Suicideboys Discography May 2026

Emerging from the murky, humid underbelly of New Orleans in 2014, $uicideboy$—the cousin duo of Ruby da Cherry (now $lick $loth) and Scrim (now $crim)—built a discography that is as much a therapeutic autopsy of addiction, depression, and poverty as it is a sonic revolution. Rejecting the melodic autotune of mainstream SoundCloud rap, they forged a jagged hybrid of Memphis horrorcore, 90s metal, chopped-and-screwed beats, and punk rock nihilism.

Below is a chronological breakdown of their essential releases, from the chaotic Kill Yourself sagas to their chart-topping major label debut.

In the pantheon of modern underground hip-hop, few acts have carved a legacy as stark, uncompromising, and fiercely independent as Ruby da Cherry and Scrim of $uicideboy$. Emerging from the murky swamps of New Orleans' 7th Ward in 2014, the cousins turned a DIY ethic and a nihilistic blend of Memphis rap, hardcore punk, and chopped-and-screwed production into a global empire.

To navigate the $uicideboy$ discography is not merely to listen to music; it is to watch a post-modern therapy session unfold in real-time. Their catalog documents a brutal decade-long war with addiction, depression, religion, and fame. This article breaks down every era, all 50+ projects, and the evolution of the "Grey*59" sound.

Suicideboys$ have built a vast and diverse discography throughout their career. With a strong foundation in hip hop and cloud rap, they continue to produce and release new music, pushing the boundaries of their unique sound. This comprehensive overview showcases their extensive catalog, highlighting their growth and evolution as artists.

Navigating the Abyss: A Guide to the uicideboyu i c i d e b o y Discography

Since emerging from the New Orleans underground in 2014, cousins Ruby da Cherry and $crim—the duo known as uicideboyu i c i d e b o y

—have built one of the most prolific and dedicated cult followings in modern hip-hop. With a massive discography that spans dozens of EPs, mixtapes, and chart-topping studio albums, their music serves as a raw "time capsule" of their battles with addiction and depression.

Whether you’re a long-time member of the Grey Day family or a newcomer looking for a roadmap, The Early Foundations: Mixtapes and EPs

The duo’s early career is defined by a relentless release schedule, often dropping short, abrasive projects that blended Memphis horrorcore influences with punk-rock energy. Suicideboys Discography

The uicideboyu i c i d e b o y discography is defined by its staggering volume and a distinct sonic evolution from raw SoundCloud "horrorcore" to chart-topping studio LPs that explore sobriety and spiritual growth. The Blueprint: From SoundCloud to G*59

The Pact: Cousins Ruby da Cherry and $crim founded the duo in 2013 with a literal "success or suicide" pact.

Rapid Prolificacy: In 2015 alone, they released 6 solo EPs, 5 collaborative EPs, and 6 mixtapes, totaling 161 songs in one year.

Independent Growth: Every project is released under their own label, G*59 Records, which they used to build an underground empire without mainstream radio play. Core Eras & Evolution

The duo's sound, primarily self-produced by $crim under his pseudonym Budd Dwyer, has shifted through three distinct phases:

The discography of u i c i d e b o y is extensive, characterized by a massive volume of EPs (often released as sagas) alongside their studio albums and mixtapes. All of their music is released under their own label, G*59 Records Studio Albums I Want to Die in New Orleans Long Term Effects of Suffering Sing Me a Lullaby, My Sweet Temptation New World Depression Thy Will Be Done Major Mixtapes 7th or St. Tammany YungDeathLilLife High Tide in the Snake's Nest My Liver Will Handle What My Heart Can't Now the Moon's Rising Dark Side of the Clouds Eternal Grey Stop Staring at the Shadows Collaborative EPs Black $uicide

(with Black Smurf) — Includes Side A, Side B, and Side C (2015–2016). G.R.E.Y.G.O.D.S. (with Ramirez) — Includes Part I and II (2015–2016). DirtyNast$uicide (with Germ) — Includes Part I, II, and DirtierNastier$uicide (2016–2022). Shameless $uicide (with Shakewell) (2023). The "Kill Yourself" Sagas

The duo released 20 numbered EPs under the "Kill Yourself" title between 2014 and 2017. Notable entries include: The Budd Dwyer Saga The Resurrection Saga (Part VIII) The Kingdom Come Saga The Infinity Saga Other Notable EPs I No Longer Fear the Razor Guarding My Heel

— A series of EPs (Parts I through V) featuring continuous multi-song tracks. Radical $uicide Grey Sheep — Parts I and II (2015–2016). Emerging from the murky, humid underbelly of New

Legacy: No independent duo has done more to blur the lines between punk, metal, and hip-hop. Their discography is a 10-year spiral of self-destruction and redemption, all backed by the hardest 808s in the industry. Grey ‘til the grave.

The discography of u i c i d e b o y , the New Orleans-born duo comprised of cousins Ruby da Cherry

, is a sprawling, prolific journey through the darkest corners of the human psyche. Since their formation in 2014, they have built an independent empire, G*59 Records

, on the foundation of raw, unfiltered explorations of addiction, depression, and nihilsm. Their work can be understood through three distinct phases: the "SoundCloud Era" explosion, the era of major studio evolution, and their more recent shift toward recovery and sobriety. The Foundation: The Kill Yourself Sagas

The duo’s early catalog is defined by its sheer volume and relentless pace. In 2014 alone, they released seven EPs, starting with "Kill Yourself Part I: The $uicide $aga"

. These early projects established their signature sound: a blend of dark, phonk-inspired production, distorted bass, and rapid-fire verses that drew heavily from Southern rap roots and Three 6 Mafia influences. By the end of 2017, they had completed 20 installments of the "Kill Yourself"

sagas, creating a massive, loyal underground fan base that saw their music as an authentic reflection of shared struggle. Studio Evolution and Mainstream Breakthrough

While their early work was defined by EPs and mixtapes, their debut studio album, "I Want to Die in New Orleans"

(2018), marked a pivotal shift toward higher production value and more cohesive storytelling. This album captured the chaotic reality of their rising fame while still battling the same internal demons that fueled their underground days. Subsequent projects like "Stop Staring at the Shadows" (2020) and "Long Term Effects of SUFFERING" The Suicide World Death Tour (2014)

(2021) continued this trajectory, cementing them as a force that the traditional music industry could no longer ignore. Recovery and New Horizons

In recent years, the duo’s music has undergone its most profound transformation. Following a personal intervention and successful journey into sobriety for both members, their lyrical focus shifted toward recovery and self-reflection. "Sing Me a Lullaby, My Sweet Temptation"

(2022) is often cited as their "gentlest" work, featuring more melodic backdrops and bars that contemplate the pitfalls of their earlier, addiction-fueled mythology. "New World Depression"

(2024) continued this evolution, debuting at #1 on the Top R&B/Hip-Hop Albums Chart and proving that their fans remain as devoted to their healing as they were to their pain.

A Comprehensive Review of the $uicideboy$ Discography

The discography of $uicideboy$ (Ruby da Cherry and Scrim) is one of the most fascinating, erratic, and influential bodies of work in modern hip-hop. Emerging from the New Orleans underground, the duo built an empire on a foundation of nihilism, addiction, and distorted production.

To review their discography is to accept a duality: they are simultaneously technical rap heavyweights and punk-rock performance artists. Their output can be divided into distinct eras, each marking a shift in their sonic evolution.

Here is a breakdown of the $uicideboy$ discography.

After a brief hiatus (Scrim’s near-fatal overdose and subsequent sobriety), the duo returned with their official "debut" album.

2016 was the pivot. The production value widened without losing the grit.