{"id":13546,"date":"2026-02-09T11:59:26","date_gmt":"2026-02-09T16:59:26","guid":{"rendered":"https:\/\/wecb.live\/?p=13546"},"modified":"2026-03-19T12:05:51","modified_gmt":"2026-03-19T16:05:51","slug":"by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/","title":{"rendered":"By Storm Emerge From The Ashes of Injury Reserve Reborn on My Ghosts Go Ghost"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2026\/02\/bystormbanner_00000-1024x410-scaled-1-scaled-1.jpg\" alt=\"\" class=\"wp-image-13547\" \/><\/figure>\n\n\n\n<p>Design By Diego Gonzalez<\/p>\n\n\n<style>.wp-block-kadence-advancedheading.kt-adv-heading13546_6ddde0-d0, .wp-block-kadence-advancedheading.kt-adv-heading13546_6ddde0-d0[data-kb-block=\"kb-adv-heading13546_6ddde0-d0\"]{font-style:normal;}.wp-block-kadence-advancedheading.kt-adv-heading13546_6ddde0-d0 mark.kt-highlight, .wp-block-kadence-advancedheading.kt-adv-heading13546_6ddde0-d0[data-kb-block=\"kb-adv-heading13546_6ddde0-d0\"] mark.kt-highlight{font-style:normal;color:#f76a0c;-webkit-box-decoration-break:clone;box-decoration-break:clone;padding-top:0px;padding-right:0px;padding-bottom:0px;padding-left:0px;}<\/style>\n<h2 class=\"kt-adv-heading13546_6ddde0-d0 wp-block-kadence-advancedheading\" data-kb-block=\"kb-adv-heading13546_6ddde0-d0\"><strong>By Lucca Swain<\/strong><\/h2>\n\n\n\n<p>At this point in their career, By Storm, composed of rapper RiTchie with a T and producer Parker Corey \u2014 both formerly of the group Injury Reserve \u2014 are a duo defined almost as much by the mythology surrounding their music as the music itself. Since the 2021 release of Injury Reserve\u2019s earth shattering <em>By The Time I Get to Phoenix <\/em>and the group\u2019s subsequent dissolution\/reformation into By Storm, it\u2019s become common practice to wax poetic about their music\u2019s innate connection to grief, about how the sporadic, confrontational sound of that final record so effectively embodied the devastation of post-mortem anguish like little hip-hop before it ever could \u2014 and that\u2019s not denying that <em>By The Time I Get to Phoenix<\/em> was anything but an album about grief.&nbsp;<\/p>\n\n\n\n<p>After all, RiTchie and Corey are only two thirds of the original Injury Reserve lineup; <em>Phoenix<\/em> was released in August 2021, just over a year after the death of fellow member Stepa J. Groggs, and in comparison to their previous, more spirited efforts, played out more like a post-modern obituary, a fractured comet flaming through the digisphere towards oblivion. Listening to <em>Phoenix<\/em> is like hearing the old Injury Reserve formula, but shattered into a thousand little pieces, samples twisted and stretched like molten glass, lyrics encoded in dadaist mantras, let loose in menacing, pitch-adjusted whispers or pained wails. Only occasionally is the listener allowed in on the source of the immense woe that permeates the record, most notably on \u201cTop Picks for You,\u201d where Injury Reserve pinpoint the gut wrenching feeling of realizing that your loved ones have already been immortalized by the algorithm, that a facsimile of their person is embedded forever inside of a machine that possesses no understanding of death, that knows humans only by way of their content preferences \u2014 \u201cYour pattern\u2019s still in place, algorithm\u2019s still in action\/ Just work so you could jump right back\/ I see that shit working like nothing ever happened.\u201d Or there\u2019s the gut punch that is \u201cKnees,\u201d where a final verse from Groggs himself makes its way through the din, his words ringing out with grim clarity \u2014 \u201cOkay, this one is my last one\/ Probably said that about the last one\/ Probably gon\u2019 say it about the next two\u201d \u2014 as he laments his struggles with addiction over a Black Midi sample flip.<\/p>\n\n\n\n<p>As a whole project, <em>Phoenix<\/em> is an awe-inspiring feat of emotional and technical cohesion, music that affects the soul as much as it befuddles the ears. And despite its relatively challenging content and presentation, the album was received with open arms by the people and the critics alike. It isn\u2019t hard to see how a work so singular would inspire a fascination with the tragic circumstances that birthed its creation, or how that collective romanticisation of grief could potentially typify the group that made it as being nothing more than experimental hip-hop\u2019s \u201csad\u201d group. In channeling a feeling as massive as grief into art, there\u2019s always the risk that it can overrun the artist; play your cards a little too well, and you may come out the other side with your artistic identity inextricably bound to the very thing you were trying to leave behind.<\/p>\n\n\n\n<p>All that is to say that on <em>My Ghosts Go Ghosts<\/em>, the first official release from By Storm, RiTchie and Parker Corey prove that they\u2019re already five steps beyond whatever people thought they were. If <em>By The Time I Get to Phoenix<\/em> was the sound of a whole violently breaking apart, <em>Ghosts<\/em> is the aftermath, the pieces fused back together and cooled into a shape not dissimilar to its original form. The music on the duo\u2019s latest offering lives in a different headspace than its predecessor, the emotional peaks and valleys less manic but more sustained, the production more tethered to earth but still no less idiosyncratic. \u201cZig Zag\u201d sees RiTchie contemplate the present moment in half-thoughts, his non sequiturs paralleled by a beat that lies closer sonically to the work of Autechre than any standard hip-hop production. The song alternates indiscriminately between minimal, slowcore-esque acoustics and folktronic freak-out, though where the group\u2019s past work would have reached a frenzied sonic peak, here it maintains a consistent, somber momentum for the entirety of the song\u2019s runtime. Many of the longer tracks on <em>Ghosts<\/em> possess a similarly atmospheric quality, allowing the music to wander and the mood to simmer without the pressure to reach for any sort of catharsis. \u201cBest Interest\u201d is probably the album\u2019s most standard moment, with a feature in the form of Billy Woods, who slides a free improvisational verse over a surreal miasma of noises that may or may not approximate a combination of buzzsaws, erasers on a chalkboard, and vaporwave samples. A cool combination of sounds, for sure, but it may also be the record\u2019s weakest track solely because both RiTchie and Woods are mixed to sound like they\u2019re being smothered by the beat. Turn them up!<\/p>\n\n\n\n<p>\u201cIn My Town\u201d takes the album\u2019s atmospheric hip-hop experiments to their logical extreme, the first half of the song a sobering reflection by RiTchie on the reality of financial stability as both an artist and a new father (\u201cYour favorite rapper at your door now\/ If you wanna skip the fees, you can call now\u201d), before the second half dissolves into the void, an eerie symphony of gloomy pads, chopped and screwed acoustic guitars, and chipmunked vocal samples trailing in and out of reality for three whole minutes, as if a darkness is attempting to subsume the music throughout the entirety of its runtime. It\u2019s a track that\u2019s more than anything representative of the unusual history of the By Storm project, with a standalone single, \u201cDouble Trio,\u201d released in 2023, followed by a half of <em>Ghost<\/em>\u2019s tracklist being released as singles over the course of 2025. In between all of that, RiTchie and Corey were on the road touring relentlessly, as any artist must in an era where artists make pennies off of streaming and rely almost entirely on merch and concert sales to survive. The songs they made in the wake of Stepa J. Grogg\u2019s passing became their financial lifeblood; while By Storm slowly materialized on the bylines, single by single, that digital malaise so intrinsic to <em>Phoenix<\/em> manifested itself in the physical \u2014 the memories of their friend as valuable as they were necessary to pay the bills. \u201cIn My Town\u201d plays like the culmination of all the pent-up frustration that the duo have accrued over the past few years of nonstop grinding, an ethereal, languorous dirge wafting up like black smoke from the embers of what was once Injury Reserve.<\/p>\n\n\n\n<p>But it would also be a lie to characterize <em>My Ghosts Go Ghost<\/em> as nihilistic. Truthfully, the album is so striking primarily because of how stubbornly optimistic it is; even at <em>Ghost<\/em>\u2019s grimmest, By Storm never lingers on the past, never frames their history as anything but another step in reaching the present moment. That comes into focus most clearly in the record\u2019s final leg, beginning with the magnetic \u201cDouble Trio 2,\u201d a direct sequel to By Storm\u2019s first single of the same name (without the 2). It\u2019s a radical vibe change, to say the least, not hesitating to blast the listener with a titanic, euphoric wall of sound(s) right off the bat, though while in one moment the unrelenting janky synths and glitched-out nu-jazz sample chops may startle or overwhelm, in the next they feel like a shot of adrenaline direct to the veins. \u201cShit, we was caught by storm and we ain\u2019t even know it\/ To you this shit knee-high; to him it\u2019s to his shoulders,\u201d he raps, a line pulled directly from the closing track of <em>By The Time I Get to Phoenix<\/em>, and from which the group also draws their name. But while the old Injury Reserve, the one on \u201cBye Storm,\u201d still seemed caught entirely within the eye of the hurricane even as they seemed to emerge from the fog, \u201cDouble Trio 2\u201d is a whole leap forward, an acknowledgement that grief never truly leaves, but only takes new forms. Sounds-wise, though, the track is like a big, kinetic ball of energy, moving at a hundred miles per hour and practically screaming in your face to get up and move, go somewhere, do something. Exhilarating, for sure.<\/p>\n\n\n\n<p>And even as the shadow of death hovers over their music, the duo proves that they still have their old penchant for the subversive in closer \u201cGGG,\u201d wherein lies the simplest yet most affecting lyrical content and production on the whole record \u2014 RiTchie\u2019s raps about Groggs are never clearer in intention than when he lets loose, \u201cI tried to move on, but little I know that I needed my bro.\u201d The \u201cghost\u201d in the album\u2019s name is more present than ever here, haunting the basement, the shadows, the memories of the past and possibilities of the future. The melancholy sets in, strings bolstering RiTchie\u2019s half-hearted pleas of \u201cDon\u2019t let me go,\u201d and then, just as you become fully acclimated to the vibe that By Storm have so masterfully conjured up, the track abruptly cuts out mid-bar. Like the best things in life, it doesn\u2019t last. And like death, it comes unexpectedly \u2014 in an instant. We enjoy the beautiful things while they are, they burn with righteous fury for a singular moment in time, and then they\u2019re gone. But they were there all the same.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>At this point in their career, By Storm, composed of rapper RiTchie with a T and producer Parker Corey \u2014 both formerly of the group Injury Reserve \u2014 are a duo defined almost as much by the mythology surrounding their music as the music itself. Since the 2021 release of Injury Reserve\u2019s earth shattering By The Time I Get to Phoenix and the group\u2019s subsequent dissolution\/reformation into By Storm, it\u2019s become common practice to wax poetic about their music\u2019s innate connection to grief, about how the sporadic, confrontational sound of that final record so effectively embodied the devastation of post-mortem anguish like little hip-hop before it ever could \u2014 and that\u2019s not denying that By The Time I Get to Phoenix was anything but an album about grief.\u00a0<\/p>\n","protected":false},"author":3669,"featured_media":14129,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[10],"tags":[21],"class_list":["post-13546","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-album-review","tag-album-review"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>By Storm Emerge From The Ashes of Injury Reserve Reborn on My Ghosts Go Ghost - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"By Storm Emerge From The Ashes of Injury Reserve Reborn on My Ghosts Go Ghost - wecb\" \/>\n<meta property=\"og:description\" content=\"At this point in their career, By Storm, composed of rapper RiTchie with a T and producer Parker Corey \u2014 both formerly of the group Injury Reserve \u2014 are a duo defined almost as much by the mythology surrounding their music as the music itself. Since the 2021 release of Injury Reserve\u2019s earth shattering By The Time I Get to Phoenix and the group\u2019s subsequent dissolution\/reformation into By Storm, it\u2019s become common practice to wax poetic about their music\u2019s innate connection to grief, about how the sporadic, confrontational sound of that final record so effectively embodied the devastation of post-mortem anguish like little hip-hop before it ever could \u2014 and that\u2019s not denying that By The Time I Get to Phoenix was anything but an album about grief.\u00a0\" \/>\n<meta property=\"og:url\" content=\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/\" \/>\n<meta property=\"og:site_name\" content=\"wecb\" \/>\n<meta property=\"article:published_time\" content=\"2026-02-09T16:59:26+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-19T16:05:51+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2026\/02\/bystormsquare_00000-300x300-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"300\" \/>\n\t<meta property=\"og:image:height\" content=\"300\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"ellieabbey\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"ellieabbey\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/\"},\"author\":{\"name\":\"ellieabbey\",\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/#\/schema\/person\/736f3c02ed5a6f8b874489bf47cae5ce\"},\"headline\":\"By Storm Emerge From The Ashes of Injury Reserve Reborn on My Ghosts Go Ghost\",\"datePublished\":\"2026-02-09T16:59:26+00:00\",\"dateModified\":\"2026-03-19T16:05:51+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/\"},\"wordCount\":1624,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/#organization\"},\"image\":{\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/orgs.emerson.edu\/wecb\/wp-content\/uploads\/sites\/87\/2026\/02\/bystormsquare_00000-300x300-1.jpg\",\"keywords\":[\"Album Review\"],\"articleSection\":[\"Album Review\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/\",\"url\":\"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/by-storm-emerge-from-the-ashes-of-injury-reserve-reborn-on-my-ghosts-go-ghost\/\",\"name\":\"By Storm Emerge From The Ashes of Injury Reserve Reborn on My Ghosts Go Ghost - 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