The 12-song Eversince (2016) is much more trivial, and the weaker material ends up unmasking how monotonous the singing (or babbling) is and how repetitive the melodies are. His signature song Lovenote sounds like a bad cover of Eddy Grant's Electric Avenue or a robotic remix of a Pet Shop Boys ballad. The spastic waltz of Who Goes There and the romantic carillon of Romeo are the melodic highlights, but that's not to say much because some of his litanies are unbearable. On the other hand, songs like Sick (almost a funeral chant), Rip (so dejected to recall Lil Peep-ian emo-rap) and Skin (the sound of a suicide note) paint a poignant portrait of melancholy introversion. It is debatable if the trap beats and the autotune enhance or hamper the experience.

50SACINMYSOCIDGAF (2016), with a dramatic orchestral background, was perhaps the best of the collaborations between Bladee and Yung Lean.

The nine-song mixtape Working on Dying (2017) contains a few user-friendly ditties amid the usual repetitive filler. Redlight Moments is just orchestral pop in disguise. Cherry Bracelets is a nursery rhyme for children with a harpsichord-like loop. The most supernatural moment comes in Best Buy, which pits a real rap against the carillon of a church bells that gets slowed down and warped until it stops, as if simulating death.

The compilation D&G (2017) shared with Ecco2k and Thaiboy Digital mainly contains a bunch of Bladee leftovers.

The 19-song mixtape Icedancer (2018) perfects his fusion of trap and drum'n'bass, but, more importantly, perfects his fusion of mumble rap, confessional singer-songwriter and soul crooning in songs such as SmartWater, Close and the piano-based Topman, while indulging in childish singalongs such as Frosty the Snowman and the organ-tinged Anything. And finally his smooth melisma (inherited from black soul singers of the 1950s) glides on songs such as Side by Side.

The album Red Light (Year0001, 2018) is dominated by fragile ditties, barely sung children's rigmaroles, like Golden Boy, Westfield and That Thing you Do. It feels like the same song mumbled over and over again. The variations are minimal in both directions 1D, Decay and Obedient, with slightly more lively sing-rapping and robust trap beats, target the dancefloor. A bit more pathos and a soundscape that is a bit more mysterious are enough to make Fake News sound different; and Nike Just Do It becomes unique because of a slower delivery and an irregular tempo; and the slower ethereal Puppetmaster, wrapped in cosmic drones, ends up sounding like a breath of fresh air. These are mantras repeated in a monk's cell in order to escape a painful earthly existence.

Trash Island (2019) was another disappointing compilation of tracks by Bladee, Ecco2k and Thaiboy Digital.

After the short and blissful mixtape Exeter (2020), that contains ephemeral ethereal melodies, evoking the world of fairy tales, produced by Micke "Gud" Berlander, like Lovestory (a collaboration with Ecco2K), Bladee and Whitearmor crafted the album 333 (2020), blending trap with ambient, folk and psychedelia. Next to autotuned trap bangers like Don't Worry we find the soothing refrain of Only One (with Celtic guitar) and several dreamy lullabies. Whitearmor's eccentric beats inject a pulsing life into the likes of 100s and Innocent of all Things. Half of the album is filler, but the songs that work make this album a return to form.

The most successful of Bladee's and Ecco2k's collaboration was the catchy and propulsive synth-pop ditty Girls Just Want to Have Fun (2020).