Two years ago, the $uicideboy$ didn't want to dice in New Orleans. Honestly, how could they? After seeing a sharp, recent upswing in their career trajectory, the duo was traveling the world living lives of luxury, with no intentions of returning abode to air current out their final days in the aforementioned place they started. But eventually the wake up phone call came, aslope awareness that none of the splendor would bring them truthful happiness; thus spawning the new championship of their latest anthology, I Want To Dice In New Orleans.

Considering the name of the band as well as the name of the album, decease is unsurprisingly a major theme throughout the project. They paint a tormented moving picture, looking at the terminate of life from all sides— the death of their idols, the death of their haters, the death of themselves. On the standout track "Nicotine Patches," it's a sobering, withal sincere examination of the showtime category: "All of my heroes are rotting in their fucking graves / One day, I volition forget their name… One day, I'll go the same" sings Ruby da Cherry-red. Lyrics on "Long Gone (Save Me From This Hell)" are just equally cutting, as Reddish raps "Heighten a glass to a room full 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 nighttime revelations are a constant throughout I Want To Die In New Orleans, with the storyline revolving around lonely themes of demons and low. However, there's a flippant, tenacious energy in the product, signaling that the duo are resigned to their country of heed and adamant to rage their fashion out of it. As Juicy J serves every bit the projection's executive producer, there's an unmistakable Three vi Mafia influence on well-nigh every song, but they've tweaked the soundscape with their own punkish intensity. "Bring Out Your Dead" closes with distorted, frenetic screaming; "FUCK the Manufacture" showcases Red's rebellious, rockstar commitment. Still, "War Time ALL THE Fourth dimension" might be the most combative on the tracklist, with $crim setting a threatening tone early on before Ruby goes total screamo in the second poesy.

Nothing about I Want To Die In New Orleans is polish, except for the seamless mode the tracklist flows from song 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 stop of the first vocal "Male monarch Tulip," a broadcaster interrupts their disenchanted rant to deliver a report on a shooting in New Orleans, with two people having been taken into custody for firing at law officers.

Withal, Max Beck'due south monologue at the start of the song is peradventure even more polarizing, as he asks in bewilderment through a bang-up voice: "How did these 2 muthafuckers from New Orleans — how did they change music?"

To their credit, information technology'south impossible not to come across the influence they've had over the earth of SoundCloud rap since they first got started in 2014. They've released over 40 projects in the fourth dimension since, and despite the twelvemonth long drought leading upwards to I Want To Die In New Orleans, in that location's no denying their work ethic either. But take they really changed the world of music itself? It'southward possible to chalk information technology up top typical artist blowing, but afterward yet another well-received release, they certainly accept the show to debate their case.