probably the best rage album ever made. modern classic that will go down in history as one of the most genre defining projects of this generation.

On his highly anticipated sophomore album REST IN BASS, underground trailblazer che doesn’t just lean into the distorted, hyper-kinetic world of rage rap—he attempts to shatter its foundations entirely. Arriving with immense internet hype, the record functions as a beautiful, high-decibel assault on the senses. The irony of the title is made clear from the opening seconds of the intro; this is a project that demands movement, offering a relentless barrage of industrial sub-bass and glitched-out synths that leave the listener with absolutely no room to rest. The album's opening stretch sets a punishing, breakneck speed that immediately locks you in. The intro track, "SLAM PUNK" (8.6/10), hits like an absolute wall of pure adrenaline, pairing Rok's heavy rage synths with aggressive vocal tones. It hands off seamlessly to "ROLLING STONE" (8.1/10), keeping that chaotic momentum alive with an anxious, looping synth rhythm tailor-made for modern mosh-pit culture. But it's on "ON FLEEK" (8.8/10) where che truly enters crashout mode. Stripping away any glimpse of traditional rap polish, the track is a masterclass in modern distortion, utilizing a punishingly compressed CXO beat where che treats his autotuned vocals like a corrupted audio file—letting his voice crack, warp, and screech into pure electronic punk noise. What makes REST IN BASS an exceptional listen, however, is che’s refusal to stick to a singular lane. He frequently dials back the absolute sonic chaos just enough to flash his natural charisma. On "LIP FILLER" (7.4/10), he steps out of the aggressive screaming zone to effortlessly ride a thick, rhythmic 808 pocket, creating a highly repeatable pacing tool. That swagger carries heavily into "HOODFAMOUS" (8.5/10), a standout underground anthem where a menacing synth loop grounds his rapid-fire, authoritative cadences. When the album reaches for grander, more cinematic heights, it hits spectacular, near-flawless creative peaks. "BOSSUPPP" (9.0/10) functions as a massive victory lap, attacking a towering synth progression with untouchable superstar confidence. Even better is the atmospheric crown jewel, "MARCELINE" (9.4/10), an otherworldly pivot that swaps abrasive textures for a floaty, ambient soundscape where che displays a mesmerizing level of vocal control. He matches that visionary gravity on "BLACK SWAN" (9.3/10), wrapping an eerie, gothic melody inside a thunderous low-end that perfectly captures a haunting, midnight-drive aesthetic. Che’s ear for collaboration also yields highly stylized results across the tracklist. On "MANNEQUIN" (8.2/10), he links up with xaviersobased over a cold, icy CXO layout, with Xavier’s nonchalant, effortless delivery serving as a perfect foil to che’s intensity. Later, "NEVER TOO YOUNG TO DIE" (8.1/10) bridges the gap between internet electronic rap and gritty street energy, bringing in Chicago heavy-hitter Chuckyy for a dark, drill-adjacent anthem. Yet, the album isn't entirely immune to the pitfalls of the modern rage scene, occasionally stalling under the weight of formulaic writing and social media expectations. "DIE YOUNG" (6.9/10) stands out as the record's main low point—a perfectly listenable but safe, autopilot cut that fades into the background when stacked against the giants surrounding it. Similarly, the highly anticipated "HELLRAISER" (7.5/10) featuring OsamaSon suffers from chronic internet over-hype. While it's a solid, mosh-ready horrorcore track, it features a predictable beat and finds both artists playing strictly within their comfort zones rather than delivering the generation-defining crossover fans expected. Fortunately, the album's final leg delivers a back-to-back sequence of pure musical genius. "EARDRUMMER" (9.3/10) acts as a vital breath of fresh air, moving away from clipping audio to offer pristine vocal clarity and gorgeous major-key synth chords. It’s followed by the reckless digital adrenaline of "DOE DEER" (8.9/10), a manic, buzzing electro-punk thrash, before culminating in the monumental "STAGEDIVIN" (9.6/10). Representing the near-perfect zenith of the project, "STAGEDIVIN" layers a dense, euphoric synth wall over legendary, chest-rattling 808s, allowing che to drop arena-ready hooks that cement his elite status. Where the album slightly falters—preventing it from reaching a flawless score—is its structural execution at the very end. The project closes on "BA$$" (8.5/10), a brilliant standalone track that masterfully warps Beach House's "Lemon Glow" into a hazy, psychedelic cloud-rap comedown. However, dropping this ambient, ethereal outro directly after the high-octane explosion of "STAGEDIVIN" causes severe tracklist whiplash. Without a cleaner, smoother sonic bridge to guide the listener down from the album's high-decibel peaks, the final moment feels isolated rather than organically integrated into the body of work. Ultimately, an 8.6/10 proves that REST IN BASS is a triumph, cementing che as one of the most exciting artists.

Top 3 in the ug

His best album for sure. I still remember when i first listened to this, it had me stunned. Absolute greatness.

Shits gas

The best rage album oat

Only 2 misses best first 5 songs from any ug album

one of the best album in 2025

Great album from che very good tracks

he wasn’t lyin abt the bass amazing album

REST IN BASS is revolutionary. Blending melodic vibes with pure rage is genius, and people are gonna look back on this album for years.

this album is amazing, no misses in my opinion

pros: amazing production, great flow, versatile beats and vocals, lots of classics, amazing replay value, pushed him much higher in the underground cons: one dimensional song pallet

do you feel the bass?

Paar gute Songs aber auch sooo TOOOOOT