Injury Reserve built a name through jagged, boundary-crossing Hip Hop out of Tempe, Arizona. After Stepa J. Groggs died at 32 in 2020, the group released By the Time I Get to Phoenix in 2021 as a raw processing of that loss. RiTchie and Parker Corey retired the Injury Reserve name out of respect, then resurfaced as By Storm in 2023. Their debut My Ghosts Go Ghost arrives January 30, 2026, on By(e) Storm / deadAir, clocking in at 46 minutes across nine tracks produced entirely by Corey.
The album channels the absence of Groggs into every element. Lyrics circle unfinished conversations and the weight of what remains unsaid. Production leans into fractured arrangements: strings drift across blurry breakbeats, pauses stretch unnaturally, layers of vocals blur into haze. “Zig Zag” opens with reversed drums and light synths before swelling into dense, layered chaos. RiTchie delivers stream-of-consciousness verses over the shifting terrain, lines tumbling into one another without resolution. The track runs 6:57, giving space for the beat to evolve from intimate to overwhelming.
“In My Town” stretches to 7:03, blending IDM textures with chopped hi-hats during its extended breakdown. RiTchie addresses economic pressure, impending fatherhood, and industry grind. References to “the things you do, they seem to hold me down” sit atop tranquil yet tense instrumentation, creating contrast that mirrors real-life friction. The song captures the push-pull of building a family while navigating instability, with Corey layering sub-bass that presses physically.
“Double Trio 2” reworks their 2023 single into a maximalist piece. Avant-garde jazz horns and blown-out percussion collide with jittery rhythms. RiTchie reflects on growth from past turmoil, acknowledging the past without clinging to it. The track builds to a spiritual jazz freakout, saxophones cutting through the density. The song delivers catharsis after earlier tension, shifting from introspection to release. “And I Dance” hits with ethereal electronics that crescendo into stuttering, robotic vocals. RiTchie celebrates small joys amid grief, mentioning ash in his locs yet choosing movement. The production fractures near the end, electronics splintering as if the track itself breaks apart. This moment captures fleeting clarity, a reminder of purpose after prolonged crisis.
“Best Interest” brings billy woods for a standout track. Ominous, ghostly background vocals create haunted-house tension. Woods glides over the beat with philosophical density, matching RiTchie’s precision. Their interplay elevates the track, two lyricists operating in abstract, unsettling territory. Corey’s production here recalls Dälek’s influence: pulverizing yet lucid, allowing words to cut through the fog.
Earlier cuts set the tone. “Can I Have You for Myself” opens with morose acoustic guitar loops and auto-tuned crooning that implodes into heavier drums and synths. RiTchie examines marriage and new beginnings against lingering voids. “Dead Weight” features frantic instrumentation and lush strings in its second half, underscoring themes of independence through struggle. “Grapefruit” rides booming bass and off-kilter drums, repeating “it ripped me open” with vocal effects that heighten unease. “GGG” closes with mournful horns and flamenco-inspired guitar, RiTchie repeating “My ghosts go ghost” in a vulnerable fade.
Parker Corey’s production defines the album. Beats breathe with intentional space, shifting from sparse to overwhelming without warning. Autotuned vocals melt into drones, chopped samples flicker like memories. Nothing decorates; each choice advances the atmosphere of hollowness filled by noise when emotion overwhelms. The nine tracks vary in length from four to seven minutes, demanding sustained attention. Short attention spans tuned to TikTok clips will struggle here. Immersion requires full focus, headphones or quiet rooms, and multiple listens to unpack layers.
As longtime appreciators of experimental Hip Hop, we gravitate toward artists who follow artistry and emotion wherever they lead. We connected deeply with By the Time I Get to Phoenix, its glitchy noise and absence-driven structure. That history made us receptive to My Ghosts Go Ghost. The album delivers on those expectations while advancing them. RiTchie’s delivery trembles at points, voice near breaking on personal lines about loss, anxiety, and new life. Themes of fatherhood contrast with grief, creating dual meanings around “Double Trio.” In death, appreciation for life sharpens.
This project sits at Hip Hop’s core despite genre labels. Attempts to tag it “post-rap” or “post-Hip Hop” miss the point. Pigeonholing ignores how the music defies boxes. Instrumentation draws from IDM, jazz, noise, and folk yet remains rap-driven, with RiTchie’s bars anchoring the experiments. What separates it from most releases is the authenticity of the emotion. Grief shapes sound design, pacing, and silence. Resilience emerges not as forced optimism but earned perspective. The album honors Groggs by continuing forward, carrying his influence in the unfillable space.
My Ghosts Go Ghost will not suit every listener. Some will find the abstraction and song-length alienating. Others will connect with its refusal to offer easy closure. The record processes permanence through distortion and beauty, turning tragedy into forward motion. For those willing to sit with it, the payoff deepens with time. By Storm has created a beautiful piece of music that resonates through its honesty, a strong entry in 2026’s best Hip Hop albums.
8.5/10
Also read: The Best Hip Hop Albums Of 2026