Suicideboys Now and at the Hour of Our Death Meaning and Review

A Reunion Nearly a Decade in the Making

“Now and at the Hour of Our Death” marks a long-awaited reunion between $uicideboy$ and BONES, their first collaboration since 2014’s “Maple Syrup.” Appearing as the sixth track on the 2025 album Thy Kingdom Come, the song reanimates the bleak energy and guttural rage that have come to define both artists’ work. While there was once rumored tension stemming from BONES’ lyrics in “TakingOutTheTrash,” which criticized pill use and emotional suppression, possibly an indirect shot at $uicideboy$’s early content, their reconciliation feels complete here. The result is a dark, aggressive, and unrelenting track that is as emotionally raw as it is violently cathartic.

Instrumentation That Straddles Chaos and Calm

The production, courtesy of $lick and others under the G*59 banner, rides a thin line between punishing and hypnotic. It is driven by a thunderous bassline that clips just enough to feel unstable without losing clarity. There is an eerie mellowness to the beat that lingers under the chaos, which creates a sense of looming dread. The drums hit like gut punches, and the background textures give it that classic $uicideboy$ atmosphere: haunted, hollow, but still heavy. The instrumental does not just serve the vocal performances; it amplifies their pain and paranoia, setting the perfect backdrop for the lyrical onslaught.

Scrim and Ruby Da Cherry Return to Form

Scrim opens the track with an unhinged performance that blends street horror, religious symbolism, and violent paranoia. His Northside mantra acts like a war cry, reminding listeners of G*59’s deep-rooted identity. Lines like “Crucify me in the North, nailed to the trees” and “Swervin' matte black Rovers, fuck bein' sober” highlight the duality of sacrificial imagery and reckless living. Ruby da Cherry’s verse is poetic and surreal, filled with visceral confessions and cryptic allusions. His line “Season five Gandolfini” is an especially cutting metaphor that likens his heaviness and brutality to Tony Soprano at his peak. It captures his chaotic charisma with surgical precision.

BONES Brings the Song to a Violent Climax

BONES’ presence elevates the song further, adding a sense of nihilistic finality. His performance is spectral and grim, painting himself as a doomed figure who is both deadly and already dead. The way he slides from suicidal imagery to aggressive threat — “.38 pressed against my head” into “Razor in my palm with a rag full of chloroform” — gives his verse a chilling volatility. His cadence is cold and deliberate, making each bar feel like an execution. The second half of his contribution is more aggressive, boasting lines like “It go bang, it go boom, now his birthday on a tomb,” which turn the violence from inward to outward. This balances $uicideboy$’s introspection with raw intimidation.

A Defining Moment in the Thy Kingdom Come Era

“Now and at the Hour of Our Death” is not just a standout on Thy Kingdom Come. It is a defining moment in $uicideboy$’s evolution. The reunion with BONES feels earned, not forced, and the chemistry is electric. It tears down expectations while reinforcing what makes $uicideboy$ and BONES cult icons in underground hip hop: unfiltered honesty, cinematic production, and the ability to weaponize vulnerability. In a genre oversaturated with polished nihilism, this track is jagged and bloody. It is a thrilling reminder that when G*59 and TeamSESH collide, the result is pure chaos.

Listen to Suicideboys Now and at the Hour of Our Death

Suicideboys Now and at the Hour of Our Death Lyrics Meaning Explained 

The meaning of Now and at the Hour of Our Death by $uicideboy$ is a raw exploration of pain, survival, and identity rooted in the harsh realities of their environment. The song delves deeply into themes of violence, addiction, mental anguish, and defiance, all while grounding itself in the duo’s connection to New Orleans. Through vivid and often brutal imagery, the lyrics paint a portrait of individuals grappling with inner demons, the weight of their past, and the constant presence of death, yet still finding a fierce sense of loyalty and resilience within their community and themselves.

Introduction and Chorus: Establishing the Northside Identity

The song opens with the repeated chant of “North, North (You did good, $lick) / Northside, Northside (It’s a Smash),” establishing the Northside as both a geographical and symbolic anchor. This motif is a signature for Scrim, echoing his solo work like Nightmare on the Northside and emphasizing his connection to the northern part of New Orleans. The shout-outs to “$lick” and the phrase “It’s a Smash” serve as hype elements and producer acknowledgments, setting an energetic tone.

Verse 1: Scrim’s Gritty Narrative and Violent Swagger

Scrim delivers a gritty and intense narrative with lines like “Creep with the tone, I’m breakin’ bones / Marble Caddy, ridin’ stone,” blending violent swagger with luxury car imagery. “Fulla chrome” refers to firearms, while “sippin’ that poison out the 'foam” is a nod to lean consumed from Styrofoam cups. The mention of “Straight out Lacombe” grounds the verse in Louisiana roots, while “Smokin’ on shit that smell like body rot” evokes either the pungency of potent weed or a metaphorical sense of decay.

The phrase “Grippin’ that heart stopper, choppin’ 'em down like bop bop bop” imitates gunfire, enhancing the violent atmosphere. The Superman allusion “It’s a bird? It’s a plane? It’s $carecrow” twists the heroic into something menacing. Lines such as “Homicide painted on my eyes (North) / I come from fiends (North)” express a violent mindset shaped by addiction and environment. The imagery of “Crucify me in the North... nailed to the trees” borrows from biblical martyrdom to represent sacrifice within a harsh street reality.

Further references to darkness and resilience appear in “Light a cig and go to hell (Northside), Keanu Reeves,” alluding to the film Constantine and hellish imagery. The prophetic confidence in “A prophet my scripts get fulfilled like prophecies” highlights Scrim’s belief in his influence and foresight. Luxury and substance abuse merge in “Swervin’ matte black Rovers / Fuck bein’ sober,” while personal trauma is revealed in “Daddy was a psycho and my momma bipolar.” The repetition of “G-R-E-Y / Fuck I’m losin’ my composure (Northside)” signals emotional unraveling, connected to the Grey59 label identity.

The verse closes with an addiction to violence and weaponry in “Fiendin’ for that bloodshed… air it out” and “G, the 5, the 9… tear it down,” referencing various guns and a readiness to destroy.

Interlude: Ruby Da Cherry Grounds the Geography

The interlude by Ruby Da Cherry grounds the song again in New Orleans geography with “7th, 7th, 7th Ward, ayy,” expanding the local authenticity and street credibility.

Verse 2: Ruby Da Cherry’s Vulnerability and Addiction

Ruby’s verse begins with vulnerability, “Gripping a jewel… tryna fall asleep / Cruel life haunting me,” reflecting wealth intertwined with anxiety and insomnia. The self-destructive “Kick the stool, I’ll pick the drool… flaunt my gauze and bleed” portrays raw mental anguish and intoxication. A self-awareness of leadership and struggle emerges in “Boss in me keeps saucin’… rotten broken overloaded.”

Substance abuse takes center stage in “Poppin’ lots of things… sold my soul and planted Roxy seeds,” directly referencing opioid addiction. The tortured spirituality in “Waterboard my faith… proppin’ honesty” suggests faith under assault yet clinging to truth. The feelings of loss and wandering are echoed in “Lost until spring / Cross country… dragged my woes flawlessly.”

The allusion to Tony Soprano in “Season five Gandolfini… head leaking spaghetti bolognese” ties in a metaphor for chaos and spilling emotions. The mental overload continues with “Head is never empty, got a thousand thoughts too many,” which also nods to their earlier song 1000 Blunts. The aggressive imagery “Choppin’ blades like a machete… locked and fuckin’ loaded” conveys readiness for violence, while the line “Back when we was pinchin’ pennies… full bellies” reflects a rise from poverty.

Verse 3: BONES’s Nihilism and Psychological Distress

BONES’s verses shift into a darker, more nihilistic tone. The line “It’s the one that they callin’ dead… .38 pressed against my head” suggests a persona entwined with death and suicidal thoughts. The dizzying violence in “Spinnin’ and spinnin’ 'til I see red / Flea flicker I’m catchin’ lead” evokes the confusion of trauma and gunfire.

Psychological distress appears in “Physically mentally MIA… shadows follow me,” highlighting depression and paranoia. Menacing imagery returns with “Razor in my palm with a rag full of chloroform,” insinuating incapacitation or violence. The ironic contrast between wealth and disrespect is captured in “Cover me in diamonds, throw my body in the trash.” Death and destruction are fused in “It go bang it go boom / now his birthday on a tomb,” while “Head down when I'm 'round… tear that bitch down” warns of sudden violence when provoked.

Verse 4: BONES’s Continued Violence and Defiance

BONES continues with “I push the 9 milli’ lick ’em, I stick ’em, I gotta go,” indicating swift, ruthless action. The phrase “Inside the mind of the sickest and wickedest on the flow” asserts his dark, complex persona. References to $uicideboy$ and weaponry appear in “FN at your head, boy / Metal detectors goin’ off when we stepped in with lead toys.”

The harsh sounds “It go bang, it go boom” describe gunfire, with “now his birthday on a tomb” implying a violent death date. “Family cryin’, droppin’ dimes, I’m givin’ you hoes the blue’s” suggests informants and police intervention. The verse closes with readiness and dominance: “Head down when I’m ’round… all we ever do is tear that bitch down.”

Outro: The Mantra of Destruction and Rebellion

The outro features a repeated, hypnotic chant of “Tear it down,” serving as a rallying cry for destruction whether of institutions, egos, or emotional barriers. This mantra reinforces group loyalty and defiance with “Fuck the state, fuck the law” and “Grey59 till we die,” emphasizing a shared identity bound by rebellion and nihilism.

Now and at the Hour of Our Death Meaning

Throughout the song, themes of geography and identity intertwine with violence and weapons imagery, addiction and mental health struggles, religious and prophetic symbolism, and a sense of triumphant nihilism. The lyrics paint a complex picture of pain, power, and resilience where wealth and fame coexist with destruction and despair.

Suicideboys Now and at the Hour of Our Death Lyrics

[Intro: Scrim]

North, North (You did good, $lick)

Northside, Northside

Northside, Northside (It's a Smash)

Northside, Northside

North, North

Northside, Northside

Northside, Northside

Northside, Northside

[Verse 1: Scrim]

Creep with the tone, I'm breakin' bones

Marble Caddy, ridin' stone

I-I-I'm fulla chrome

I'm sippin' that poison out the 'foam

Straight out Lacombe

Beatin' 'em like they did me wrong

This shit just fun

I-I-I'm smokin' on shit that smell like body rot (Body rot)

I'm grippin' that heart stopper, choppin' 'em down like bop, bop, bop

Claimin' they gang, I'm like, "What the fuck?! Oh nah-nah-nah"

It's a bird? It's a plane? It's $carecrow (Run)

Yeah, homicide painted on my eyes (North)

I come from fiends (North)

Crucify me in the North (Northside), nailed to the trees (Northside)

Light a cig and go to hell (Northside), Keanu Reeves (North, North)

A prophet, my scripts get fulfilled like prophecies, yeah (Northside)

Swervin' (Northside), matte black Rovers

Fuck bein' sober (Northside)

Daddy was a psycho and my momma bipolar (Northside, Northside)

G-R-E-Y

Fuck, I'm losin' my composure (Northside)

Been fiendin' for that bloodshed, what the fuck's the hold up? (Northside)

All they talk is "shoulda, coulda," me? I'ma air it out (Northside)

If it's war with me, I'm killing everything they care about (Northside)

If it's war with me, there ain't shit I'm being fair about (Northside)

G, the 5, the 9, we pullin' up just to tear it down (Northside)

Tear it down

[Interlude: Ruby Da Cherry]

7th, 7th, 7th Ward, ayy

[Verse 2: Ruby da Cherry with Scrim]

Gripping a jewel, tryna fall asleep

Cruel life usually haunting me

Kick the stool, I'll pick the drool

Come Yuletide, flaunt my gauze and bleed

The cross the key

But the boss in me keeps saucin', lost 'til spring

Rotten, broken, overloaded, loafin', overdosin'

I'll go kick rocks for free

Possibly

Ain't no stoppin' me, I'm poppin' lots of things

Dope head overgrown, I sold my soul and planted Roxy seeds

Waterboard my faith without a trace, I'm proppin' honesty

Broken, chosen, chokin', soakin', hopeless my aroma

I fuck up constantly

Cross country, where I dragged my woes, I did it flawlessly (7th, 7th, 7th Ward, ayy)

Cautiously

'Cause I'm always fighting off that nausea G (7th, 7th, 7th Ward, ayy; chase)

Stake my claim, lawful or unlawfully (7th, 7th, 7th Ward, ayy)

Claim what's mine, now get out that fucking gorgeous Jeep (7th, 7th, 7th Ward, ayy)

I'm coming heavy, like season five Gandolfini (7th Ward), I'm ready (Huh, ooh)

Head leaking spaghetti (7th Ward) bolognese, I can be petty (Huh, huh)

Hold the Chevy steady (7th Ward), while we whip it 'round the levee

Choppin' blades like a machete (7th Ward)

Don't tempt me, this shit get messy (Hmm)

Locked and fuckin' loaded, yeah, this AR ain't no semi (This AR ain't no semi)

Head is never empty, got a thousand thoughts too many (Got a thousand thoughts too many)

They used to call us edgy, back when we was pinchin' pennies (Back when we was pinchin' pennies)

Nowadays, we got full bellies, stay fighting off all the envy, tear it down

[Interlude]

SESH

[Verse 3: BONES]

It's the one that they callin' dead

.38 pressed against my head

Spinnin' and spinnin' 'til I see red

Flea flicker, I'm catchin' lead

Physically, mentally MIA

Wishin' it all was in my head

Shadows, they follow me

Ceiling, it fall on me

Trippin', remembering what you said

I'ma hit the curb, the curb

Watch how I swerve and swerve

These bitches love to run they mouth

They got some nerve, some nerve

It's that 5-1-7 legend

I'm the one that they call upon

Razor in my palm with a rag full of chloroform

On the day that I die, don't cry for me, ho

Cover me in diamonds, throw my body in the trash

[Interlude: BONES]

This is a graveyard exclusive

What? What?

[Verse 4: BONES]

I push the 9 milli' lick 'em, I stick 'em, I gotta go

Inside the mind of the sickest, and wickedest on the flow

$uicide, deadboy, FN at your head, boy

Metal detectors goin' off, when we stepped in with lead toys

It go bang, it go boom, now his birthday on a tomb

Family cryin', droppin' dimes, I'm givin' you hoes the blue's

Head down when I'm 'round, rollin', smokin' out the pound

You can run, you can hide, all we ever do is tear that bitch down

[Outro: Scrim, BONES & Ruby Da Cherry]

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down (Fuck the state, fuck the law, motherfuck a leader)

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down (We 'bout to turn this bitch up, and blow the fuckin' speakers)

Tear it down, tear it down

Tear it down, tear it down (Fuck your feelings, fuck your ego, motherfuck your pride)

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down

Tear it down, tear it down (Bitch, it's Grey*59 'til we fuckin' die)