Hi, everyone. Sat, the New Boy Tano here, the Internet's busiest music nerd. It's time for a review of this new Mgk and Trippy Red ERP, genre, Sadboy. Yes, here we have a new unexpected ERP of material from Ohio Boys, Mgk and Trippy Red. A crossover we can't be too surprised about as these guys have collaborated before, due largely, I'm sure, to the creative common ground they share as these guys are not just rappers and singers, but they specifically have a core appeal among audiences that are very much into these trendy blends of pop rap and emo and pop punk. Trap music, too. Both have also collaborated extensively with producer Blink 182 drummer Travis Barker and have released projects in a variety of different styles. So being hypothetical and charitable, there was a lot of opportunity for this record to take on many different forms. Mgk and Trippy decide to instead basically tell you right out of the gate that they have no plans to reach out beyond the predictable, the cliché, and the stereotypical. I mean, the title of this thing is Genre: Sad Boy, which, spoiler, is not a genre. But given that it's Mgk and Trippy Red, I have a pretty firm idea as to what a sad boy project from them would sound like.

Really just a trap, pop, rap, emo blend with a ton of what was me, basic lyrics, subpar songwriting, and most likely some very crummy guitar passages, too. And yet, That's what I got. Thank God it's just an ERP, 10 tracks that number up to 27 minutes, because something like this could have easily been twice the length of what we got here, and it would have been complete torture. But even though I appreciate Kells and Trippy making the experience here brief, this little ERP still offers nothing, really nothing. So much so it doesn't even feel worth going over the details. And yet, I guess are some of them. There are numerous points on these tracks or musical ideas, I guess you could say, that make these songs just non-starters. They're that awful. From Trippy's obnoxious screams of, Yeah, on Lost Boys, to the royalty-free ass Guitars and Drums on the track Struggles, which later in the track also features some seven Dwarves Whistling Bits. Why? The flows on this thing are mind-numming, are repetitive, are unoriginal, are forgettable. And of course, the cherry on top of all this is the shockingly bad, tacky, tasteless lyrics that show no level of poeticism, wittiness, or tact.

Take the track Beauty, for example, where Mgk can be heard proclaiming, I hope this wasn't Fentanyl, which is a bit much. Also top five simile here of the year, I got this pain in my gut like a hernia. Digging further into the album, I'm a Hot Boy, Colder than the Snow. Did AI write this? What is going on? Needless to say, most of the writing on this thing is just straight up trash in terms of execution, level of effort being put in. But I still want to note that this album does present a very weird and interesting mix of feelings as the content of it relentlessly hits you with themes of suicidal ideation, depression, drug addiction, supremely dark and awful stuff. But it's being presented in a way to where it comes off with a certain bravado, like it's a badge of honor or something, maybe even a flex to some degree. This is not to say the feelings fueling the content of this record, potentially, are fake or are made up. But still, the tone of these songs just smacks as detached and not really honoring these truly tortured modes of being, especially when SGK is snuyly making light of a successful suicide attempt on the final track saying, I ruined my wedding, now I wish I had a rope so I could still tie the knot.

Leave my body cold as the North, hanging from the ceiling fan, spinning in circles, die young, leave a beautiful corpse. It's giving bad, cringy anime villain whose self-loathing just can't be contained. I guess Here's the question for me, is the album's writing so shallow and basic because the emotions informing it are shallow and basic and not really worth considering? Or is it that Mgk and Trippy Red are sincerely feeling deep, dark, and very depraved emotions internally, but their lack of musical and lyrical talent prevents them from emoting beyond a fourth-grade level. I think the answer is Most likely the latter, which is an important distinction to make because I want to make it clear there's nothing wrong with the feelings that SGK and Trippy Red are struggling with on this LP. It's important to be open and communicative when you are dealing with things like depression. And look, a lot of the things topically that are discussed on this record are quite universal, which is why I think such a wide range of people relate to the content on this record. The issue is mainly that it's not being expressed very well, very creatively, with much in the way of any nuance or finesse.

I would actually call the approach made on this record more tasteless and even slightly irresponsible, especially considering this project is just one more installment in a years-long trend of very downtrodden, druggy, and nihilistic emo trap music. It's the exact thing we've heard done better and have also seen end in tragedy, specifically with the pioneers of this genre. And while I guess you could say one of the most prevailing criticisms you could make of a lot of druggy emo trap stuff is that it's a bit brazen, it's a little immature in how it deals with the dark feelings it is addressing. But genre Sadboy is even more dumbed down than what you might hear on the average emo trap album out there these days, to the point where it's infantile. Have you ever fucking cried in a limousine and kept it in disguise He's under me? Everyone's alive except for me. And of course, how can I forget, all this hurt, don't even want to sing no singy songs.

Singy songs. Yeah, Anthony. You ain't ever sing no singy songs before.

I mean, I suppose-Why don't you just back you off and let the man Livy live? Okay.

All right, I'm going to go make lunchy lunch. You remember what I said he said. Or I'm going to killy kill you.

Well, more lyrics. Like I thought I was with you, but we always break up like I got enemies and we can't make up. I don't do trends no more. I'm not like them no more. How this whole ERP is a trend of a trend. It's a copy of a copy. The pain of this project is further illustrated by an uncredited jid feature on the song Who Do I Call? Yes, that jid, like the lyrical God did. And his appearance is bitter sweet because his contribution to the track is such a short, pointless, non-factor. He doesn't really rap or sing for all that long, nor does he really add anything to the track's sad, I'm lonely, broken up narrative. He just dips in and out, and I'm left thinking like, Man, the one good thing that could have come out of this ERP, Hopes Dashed. To be honest, I can't really I think of anything positive or nice to say about this project. Not a single compliment to give it. I'm really at a loss because at the very least, this thing could have the decency to be listenable enough to just put on in the background and ignore, but it can't even do that.

It's not a foreground listen. It's not a background listen. It's really honestly a no listen. It's a no listen, which is why I'm feeling a zero on this. A zero. Tran. Zition, have you given this thing a listen? Did you love it? Did you hate it? But what would you rate it? You're the best, you're the best. What should I review next? If you like, please subscribe. Please don't cry. Hit the bell as well. Over here next to my head is another video you can check out. Hit that up or the link to subscribe to the channel. Anthony Fantano, Mgk. Trip be read forever.