It’s dark. It’s abrasive. It’s exactly what people expected from New Orleans cousins Aristos Petrou and Scott Arceneaux Jr. back in 2017. When you talk about $uicideboy$ Thy Kingdom Come, you aren't just talking about another track dropped into the bottomless pit of SoundCloud rap. You’re talking about a specific era where the G59 aesthetic was crystallizing into something that couldn't be ignored by the mainstream anymore. It’s part of The Kingdom Come Saga, which is the XX installment of their massive Kill Your$elf series.
Honestly, the energy on this project is different.
Most people remember 2017 as the year the duo really started to transcend the "underground" label. They weren't just kids in a warehouse anymore; they were selling out shows across Europe and the States. But Thy Kingdom Come felt like a deliberate middle finger to anyone who thought they were going soft or "pop." It stayed sludge-heavy. It stayed grim. It’s basically a masterclass in how to use Three 6 Mafia-inspired production to create something that feels like a modern panic attack.
The Raw Sound of Thy Kingdom Come
The production on $uicideboy$ Thy Kingdom Come is handled, as usual, by Budd Dwyer (Ruby’s production alias). If you listen closely to "Nightmare Choir (I'll Be Asleep Until I'm 6 Feet Under)," you hear that transition into full-blown metal-influenced screaming. It’s jarring. It’s meant to be. Ruby’s background in punk and metal bands isn't just a fun fact; it’s the skeletal system of this entire EP.
$crim’s production style during this period was heavily focused on those rattling hi-hats and deep, distorted 808s that felt like they were clipping on purpose. It’s a lo-fi aesthetic that actually takes a lot of technical skill to balance so it doesn't just sound like noise. The "Kingdom Come" vibe is particularly muddy—in a good way. It feels like humidity. It feels like New Orleans in August.
There’s a specific nuance to how they layered their vocals here. You’ve got $crim’s low, gravelly monotone acting as the foundation, while Ruby provides these melodic, often chaotic runs over the top. It’s a dynamic they’ve polished over hundreds of tracks, but on this specific saga, it felt particularly desperate. Not desperate for fame, but desperate for an outlet.
Why the Samples Matter
You can't talk about G59 without talking about samples. They’ve had their legal battles—notably with Three 6 Mafia’s DJ Paul and Juicy J—over the use of Memphis rap elements. But in Thy Kingdom Come, the sampling is what provides that eerie, nostalgic backbone. It’s a bridge between the 90s horrorcore scene and the nihilism of the 2010s internet generation.
- The vocal chops are often pitched down until they’re unrecognizable.
- They use ambient noise to create a sense of "place" (usually a dark, claustrophobic place).
- The drums are programmed to feel sluggish, mimicking the effects of the substances they were rapping about at the time.
Breaking Down the Tracklist
"Temple Spray" starts the project with an absolute sledgehammer of a beat. It’s fast. It’s aggressive. It’s the kind of song that makes people want to run through a wall. When Ruby comes in with that high-speed delivery, it’s clear they were trying to outdo their previous technical limits.
Then you get "Nightmare Choir." This is arguably one of the most polarizing songs in their entire discography. Ruby is essentially doing black metal vocals over a trap beat. Some fans loved the crossover; others found it too abrasive. But that’s the point of the Kill Your$elf sagas—they were playgrounds for experimentation. They weren't trying to make "Paris" or "Kill Yourself (Part III)" over again. They were trying to see how far they could push the listener's comfort zone.
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"You're Now Tuning in to 66.6 FM with DJ Rapture" serves as the standout "hit" if you can even call it that. It’s got that classic $uicideboy$ bounce. It’s catchy despite the dark lyrical content. It’s the track that usually gets the biggest reaction in a live setting because it bridges the gap between their experimental side and their "banger" side.
The Lyrical Themes
What are they actually saying? Usually, it's a mix of heavy drug use, suicidal ideation, and a deep-seated hatred for the industry. But there’s a layer of spirituality—or anti-spirituality—in $uicideboy$ Thy Kingdom Come. The title itself is a play on the Lord’s Prayer, twisted into a narrative about their own "kingdom" of the underground.
- Drug addiction: The lyrics don't glamorize it; they describe the rot.
- Mental health: It’s raw, unfiltered depression.
- Regional pride: Constant nods to the 504 and the Seventh Ward.
- Defiance: A "we did this without you" attitude toward major labels.
$crim’s verses often deal with the physical toll of his lifestyle at the time. It’s well-documented now that he has since gotten sober, which makes listening back to these 2017 tracks a bit heavy. You’re hearing a man in the middle of a crisis. Ruby’s verses tend to be more metaphorical and abstract, dealing with cosmic horror and the insignificance of human life. Together, they cover the internal and external realities of their world.
The Cultural Impact of the 2017 Sagas
When the boys dropped several sagas at once, including $uicideboy$ Thy Kingdom Come, it flooded the zone. This was a deliberate strategy. In the age of the attention economy, they provided so much content that their fanbase had no choice but to obsess over every lyric and sample.
They built a cult. Not a literal one, obviously, but a fanbase with a level of loyalty that most pop stars would kill for.
You see the influence everywhere now. The "shadow rap" or "dark trap" genre has hundreds of clones, but none of them quite capture the genuine misery that Thy Kingdom Come radiates. It’s because the Boy$ weren't playing characters. They were living in the environments they described. The authenticity is what saved them from being just another SoundCloud fad.
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Misconceptions About Their Message
A lot of critics at the time looked at the title Thy Kingdom Come and the "66.6 FM" track and dismissed it as edgy shock value. That’s a lazy take. If you actually look at the community that formed around this music, it was a bunch of kids who felt alienated and found a weird kind of hope in the fact that two guys from New Orleans were as miserable as they were.
It’s catharsis.
Listening to Ruby scream on "Nightmare Choir" isn't about worshipping the devil; it’s about releasing the internal pressure of existing in a world that feels like it’s falling apart. The religious imagery is used to contrast the "holiness" of society with the "hell" of their daily reality. It’s a classic literary device, just dressed up in camo shorts and FTP hoodies.
Technical Details You Might Have Missed
The mixing on this project is actually cleaner than the earlier Kill Your$elf sagas, even though it maintains that distorted "blown-out" feel. By 2017, $crim had leveled up as an engineer. He knew how to sidechain the kick drum so it cuts through the muddy bass, ensuring that even on shitty iPhone speakers, the track still hits.
The BPM ranges on this EP are interesting too. You have the frantic pace of "Temple Spray" contrasted with the more deliberate, head-nodding tempo of "66.6 FM." This variety is why the EP feels longer than its actual runtime. It takes you through several different emotional states in less than ten minutes.
How to Approach This Project Today
If you're coming to $uicideboy$ Thy Kingdom Come for the first time in 2026, you have to view it as a time capsule. This was the peak of the SoundCloud era. This was before the TikTok sounds, before the massive festival headlining slots, and before the sobriety that would eventually change their sound (for the better, health-wise).
It’s a gritty, unwashed version of the duo.
To really appreciate what they did here, don't just put it on as background music. Use high-quality headphones. Listen for the subtle layers in the production—the way the samples are filtered, the way the vocal tracks are panned left and right during the harmonies. It’s a much more complex piece of art than people give it credit for.
Practical Steps for New Listeners:
- Listen to the sagas in order: Thy Kingdom Come hits harder if you’ve listened to the preceding Kingdom Come Saga components.
- Check the lyrics on Genius: Ruby’s fast-paced delivery often hides some of his most poetic (and darkest) lines.
- Watch live performances from 2017: Seeing how these songs translated to a crowd helps explain why this specific project cemented their legacy.
- Compare to "New" $uicideboy$: Contrast these tracks with songs from Sing Me a Lullaby, My Sweet Temptation to see how much they’ve evolved as musicians.
The legacy of this project is tied to its refusal to compromise. In a world of polished, radio-ready hip-hop, $uicideboy$ leaned into the grime. Thy Kingdom Come remains a definitive pillar of their discography because it represents the raw, unfiltered essence of G59. It’s not for everyone, and that is exactly why it’s so important.
Next Steps for Deep Diving:
Explore the sample history of "66.6 FM" to understand the Memphis rap connection. Then, listen to $crim’s solo work (under the name Lonely Boy) to see how the production techniques from the 2017 era have been refined into his modern sound. Finally, look into the G59 label's full roster—artists like Night Lovell and Germ—to see how the "Kingdom" the Boy$ built has expanded since this EP dropped.
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