“Nobody really knew what was going on there.” This marriage of the urban and suburban, like the meshing of rap and rock textures, makes City Morgue’s music a fascinating document of American life in 2020.And where some modern rap groups, like Brockhampton, actually met online, City Morgue came together as the result of familial connections.

The water level is rising and the tsunami is about the make landfall with City Morgue surfing the wave like a couple of professionals.What’s next? My hope is that they start expanding on this style in the coming projects; longer songs, consistent song structures, and, as always, I want to hear them push the envelope some more; as with any artist.

“I was a good kid, you know what I’m saying,” says Sos, “I wasn’t a bad person. I was just doing other shit.” That might sound coy, but it gets at the current that runs underneath City Morgue’s music: this is a group that is the product of kids growing up in vastly different, though similarly trying circumstances, filtering this hardship through the cultural instruments that were available to them, doing whatever was necessary to survive.For a pair that had grown up gravitating toward Eminem and Slipknot, respectively, Sos and Zilla found they had an easy chemistry in the studio. City Morgue Volume 1: Hell or High Water is the first glimpse of a metal rap sound that is palatable to a mainstream audience and yet remains as cutting edge as it started. And Zilla’s are the product of a suburban neighborhood where “a lot of young White kids and their parents using really deadly drugs like heroin,” says Mel Carter, the Senior VP of A&R at Republic Records, where City Morgue signed in 2018. There is no holding back just well-produced, well thought out rage-raps that will put a hole in the wall if it’s loud enough. (Speaking of YouTube, they also reflect the current online struggle in that some of their more provocative clips have been removed from the service. “It’s a natural progression,” Zilla says of what he and Sos have learned from one another on the creative front. Its members are Junius 'ZillaKami' Rogers from Bay Shore and Vinicius ‘SosMula’ Sosa from Harlem, including their producer Sami 'THRAXX' Nehari.

Here, the group talks about their upbringing, combining rap and rock to create their music and more. They’re also wound tightly; while Sos and Mula have different backgrounds as music fans, each brings to his recorded material an eager verbosity, packing verses with carefully-timed syllables. ZillaKami x SosMula Produced by Thraxx CITY MORGUE VOL. One of the most bracing, provocative acts in hip-hop is a two-man wrecking crew known as It’s tempting to talk about City Morgue as a phenomenon of the internet, and the group does indeed reflect many of the realities of an online existence. But they quickly struck up a relationship that went beyond welcome-back daps and house parties.

If you aren’t inundated with underground Hip Hop you might not have heard of As of the publication of this article; their first World Star Hip Hop premiere “Shinners 13” has racked up 3.1 million views.The video has shown a music outfit with the potential to have longevity in a music climate that favors short-term virality. City Morgue chops it up with XXL for the Spring 2020 issue.

Zilla’s background in punk—he previously played bass and sung in a band in his hometown and he apparently spent time ghostwriting for the loud, careening “Shinners13” did not have 20,000 views for long. Sos’ raps are littered with references to the kinds of neighborhood activities that landed him behind bars—but which are sometimes the only economic options for people from his block. 1 : HELL OR HIGH WATER HIKARI ULTRA video remix by illview follow us on IG: @illview Their debut album Hell Or High Water released on October 12, 2018. Its music video currently rests just above the 10-million mark, and is included on their 2018 mixtape, As things stand right now, Sos and Zilla have a chance to join the rich lineage of aggressive, counter-cultural rap acts that capture the independent spirit of early rap and translate it for a broad audience.

Zilla and Sos are both uniquely attuned to the kinds of phrasing and syntax that cut through the social media din; they understand what sorts of jarring images stand out from the crowded YouTube algorithm. These two are like Hydrogen and Oxygen; their chemistry brings this sound to life. The era of bubblegum trap is finally coming to end and I couldn’t be more happy about it.

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