$outh $ide $uicide

$outh $ide $uicide is a raw and unfiltered exploration of depression, suicidal ideation, and aggressive nihilism, themes that are central to the $uicideboy$'s musical identity. The song, a collaboration with Florida rapper Pouya, serves as a trifecta of dark perspectives on life, death, and the struggles of navigating a hostile world. Each artist contributes a verse that, while distinct in its focus, reinforces the overarching atmosphere of despair and defiance.

Lyrically, the song delves into the artists' deep-seated mental health struggles. $crim and Ruby da Cherry explicitly detail their suicidal thoughts and fantasies of violence, both towards themselves and others. This is not for shock value alone; it's a candid expression of their pain and alienation. They use graphic imagery of death and decay to convey the intensity of their inner turmoil. The 'South Side' in the title refers not just to a geographical location (likely referencing both their New Orleans roots and Pouya's South Florida background) but also to a state of mind—a place of darkness, struggle, and existential dread.

Pouya's verse, while maintaining the aggressive tone, shifts the focus slightly towards the pressures of the music industry and the phoniness he perceives in other artists. His contribution acts as a bridge between the raw, internal struggles of the $uicideboy$ and the external conflicts of navigating a competitive and often disingenuous world. It adds a layer of social commentary to the song's more personal themes.

Ultimately, the song is a cathartic anthem for those who feel like outcasts. It channels feelings of anger, hopelessness, and defiance into a powerful and aggressive sonic form. The 'suicide' in the title is both a literal reference to their ideations and a metaphorical killing of their old selves and the societal expectations placed upon them, embracing a darker, more authentic identity.

The song's narrative unfolds in three distinct verses, each artist painting a grim, nihilistic, and aggressive picture of their reality. The track opens with a haunting and atmospheric beat, setting a dark tone before the lyrics begin.

$crim's verse begins with imagery of cruising in a blacked-out vehicle, a sense of isolation and a clear death wish. He immediately contrasts the common desire for life with his own yearning for death, establishing a core theme of suicidal ideation. His lyrics are violent and confrontational, describing a readiness to take a life without hesitation. He details a brutal act, leaving a body in a river, and identifies with the demonic, referencing the number 666 and his affiliation with the G*59 crew. The verse continues with a sense of reckless self-destruction, mixing drug use (“a pound in the blunt”) with a desire to leap from a mountain peak. This is followed by a sudden shift to a scene of chaos involving a stolen police car, an act of rebellion against authority, which he justifies as retribution for police brutality against minorities. He embraces the role of a plague, a destructive force leaving bodies in his wake, and ends his verse with a chilling image of self-annihilation, putting a Glock to his own skull.

Next, Pouya, the featured artist, takes over. His verse shifts the focus to the rap industry and his own come-up. He starts by calling out other rappers for faking their success, using the aggressive metaphor of a baseball bat wrapped in barbed wire for anyone who stands in his way. He reflects on his journey, mentioning advice from fellow rapper Robb Bank$, and asserts his authenticity and hard-won success. Pouya contrasts his past struggles, like cleaning toilets, with his current status where he is now successful and desired. He touches on the envy and hatred that comes with fame and money, acknowledging how jealousy can drive people to madness. His verse is a declaration of his independent rise and a warning to those who would challenge his position, reinforcing the song's overall aggressive and defiant tone.

Finally, Ruby da Cherry delivers the closing verse. His part is a torrent of rapid-fire, complex rhymes and dark imagery. He portrays himself as a corrupted, almost ghoulish figure, a 'sippa of syrup' with a stained grin. His references are bleak, mentioning a hearse, being buried, and a preference for isolation. Ruby's lyrics are filled with a sense of being an outcast and a harbinger of death, the 'master of the black mass.' He speaks of a disregard for material wealth, choosing instead to find a twisted form of peace in death. The imagery becomes increasingly macabre, with mentions of digging graves and leaving no trace of his victims. He describes a violent, almost cinematic scene of kicking in a door and committing murder, feeling a cold detachment. The verse and the song conclude with a sense of finality and decay, with Ruby portraying himself as a walking corpse, the 'prince of the parish of the dead,' solidifying the track's profoundly dark and suicidal themes.

$outh $ide $uicide was released on September 1, 2015, as the title track of a collaborative EP between the New Orleans duo $uicideboy$ (comprised of cousins $crim and Ruby da Cherry) and Miami rapper Pouya. This collaboration was a significant moment in the burgeoning SoundCloud and underground rap scene of the mid-2010s.

The song and the EP were produced by $crim under his producer alias Budd Dwyer. His production style is a key component of the track's identity, characterized by dark, atmospheric, and often lo-fi beats that draw heavy influence from Memphis hip-hop, particularly groups like Three 6 Mafia. The beat for "$outh $ide $uicide" features a menacing, bass-heavy instrumental that perfectly complements the grim lyrical content.

The collaboration came at a pivotal time for both acts. $uicideboy$ were rapidly gaining a cult following for their prolific output and unique blend of horrorcore, trap, and punk aesthetics. Pouya was already an established figure in the South Florida underground scene. The joint EP helped to cross-pollinate their fanbases, significantly boosting the $uicideboy$'s visibility and cementing their status as pioneers of the underground trap sound. The project was one of many collaborations for the duo, who frequently worked with other artists in the scene like Ramirez, Black Smurf, and Germ. The EP was released through G*59 Records, the duo's own independent label.

The rhyme and rhythm in $outh $ide $uicide are complex and dynamic, reflecting the chaotic and aggressive energy of the track. The song does not adhere to a simple, consistent rhyme scheme but instead employs a more free-form structure with dense internal and multi-syllabic rhymes.

Rhyme Scheme:

The artists utilize a variety of rhyme techniques. Instead of a standard AABB or ABAB end-rhyme scheme, they often rhyme several consecutive lines or use internal rhymes within a single line to create a more fluid and less predictable flow. For example, in $crim's verse, 'Block hot, fuck the cops, pop a six-shot Glock / Then I trot to the rocks, with me own blood clot / Red-dot, bodies drop when I cock, then I spot.' This series of perfect rhymes on the 'ot' sound creates a percussive, hammering effect.

Ruby da Cherry is particularly known for his complex rhyme patterns, often weaving together multi-syllable rhymes across several bars. His verse demonstrates intricate assonance and consonance, creating a rich sonic texture that rewards close listening.

Rhythm and Flow:

The rhythmic structure is driven by the trap-influenced beat, which is typically in common time (4/4) with a moderate tempo. However, the rappers' flows are highly syncopated and varied, creating a compelling tension against the steady pulse of the hi-hats and kick drum.

• $crim's Flow: Tends to be more grounded and on-beat, delivering his lines with a menacing and deliberate cadence that emphasizes the weight of his words.
• Pouya's Flow: Is confident and rhythmic, riding the beat with a more conventional but powerful delivery that serves as a stable midpoint in the song.
• Ruby's Flow: Is famously unpredictable. He frequently switches his rhythmic patterns, speeding up and slowing down, cramming syllables together, and then stretching words out. This 'choppy' and agile flow makes his verses feel particularly frantic and energetic, mirroring the lyrical content's instability.

The interplay between the steady, ominous beat and the varied, often chaotic vocal rhythms is a key element of the song's power, creating a feeling of being simultaneously anchored in a dark groove and thrown around by a storm of lyrical aggression.

$outh $ide $uicide showcases the signature stylistic blend that defines the $uicideboy$'s music, combining literary and musical techniques to create its aggressive and dark atmosphere.

Literary Techniques:

• Vivid, Violent Imagery: The lyrics are filled with graphic descriptions ('Red-dot, bodies drop,' 'kick in the door, point the chopper at a motherfucker's dome'). This creates a visceral, cinematic experience that immerses the listener in the song's brutal world.
• Allusion: The artists allude to their influences and environment. The name of the producer, Budd Dwyer, is a dark historical allusion to the politician who committed suicide on live television. This sets a morbid tone from the production credits alone. The title itself is a play on their geographical roots, representing a grim subculture.
• Contrasting Diction: The lyrics mix street slang ('Block hot, fuck the cops') with more complex and sometimes pseudo-religious vocabulary ('grey serenade,' 'prince of the parish of the dead'), creating a unique lyrical persona that is both street-wise and apocalyptically poetic.

Musical Techniques:

• Vocal Delivery: A key feature is the varied and aggressive vocal delivery. $crim's flow is often deliberate and menacing, Ruby's is famously versatile, moving from rapid-fire, syncopated patterns (often called a 'choppy' flow) to melodic wails and aggressive screams, sometimes in the same verse. Pouya offers a more traditional, confident rap cadence that contrasts with the duo's chaotic style.
• Production Style: $crim's production is foundational. The beat is built on a dark, ambient sample, overlaid with heavy, distorted 808 bass hits and crisp hi-hats, characteristic of the trap genre. The production is intentionally lo-fi and gritty, which adds to the raw, underground feel.
• Ad-libs and Layering: The use of ad-libs (like the repeated 'Yuh, yuh, yuh' from Pouya) and layered backing vocals adds texture and intensity. Ruby often layers his own screamed vocals beneath his primary rap verse, creating a sense of internal conflict and chaos.

$outh $ide $uicide was a landmark track in the mid-2010s underground rap scene, playing a significant role in the cultural ascent of both $uicideboy$ and Pouya. Released during the peak of SoundCloud's influence, the song and its accompanying EP served as a powerful introduction for many listeners to the darker, more abrasive side of trap music.

The collaboration was pivotal in bridging regional underground scenes. It connected the raw, Memphis-and-horror-influenced sound of New Orleans' $uicideboy$ with the burgeoning South Florida scene championed by Pouya and the Buffet Boys label. This cross-pollination helped solidify a national movement of artists who were using online platforms to bypass traditional industry gatekeepers.

The song is considered a quintessential track of the SoundCloud rap era and a defining anthem for the 'sad rap' or emo-rap subgenres, even though its tone is more aggressive than melancholic. It showcased a raw, unfiltered approach to themes of mental health, depression, and suicide, which resonated deeply with a young audience that felt alienated from mainstream hip-hop's focus on wealth and bravado. $uicideboy$'s willingness to explore these dark themes with such candor was revolutionary and paved the way for many subsequent artists.

While it didn't chart on major platforms like Billboard, its influence is measured in its massive online cult following. The song has accumulated hundreds of millions of streams across platforms like SoundCloud, YouTube, and Spotify, demonstrating its enduring popularity and impact. It remains one of the most recognizable songs for all artists involved and a fan favorite often performed on tour. The collaboration was a breakthrough moment that thrust $uicideboy$ into the underground spotlight, from which they would build a massive and fiercely loyal fanbase, becoming one of the most successful independent acts in modern music.

The lyrics of $outh $ide $uicide are rich with dark symbolism and violent metaphors that create a vivid, unsettling landscape.

• The Color Grey/Grey59: A recurring motif in the $uicideboy$'s work is the color grey and their collective, G*59 (Grey Five Nine). Grey symbolizes the duo's worldview—a state of moral ambiguity and emotional numbness, existing between the extremes of black and white, good and evil. It represents their depression and the bleak, washed-out reality they perceive. When Ruby proclaims he is the 'plague' and on the seventh day 'grey bodies lay in they graves,' he is branding the world with their signature nihilism.
• Suicide as Liberation: The central metaphor of the song is the act of suicide, which is portrayed not just as an escape from pain but as a final act of rebellion and control. $crim's lines, 'Said they all wanna live, but I just wanna die,' and the closing image of putting a 'Glock to my skull' frame self-destruction as a defiant choice in a meaningless world. It's the ultimate rejection of societal norms and the pursuit of life.
• Religious Inversion: The artists frequently use and subvert religious imagery. $crim refers to himself as a 'cynical' agent of '$ui-$uicide, 6-6-6,' directly invoking satanic symbolism. Ruby portrays himself as the 'master of the black mass.' This isn't necessarily devil worship but rather an embrace of the role of the outcast, the antichrist figure in a society they feel rejected by. It's a way of claiming power in their damnation.
• The South as a Wasteland: The 'South Side' is more than a location; it's a symbolic setting. It represents a gritty, violent, and hopeless environment that has shaped the artists. It's a place of hot blocks, police brutality ('popped another brown kid'), and death. Their identity is intrinsically linked to this grim version of the American South.
• Barbed Wire Baseball Bat: Pouya's metaphor of a 'Baseball bat fully wrapped in barbed wire' is a potent symbol of his aggressive defense of his position in the rap game. It's a crude, violent, and effective tool, representing his raw, no-nonsense approach to dealing with rivals and phonies.

Several recurring motifs and phrases are present in $outh $ide $uicide that are central to both the song's meaning and the artists' broader work.

• '$uicide': The most prominent recurring word is 'suicide.' It appears in the title and is directly referenced by Pouya ('$outh $ide $uicide, kill yourself, ho'). For the $uicideboy$, this is their core branding and a constant thematic touchstone, representing their pact to succeed in music or end their lives. It symbolizes ultimate rebellion and an embrace of their darkest thoughts.
• 'G*59' / 'Grey Five Nine': Though not explicitly stated in the lyrics of this particular track, $crim's line '6-6-6, 59, so cynical' is a direct reference to their collective. G*59 is a constant motif in their music, merchandise, and branding, signifying their crew, their independent label, and their philosophy of existing in the 'grey' area of life.
• Geographical References (The South): The song is anchored in the identity of the 'South.' For $uicideboy$, this is the 7th Ward of New Orleans, a place they frequently reference in other songs (e.g., 'Runnin' Thru the 7th With My Woadies'). For Pouya, it's South Florida. This 'South Side' identity is a recurring motif representing a specific culture of struggle, humidity, and violence that informs their sound and lyrics.
• Death and the Macabre: Imagery of death, graves, skeletons, and violence is a constant motif throughout the track and the duo's discography. Phrases like 'bodies drop,' 'no tomb, no plot,' and Ruby's self-description as a 'walking corpse' are not isolated but part of a consistent aesthetic that uses horror and macabre imagery to explore themes of mental illness and societal decay.

The repetition of these themes and symbols creates a cohesive and immersive world for the listener, reinforcing the artists' identities and the dark, nihilistic philosophy at the heart of their music.