The midnight creep stemming from the ocean of oversaturation in music culture, the overabundance of music, and the real process of weeding through the mire; $UICIDEBOY$come in a full fledged assault. Leaving no disparity behind them, I WANT TO DIE IN NEW ORLEANS is the first album from $UICIDEBOY$ that has an entirely different tone. It feels professional and a step in the direction of being an album that surpasses the shock and horror of their earliest music. This is a more refined, less crude New Orleans hip-hop.
From their earliest moments of I WANT TO DIE IN NEW ORLEANS, the sunken vocals of Ruby, one half of the $UICIDEBOY$ came in a drawn fashion. “Yeah I was the wave but now I feel the tide pulling back… Now I’ve got everything I ever wanted but now I don’t want it” as the mesmerizing Morse styled instrumental works behind him. It is then the pairing that makes $crim, the other half of $UICIDEBOY$ form into the near heartbroken verse of “but lately I feel guilty, I feel so badly. They say I made it, and that should be satisfactory.” He then moves on to say “Lately I feel like I have nobody, all alone in the empty hotel lobby” as the instrumental loses the percussion and just clambers along with the smooth singing voice.
Instead of proceeding with caution, I WANT TO DIE IN NEW ORLEANS then takes a sudden nose dive into the fiery pits where the levees once broke. They explain their disdain for music corporation on “Phantom Menace” as Ruby screams “Fuck the rap industry; I’m down for the motherfucking count. All you fucking clowns, I could really do without.” This is where the aggression starts to ride in a full wave of pain with the following track “WAR TIME ALL THE TIME”, a personal favorite off I WANT TO DIE IN NEW ORLEANS.
A carnival of terror opens the mosh pit as chopper gun rounds and lightning bomb flashes go off as $crim controls the microphone. “Dead bodies all around, hundred rounds out. Smell it in the air every time I’m fucking round town… Your chain snatched, I like the way it shines, when I’m back the black blood diamonds glisten and hear the victims yell” in a vulgar display of lyrical athleticism. He is an animal within the court as the pounding instrumental crowds the listener and traps them in this 808 cell that continuously punishes. But there is a salvation that comes within the final moments of I WANT TO DIE IN NEW ORLEANS.
With “I No Longer Fear The Razor Guarding My Hell (IV)”, a saga that was once displayed at the height of $UICIDEBOY$ obscurity, there is now the imprint left behind the massive footprints of hip-hop. They are the depression firing squad that works to deliver on one of the hardest hitting musical performances in the past. Now, they are a more professional and approachable group that works to form under the jaded lines of the industry. They have no masters and no real motives, but their music is a clear statement from one music lover to another.