Winding down into the final stretches of the $agas, Ruby and $crim waste no time in creating a home to the misfits as their style is odd, somewhat a musical equivalent to a cult would use as sacrificing tools. While this is semi-cliché, it fits well as a description of who the $UICIDEBOY$ conduct themselves to be. With the fourth installment of the five part $aga, KILL YOURSELF PART XIX: THE DEEP END SAGA is now the last train that boards for the eternal end.
The first impressions are standoffish and $UICIDEBOY$ act softly with “LEAVE ME ALONE”, an oil-lit production and creeping style of vocal lyricism that leads into one of the stronger moments of the $uicidal $agas. Through $crim’s simple, but effective, “Fuck Everybody” in solidarity, the track can breathe and get a first step into the shadowy world $UICIDEBOY$ paint in their first moments. The instrumental is not in full-force and does not attack, so much as it plays a resilient, more reserved chess game with the listener as it draws them in, and then attacks with the following track, “FAILURE BY DESIGN”.
Both Ruby and $crim have a sinister amount of detail behind their verses here, where Ruby first begins, “Ruby full throttle, toolie no condom. Bust it back and watch my brains splat on the column, dollars got me honest. Honestly without a prophet”. This is then the sudden catalyst for $crim, or $lick $loth to explain, “Sixth sense Deathwish, laughing at these fucking threats. Slick the one to ask you what you gon’ do?”. $crim is aggressive, and has blood in his throat as he spits his verse. Even as the synthesizers burst behind him in a robotic fashion; Ruby and $crim become authentic lyrical machines that can hold their own and continue to come up with unique verses through the hundreds of tracks they have.
As they move to the final moments of KILL YOURSELF PART XIX: THE DEEP END SAGA, “INTROVERSION 2.0” comes flying in with horrific screams that lead both $crim and Ruby down the corridor of eventual deafening silence. The production has a vaporwave style that contains these cascading synthesizers, rattling hi-hats, and a focus on the sampling that makes “INTROVERSION 2.0” become a sullen, but welcoming send off into the unknown.
The near-final nail in the coffin as $UICIDEBOY$ move on to one of the more deranged $agas tomorrow, THE KILL YOURSELF PART XIX: THE DEEP END SAGA is a transitioning piece that not only displays the shifting style, but does it surprisingly well. $crim and Ruby are on the fast track to hell, and tomorrow is when the sun sets.