Ouija Macc is a 36 year old rapper from Las Vegas, Nevada who started out as a member of the duo Swag Toof with Choirboy Dank. After splitting up on 2017, the Insane Clown Posse signed him to Psychopathic Records shortly after his debut EP Trashfire independently. Ouija has since proven himself as one of the most consistent & hard working dudes in the underground by dropping a full-length debut, a greatest hits compilation, 4 mixtapes & 3 EPs all in the span of 3 years. But after much anticipation, he’s finally delivering his sophomore album produced entirely by longtime collaborator Devereaux.
The opener “Destroyers” gets violent over a spooky trap beat whereas the next song “Jacc Shit” flexes over a nocturnal instrumental. The track “Bootlace” tells everyone to stay out of his lane over an ignorant beat (in a good way) while the song “Fee Fye Foe Fum” with Rozz Dyliams sees the 2 coming at all the suckas out there over a dreary instrumental.
The track “Daily Death” lyrically lives up to its concept perfectly on top of this melancholic ass beat while the song “Broken” dives into his mental health over an eerie instrumental. The track “When da Lights Out” with Rittz finds the 2 getting reckless over a devilish beat while the song “Hatchet Mode” talks about plotting revenge over a spacious instrumental.
The track “Juggalo” talks about the noise that they want you to fear over a trap/rock fusion while the song “Runnin’ Shit” talks about taking over the game over an Atari-esque instrumental. The track “Incantation” gets on the horrorcore tip over a cavernous beat with some heavy bass while the song “Yuh Yuh Yuh” is a fun, catchy celebratory anthem.
The track “Stand For” talks about how they won’t fall for shit over an atmospheric instrumental while the song “Critical Meltdown” talks about losing his shit over a devilish beat. The track “Inquisition” boasts over a cloudy beat while the song “Forks in the Pot” talks about how you can’t clone him over a rubbery instrumental. The closer “Dead Homies” pays tribute to those in his life who’re no longer here over an anguishing beat, but then the hidden track talks about being born in a nightmare over a psychotic instrumental.
For waiting as long as we did for Wasteland, it was very much well worth it in my personal opinion. Not only does Devereaux cook up some of his best production ever, but his sound continues to help bring the best out of Ouija as the songwriting & flows on here are just as fantastic.