Starting with the shattered bones of The Fall of Troy’s “The Dark Trail,” YosukeHawkTuah9000 rips it apart, stitches it back together with broken speaker wires, and slams it into a blender already filled with a warped, drowning sample of American Football’s “Never Meant.” Except everything is bassboosted to the point of physical nausea.

Nothing is sacred here. The emo math rock sadness of "Never Meant" attempts to break through, only to be tackled by blast beats, sirens, distorted snares, and industrial glitches that come and go like jump scares. The time signatures clash on purpose. The reverb is unkind. The cymbals sound like they’re being thrown down stairs. It’s deeply emotional and deeply unlistenable, like watching your childhood home burn down while a drum machine has a seizure.

By the time it ends (or crashes), you’re not sure what you heard—but your heart is racing and your ears feel like they’ve been emotionally manipulated. Merzbow would blush. Death Grips would take notes. And somewhere in the chaos, there’s a weird kind of beauty. Like trail mix itself, it shouldn't work... but it slaps anyway.

Trail Mix

The long-awaited self-titled debut from YosukeHawkTuah9000 is a genre-crushing, braincell-shattering collection of distorted beauty, unhinged remixes, and oddly emotional chaos. Fusing aggressive post-hardcore influences like The Fall of Troy with irreverent pop culture nods and meme-fueled absurdity, the album builds on the cult following of early tracks like "my cat got hit by a car" and "escaping from french class obby", while introducing new sonic explosions like "Mint Green" and "Trail Mix."

Anchored by the viral anthem "eight", the album goes off the rails in the best way with two alternate versions: the sinister "Dark and Evil Version" and the borderline unlistenable (in a good way) "Umm... Version." Elsewhere, screamo fans will find comfort in the glitchy brutality of "Mouth", while chaotic good energy reigns in the title-mashing "drop dead, brat" and the euphoric "this is how it feels to chew five gum." Mint Green, an homage to Anthony Green’s “Dear Child (I’ve Been Dying To Reach You)” but turned up to 11, drowned in bass, and reborn as a wall of noise, is motional clarity lost in a hurricane—green, nostalgic, and kind of overwhelming in a good way.

Whether you’re here for the bassboost, the breakdowns, or the bizarre genius of it all, YosukeHawkTuah9000 is not just an album—it’s an experience. Preferably listened to on blown-out speakers, at 2AM, with tears in your eyes and trail mix in your hand.


Eight (Um.... Version)

this is how it feels to chew 5 gum

mixture

Mouth

eight

my cat got hit by a car

A sonic love letter scribbled in all caps and then fed through a distortion pedal until it bleeds, “Mint Green” is a glitchy, emotional landslide built atop the distant ghost of Anthony Green’s “Dear Child (I’ve Been Dying To Reach You).” But where the original aches with clarity and longing, this version trades clean vulnerability for full-body sensory overload. It doesn’t just turn things up to 11—it bassboosts the longing until it collapses in on itself, cracking open a kaleidoscopic void of static, screams, and walls of green-tinted reverb.

The track plays like a memory gone corrupt: you can hear the melodic bones of something sweet and sincere fighting for air beneath crashing drums, shredded vocals, and violent synth washes, but they never fully resurface. It’s nostalgic, sure—but the kind of nostalgia that knocks the wind out of you, makes your chest ache, and leaves you pacing around your room at 3AM with tears in your eyes and absolutely no idea why.

Everything about “Mint Green” is intentionally off-kilter—the timing, the mix, the mood. It feels like grief through blown-out headphones, like love shouted across a tornado. Somewhere in the hurricane, there’s tenderness. But you have to bleed for it.

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