$uicideboy$ remain one of the most important, least talked about duos in underground hip-hop, and their comprehensive follow-up to their previous “Kill Yourself” song series merits discussion. Composed of five distinct EPs, the series of Kill Yourself sagas showcase many familiar and unfamiliar artistic shades of the New Orleans emcees, delivering the ever-dark stamp of their shadow rap brand while exploring more experimental departures. Whether intentional or not, there’s an experiential element that answers some of the lingering questions surrounding $uicideboy$’ versatility.

Kill Yourself Part XI: The Kingdom Come Saga

From the distorted, ripping subs of “Temple Spray” to the raw, atmospheric aggression and screams of “Nightmare Choir (I Been Asleep Too Long),” the first installment of the Kill Yourself EPs kicks off in familiar territory. With their oft-seen blend of double-time flows, adlib–dosed verses, and stacked vocals, $crim and Ruby da Cherry play it safe with The Kingdom Come Saga, following their usual formula to tag a pair of bangers onto the previously released “You’re Now Tuning In To 66.6…” While nothing new, the speaker-cleaving EP opens the door to the Kill Yourself series much as a SWAT team breaches a meth den with a tactical battering ram.

Kill Yourself Part XII: The Dark Glacier Saga

Opening with a Gangland snippet speaking on New Orleans’ often overlooked culture of violence, The Dark Glacier Saga begins on a tame, yet sinister 808-injected contrast to its predecessor. While “Audubon” fits the mold of [enter any $uicideboy$ song], it sets the stylistic tone for the EP, though the following “2ND Hand” and its undeniably catchy conclusion progressively slows the pace. It could be called a showcase of $uicideboy$’ sonically “softer” side, if such can be fathomed, with “Planting The Roots Only to Fall Out The Tree” introducing a heavy amount of singing on Ruby’s part while $crim takes a pause for an uncommon catharsis.

Kill Yourself Part XIII: The Atlantis Saga

Featuring the previously released “New Chains, Same Shackles,” the third installment of the Kill Yourself EPs is by far one of $uicideboy$’ greatest aberrations. Driven more by singing rather than rhymes, elements of “O’ Lord! I Have My Doubts” and “Hard to Tell” touch on a more personal note contextually and sonically. It’s the most comprehensive evidence thus far to back Ruby and $crim’s comment about breaking out of a stylistic box and a welcome relief from regularity. The Atlantis Saga is something every $uicideboy$ fan should hope to see more of.

Kill Yourself Part XIV: The Vulture Saga

With The Vulture Saga, $uicideboy$ return to delivering their usual style of grime-driven tracks that play on the contrast of Ruby and $crim’s styles. While the quality is up to par, the monotonous “Pump Fake” and “Venom” with Shakewell—who’s essentially the Wal-Mart sales rack version of Pouya—drag down the quality that “Fuck” presents, making this the most pedestrian of the EPs in the collection.

Kill Yourself Part XV: The Coast of Ashes Saga

Aside from The Atlantis Saga, the final installment in the Kill Yourself series is the most distinct outlier. “Styrofoam” and “Withdrawals/Withdrawals,” at times, almost carry the sound (not vocally) of something you’d find in conscious rap. While “Pictures” with Maxo Kream is the black swan of the group, the meat of The Coast of Ashes Saga is a glimpse into yet another stylistic angle $uicideboy$ may explore further.

At its most bare bones, the Kill Yourself EPs are a demonstration of $uicideboy$’ versatility, which is important to note as their cult following continues to produce formidable imitators that sometimes water down the shadow rap and related movements with their redundancy. The bangers on the Kill Yourself EPs, at their best, don’t stand up next to the quality of $uicideboy$’ earlier DirtierNastier$uicide collab with Germ, though they hold their own as any thumping track from Ruby and $crim will. The true pearl in the oil spill is what you find on The Atlantis Saga and The Coast of Ashes Saga. Any $uicideboy$ fan knows they have the banger blueprint locked down, but how long can it last? These thematic changes are what need to be seen, and ultimately, what you get are the results of a stylistic litmus test that answers the question, “Are $uicideboy$ one-dimensional?”

Stream all the Kill Yourself EPs on Soundcloud.