In Constant Sorrow by $uicideboy$ Lyrics Meaning – Exploring the Depths of Despair and Disaffection
Lyrics
Break yo’self, hit the floor, hit the floor
Ho-ish ass nigga, I’m just tired of this talking shit
Serious shit, no playin’, hoe
Keep poppin’ off at the mouth
Ho-ish ass nigga, I’m just tired of this talking shit
Break yo’self, hit the floor
Get your fucking wig split
Ruby keep pullin’ these hoes, all over the globe
But still I’m in love with the shit up my nose
All of the money, the cars and the clothes
It comes and it goes
One day, I’ll be ready to gather my bones, dig me a hole
Say goodbye, as my two eyes start to close
But then they ain’t even closed
Some of y’all leave me alone (leave me alone)
Who the fuck gon’ copy us?
No stopping us, she blocked me ’cause
I’m stocking up on find some sluts
And shoddy cuffs, no roxy dust
I’m Oddy Nuff
The next bitch who wan’ lock me up
I’m knockin’ up
The rope in my hand keeps knotting up
I’m so tired of thinking I’m not enough
Not enough, not enough (ho-ish ass nigga, I’m just tired of this talking shit)
Serious shit, no playin’, ho
Keep poppin’ off at the mouth
Ho-ish ass nigga, I’m just tired of this talking shit
Break yo’self, hit the floor
Get your fucking wig split
Pull up in a drop top, high (why?)
People tryna take what’s mine (who?)
People I call my friends (where?)
People I call my fam, god damn
Speed dial my style for a fix (when?)
Right now I don’t wanna hear shit (wait, what?)
I tell the ho, take off before I cut the dope off
Livin’ too deep in a dream
I’ve been, I’ve been
I’ve been dreaming of a reason not to paint the fucking ceiling
With my brains, and my pain, that’s just how the fuck I’m feeling
I don’t fuck with feeling worthless
Is this God thing really working?
No point of searching for a purpose
Meet me at my surface
Meet me at my surface
Meet me at my surface
I never knew people could be so evil (serious shit, no playin’, ho)
I don’t leave here, y’know? (Keep poppin’ off at the mouth)
(Break yo’self, hit the floor)
Haven’t gone outside for years
I have a job over the phone, I help the people with the computers
Order anything I want on the internet, got TV
That’s not a bad life
In the visceral track ‘In Constant Sorrow,’ $uicideboy$ harness a haunting melody to convey a narrative steeped in desperation and self-contempt. The New Orleans duo, comprising cousins Ruby da Cherry and $crim, have become notorious for exploring themes of depression, drug abuse, and suicide, and this song serves as yet another candid glimpse into their turbulent psyche.
As the verses oscillate between aggressive bravado and bleak introspection, the $uicideboy$ craft a sonic tableau that mirrors the duality often present in those battling inner demons. Let’s delve into the lyrical labyrinth of ‘In Constant Sorrow,’ unearthing the despair, societal critiques, and a cry for understanding that lurk beneath the surface of this potent piece of music.
The Agony of Existence in Every Verse
The relentless repetition of ‘Serious shit, no playin’, ho’ serves as a grim mantra, an anchor in the turbulent sea of Ruby and $crim’s experience. It’s an affirmation of the gravity of their confessions, seeking to ground listeners into the stark realities they face daily. The phrase ‘hit the floor’ not only alludes to a submissive or defeated posture but also to the act of succumbing to the powerful grip of drugs, which permeate their lives and lyrics.
The phrase ‘ho-ish ass nigga, I’m just tired of this talking shit’ emerges as a dismissal of idle chatter, suggesting a fatigue with surface-level interactions and the masks people wear. It stresses a yearning for authenticity, even if that reality is grim and riddled with sorrow.
Chasing Fleeting Pleasures to Escape Pain
Ruby’s confession about being ‘in love with the shit up my nose’ puts a spotlight on his battle with substance abuse, suggesting a fleeting love affair with the temporary relief it provides. This acknowledgment of loving the very thing that shackles them articulates the complexity of addiction—a twisted romance with self-destruction.
Conveying the ephemerality of material success, the lyrics, ‘All of the money, the cars and the clothes / It comes and it goes,’ reflect the transient solace found in external achievements. The underlying message is clear: regardless of their apparent success, they remain in a state of perpetual sorrow—material wealth cannot fill the void left by existential despair.
Desperate for an Exit: The Song’s Hidden Cry
In an alarming cry for help, the lyrics ‘I’ve been dreaming of a reason not to paint the fucking ceiling / with my brains’ reveal the darkness clawing at $uicideboy$’ sanity. The gruesome imagery represents a stark contemplation of suicide, suggesting that the search for a reason to live is becoming increasingly elusive.
The disturbingly casual mention of suicide serves as a plea to peel back the superficial layers and meet them at their ‘surface’—a space where vulnerability and true emotions reside, devoid of the masks put on for the world.
Throwing Shade on Fair-Weather Friends
The lines ‘People I call my friends (where?) / People I call my fam, goddamn,’ sharpen into an accusation against those around them, questioning the loyalty of friends and family. $uicideboy$ express betrayal and the isolation that comes with fame—those close to them are portrayed as opportunists, leaving the artists wading through the haze of mistrust.
Highlighting their struggle with having true connections, the presence of these supposed allies is compared to a ‘Drop top, high’—visible yet unreachable, a facade of support with no real substance.
Memorable Lines: A Lonesome Revelation
The song reaches a compelling climax with a monologue about an isolated life: ‘Haven’t gone outside for years… That’s not a bad life.’ This eerily calm acceptance of a life lived in the shadows—worked from home, with only electronics for company—cuts to the heart. It also offers a startling perspective on modernity and mental illness, where physical confinement and virtual connection coexist uneasily.
Mirroring the grim imagery earlier in the song, these lines underscore how one adapts and even rationalizes a life removed from society. Although it’s described as ‘not a bad life,’ the nuanced delivery hints at sarcasm—or perhaps, a deep resignation to a lesser version of living wrought by constant sorrow.
