2 years ago, the $uicideboy$ didn't desire to die in New Orleans. Honestly, how could they? After seeing a sharp, contempo upswing in their career trajectory, the duo was traveling the world living lives of luxury, with no intentions of returning home to wind out their final days in the same place they started. But eventually the wake upwards call came, alongside sensation that none of the splendor would bring them truthful happiness; thus spawning the new championship of their latest album, I Want To Die In New Orleans.

Considering the name of the band besides equally the name of the anthology, death is unsurprisingly a major theme throughout the project. They paint a tormented picture, looking at the end of life from all sides— the death of their idols, the expiry of their haters, the death of themselves. On the standout track "Nicotine Patches," it's a sobering, however sincere examination of the first category: "All of my heroes are rotting in their fucking graves / Ane mean solar day, I volition forget their name… Ane 24-hour interval, I'll become the same" sings Carmine da Ruby. Lyrics on "Long Gone (Relieve Me From This Hell)" are only as cutting, as Cherry-red raps "Raise a glass to a room total of all my dead friend's ghosts, they loudly shouting, pounding fists / Yelling 'yo, is this a joke? You vowed to quit— renounce the shit!'"

Such dark revelations are a constant throughout I Desire To Dice In New Orleans, with the storyline revolving effectually solitary themes of demons and depression. Still, there's a brassy, tenacious energy in the production, signaling that the duo are resigned to their state of heed and determined to rage their manner out of it. Every bit Juicy J serves as the projection'due south executive producer, there's an unmistakable Three half-dozen Mafia influence on most every vocal, only they've tweaked the soundscape with their own punkish intensity. "Bring Out Your Expressionless" closes with distorted, frenetic screaming; "FUCK the Industry" showcases Red's rebellious, rockstar commitment. However, "State of war TIME ALL THE Fourth dimension" might be the most antagonistic on the tracklist, with $crim setting a threatening tone early on before Blood-red goes full screamo in the 2d verse.

Zip about I Want To Dice In New Orleans is smooth, except for the seamless manner the tracklist flows from vocal to song. Occasional news clips and interludes link everything together, allowing for breaks in the midst of the onslaught without departing from the overall mentality of the album. At the end of the first song "King Tulip," a broadcaster interrupts their disenchanted rant to deliver a written report on a shooting in New Orleans, with two people having been taken into custody for firing at police officers.

However, Max Brook's monologue at the offset of the song is possibly fifty-fifty more polarizing, as he asks in cliffhanger through a corking vocalism: "How did these two muthafuckers from New Orleans — how did they alter music?"

To their credit, it's incommunicable non to run across the influence they've had over the world of SoundCloud rap since they first got started in 2014. They've released over forty projects in the time since, and despite the twelvemonth long drought leading up to I Want To Die In New Orleans, there's no denying their work ethic either. But have they actually changed the earth of music itself? It's possible to chalk it upwards top typical artist bravado, but later yet another well-received release, they certainly have the testify to argue their case.