Montréal $ud
Dead Obies
Montréal $ud is the ambitious 2013 debut album by Montréal‑by–Rive‑Sud hip‑hop collective Dead Obies, released by Bonsound and often cited as a defining statement of their self‑proclaimed “post‑rap” style. Spanning 17 tracks and about 1 hour 19 minutes, the record follows MCs Snail Kid, 20some, Yes Mccan, O.G. Bear, RCA, and producer VNCE through a loose concept narrative that traces their journey from the South Shore suburbs (Montréal‑Sud, Longueuil’s original name) into the big city, using that physical passage as a metaphor for ambition, disillusionment, and coming of age. Recorded across several Québec studios in spring and summer 2013, Montréal $ud is dense and cinematic, filled with interludes and sampled snippets that make the album play like one long, winding ride rather than a simple collection of songs.
Lyrically and sonically, Montréal $ud stands out for its hybrid language and genre‑blurring production. The verses switch fluidly between French, English, joual, slang, and Creole patois, mirroring the realities of Montréal youth culture and giving tracks like Trafic, In America, D.O.E. (Dead Obies Express), the title cut Montréal $ud, and standout single Tony Hawk a raw, conversational feel. VNCE’s beats collage soul samples, synth‑wave textures, electro pulses, and more traditional boom‑bap, creating a propulsive backdrop over which five distinct voices trade hooks, punchlines, and confessions. The result is a sprawling, narrative‑driven debut that pushed Québécois hip‑hop into new territory—both in how it sounds and how it represents the linguistic and cultural mix of its home city.
Montréal $ud
Dead Obies
Montréal $ud is the ambitious 2013 debut album by Montréal‑by–Rive‑Sud hip‑hop collective Dead Obies, released by Bonsound and often cited as a defining statement of their self‑proclaimed “post‑rap” style. Spanning 17 tracks and about 1 hour 19 minutes, the record follows MCs Snail Kid, 20some, Yes Mccan, O.G. Bear, RCA, and producer VNCE through a loose concept narrative that traces their journey from the South Shore suburbs (Montréal‑Sud, Longueuil’s original name) into the big city, using that physical passage as a metaphor for ambition, disillusionment, and coming of age. Recorded across several Québec studios in spring and summer 2013, Montréal $ud is dense and cinematic, filled with interludes and sampled snippets that make the album play like one long, winding ride rather than a simple collection of songs.
Lyrically and sonically, Montréal $ud stands out for its hybrid language and genre‑blurring production. The verses switch fluidly between French, English, joual, slang, and Creole patois, mirroring the realities of Montréal youth culture and giving tracks like Trafic, In America, D.O.E. (Dead Obies Express), the title cut Montréal $ud, and standout single Tony Hawk a raw, conversational feel. VNCE’s beats collage soul samples, synth‑wave textures, electro pulses, and more traditional boom‑bap, creating a propulsive backdrop over which five distinct voices trade hooks, punchlines, and confessions. The result is a sprawling, narrative‑driven debut that pushed Québécois hip‑hop into new territory—both in how it sounds and how it represents the linguistic and cultural mix of its home city.