to a bitch… I am the one they call Plague who will never escape, will forever remain, the Omega, the Alpha, The Chosen one sent here to reign”. $crim then uses a sample that describes, “Thanks, Tom. Police are requesting that if you see this little eight-year old boy, you immediately kill him and burn his body. That’s all for now”. $crim immediately dives head first into the stumbling production where he creepily whispers, “Leave them bodies where they lay, let they mother cry and pray”. Without the sample included from the interlude between verses, “FROM THE BEGINNING OF TIME UNTIL THE END OF TIME” would simply not be able to have the same amount of impact.
The sheer comedic force and horrible nature that $UICIDEBOY$ constantly tight-rope between is a line of excellence. KILL YOURSELF PART XVIII: THE FALL OF IDOLS SAGA is by no means their best project, but it does tease the listener with a much heavier style than the past two $agas. In a fight for survival, $UICIDEBOY$ next two $agas stand out for their completely destructive style, and for the way that they can destroy versatile production with ease.