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Their most mature work. Released five years after their near-fatal overdose era, this album asks: What do you do when you get everything you wanted? The answer: You’re still depressed, but now you have a budget.
Don’t let the title fool you. This is their most pop-adjacent record (relative to them). Managed to debut at #8 on the Billboard 200 without radio play. Tracks like “…And to Those I Love, Thanks for Sticking Around” serve as a soft outro to their “dark era.” It’s an album about the numbness of sobriety—which is somehow heavier than the chaos. Suicideboys Discography
By this point, $uicideboy$ had founded their own festival ( Grey Day ). This album is a victory lap for the cult. It features the hardest beat switch on “Escape from Babylon” and the most cinematic storytelling on “The_EVIL_that_Men_DO.” It proves they don’t need to be sad to be good; they just need to be sinister. Their most mature work
A cornerstone of their early career is the series. These are short, themed EPs (often containing three tracks) that they released in rapid succession. Don’t let the title fool you
$uicideboy$ turned their trauma into a subscription service. While mainstream rap chased luxury, they chased the dragon—and eventually, sobriety. Their discography is bloated by design, chaotic by necessity, and brilliant because it never pretended to be anything other than two cousins from New Orleans screaming into the void.