This is the 2nd collaborative album between Las Vegas, Nevada emcee Ouija Macc as well as New York recording artist Ricky Hil. The latter of whom came up in 2009 in the cloud/emo rap scenes & the other is the CEO of the Psychopathic Records subsidiary Chapter 17 Records who has been the only other current artist on the label that runs beneath the streets other than the Insane Clown Posse themselves for pretty much the current decade. Ricky recently got a shoutout on the highlight “Olympian” off Playboi Carti’s 3rd album MUSIC last month & is linking up with Ouija again for a sequel to Problem Children.
The title track produced by Devereaux starts with both of them giving middle fingers to everyone & spraying the walls with blood over a guitar-trap instrumental whereas “Upside Down” takes a cloudier route thanks to former Good Charlotte guitarist Billy Martin with Ouija giving props to Psychopathic Don & the wicked clowns’ manager Billy Bill for giving him game. “‘Till I Die” finds the pair talking about staying until the day where they take their last breaths while “Fucc ‘Em Up” fuses hardcore hip hop & trap thanks to 808 Mafia co-founder Lex Luger.
SosMula formerly of the City Morgue joins both of the Problem Children on the “Tavernity Trinity” introducing a new underground supergroup over a trap metal beat leading into “Ginsu” talking about death knocking on their doors & them eventually answering it. “In Vein” brings a trap metal flare back in the fold so they can tackle themes of death just before the internal emo rap-tinged “To Feel” talks about having loneliness to fulfill in their lives.
“Crème Brûlée” boasts that the weed they’re smoking on is significantly sweeter than dessert itself prior to “Nightmare Boyz” talking about people sneak-dissin’ only for the simple reason because of them not being legitimate competition in either of their eyes whatsoever. “Pray 4 Me” finds both of them discussing having 0 sympathy for their enemies due to life itself being an entire tragedy, but then “Buffalo Sauce” showcases a fun back-&-forth chemistry.
As for “Gone in the Wind”, we have Ouija & Ricky talking about death calling ‘em again & it all being lights off in the end while “Low Battery Warning” suggests to enjoy your emptiness since it’ll be as good as it can get. “I’d Probably Rot” shows an emo rap influence again talking about having nothing while “Storm Come Rolling In” admits to pain swallowing them again. “Moon Through the Blinds of the Bando” finishes by stripping the drums with parts of them feeling like they’re in Hell’s Pit.
The eponymous introductory LP was a fun marriage between Ouija Macc’s horrorcore twist on the SoundCloud aesthetics & Ricky’s cloudy emo rap hybrids, returning after 3 years to take it up another level since Ouija has evolved so much artistically since the last time he teamed up with Ricky. Their respective styles all come back & mesh well together once again to take every redeemable quality of its predecessor to newer levels.
Score: 8/10