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$uicideboy$ are one of the biggest forces in hip-hop. The hardcore-loving New Orleans duo of Ruby da Cherry and $crim boast hundreds of millions of streams online, fill arenas on the road, and drop boatloads of music upon their adoring fans, who lap up every last track with equal fervor.
Seriously, these guys have unloaded hundreds of songs since emerging in 2014 with their novel emo-trap style, including a whopping six(!) EPs in 2023 alone. Even though they have so many cuts to choose from, we asked Revolver readers to pick the single best song in their entire catalog.
See the top five vote-getters ranked accordingly below.
5. "Whole Lotta Grey"
"Whole Lotta Grey" is $uicideboy$ reaction to the "rage-rap" style that burst into the mainstream via Playboi Carti's 2020 album, Whole Lotta Red. (Notice their not-so-subtle ref?) The beat on this 2023 track has the quasar synths that typify Carti and Yeat's preferred production, and the boys go hard alongside their guest Shakewell to give this breed of rap — which they certainly had a hand in pioneering throughout the 2010s — their own flair.
4. "King Tulip"
"King Tulip" is a song from $uicideboy$ 2018 LP, I Want to Die in New Orleans, which arrived after they'd built up a considerable fanbase on the backs of nearly three dozen EPs and a fuck-ton of mixtapes. At this point, the boys were popular enough to start reflecting on their fame and influence, and they do so on "King Tulip" with unwavering candor.
"My liver really startin' to slack, and I can feel myself decayin' from the cigarette packs," Ruby da Cherry admits in his verse. $crim goes even deeper: "They say I made it, and that should be satisfactory/Lately, I feel like I have nobody/All alone in an empty hotel lobby."
3. "Diemonds"
Musically, "Diemonds" is a bit of an anomaly compared to the overcast mood that coats most of the 'boy$' songs. The foundation of this 2015 track is a beautiful, placid analog synth that flutters between each channel while the duo deliver their usual sermons about Satan and self-immolation.
Notably, Ruby da Cherry employs a belting sing-song delivery during his verse, while $crim intones with a bit more tunefulness than usual during his. Naturally, his lyricism is just as sneering and darkly comedic as ever: "Visuals glisten when I get fucked up/Rehab's for quitters and I don't give up."
2. "Paris"
Anyone who's seen $uicideboy$ live knows what happens when "Paris" comes booming out of the monitors: total fucking mayhem. The minute-and-45-second joint from 2015's Now the Moon's Rising is one of their most iconic songs, largely due to $crim's monstrous production, but also the energy both MCs bring.
$crim's machine-gun stutter flow is hype as fuck, and then Ruby opens his verse with one of the gut-bustingly funny bars in his repertoire: "Ruby was a motherfucking reject/Then I cut my wrists, and now I motherfucking bleed checks."
1. "Clouds as Witnesses"
"Clouds as Witnesses" is as close to a thesis statement as $uicideboy$ could muster. From the ethereal production and downcast deliveries to their painfully morose lyricism, the song does its best to encapsulate the downer drugs and vacant future outlooks that permeated their lives at the time of its 2015 release.
Ruby da Cherry begins his verse by remarking that the body of water he's staring into would be a nice final resting place, and then goes on to rap about giving a girl his number only to have hung himself by the time she calls for a late-night rendezvous.
$crim's words are somehow even grimmer. "Never-ever sober, need drugs for my composure/Lookin' like I'm dyin', layin' back on the sofa," he raps with a casual indifference. Later, the granular details of his misery come sharper into focus: "Whole fucking family got bloodshot eyes/Scripts in the kitchen, right next to the dishes."
Whether they find solace in their lyrics or just like getting lost in the primal aggression of its overblown bass, $uicideboy$ fans have elevated "Clouds as Witnesses" above their countless other tracks. We agree — it's a standout.
