James Prudhomme, who produces as Suicideyear, is only 18, though his virtuosity might suggest otherwise. He's a guy who isn’t afraid to let his youth (not inexperience) shine through. He lets his muddled teenage emotions pour into his work. He sounds like he’s 18—innocent, moody, and, ultimately, hopeful—albeit, one of the more talented 18-year-old producers you’ll ever encounter. Hailing from Baton Rouge, Suicideyear grew up on the homegrown sounds of Lil Boosie and Webbie, New Orleans— Cash Money and No Limit, and ATL— Gucci, Future, et al. The producers, too: Mouse On The Track, Mannie Fresh, and, more recently, Lex Luger have all left an indelible mark on him. And that’s just part of his musical acumen. Many of his compositions have an ambient quality rarely touched in hip-hop; his synth layers are a blend of organic and digital and go way past empty categories like “trillwave.” Though, as we’ll say again, hip-hop is the blueprint. Very careful with his drumwork, he uses basic trap motifs to find more than pure aggression. If you call it “trap,” then Suicideyear will give you a genre ridden with complex emotions. He’s already worked with fringe characters like Rome Fortune and Main Attrakionz, along with Internet “sad rap” sensations (more on that to come). Though it’s just the beginning. He’s rumored to be in cahoots with some big names (we're talking YMCMB). Come see why.

In rap’s ever-changing soundscape, even his earliest stuff is ahead of the curve. Kill yourself, this is Suicideyear.