Forming a Faceless Beast of Sound: Edward Skeletrix’s Museum Music

by Mateo Krygowski

Slipping in and out of frame, Edward Skeletrix leads with a piercing determination, forming a faceless beast of sound that stares out in defeat, smiling and blue eyed. 

The New York rapper and designer has entered 2025 with two tightly developed projects, splitting his identity into dual monikers: Edward Skeletrix and Im A Monster. A double-faced and curiously hypnotic collection of schizophrenic trap that is reforming the current state of rap itself, whether its listeners like it or not. 

Edward Kyle’s background is relatively blurred, the only information about the rapper is on Reddit, which you can ultimately take or leave as the actual truth or another lie spread about online. Originally based in Florida and Atlanta, he began producing in 2012, and up until 2018 under the name Cight. His designer brand Syckli started in 2018 and was quickly picked up by other well known artists such as Lil Keed, Autumn, Matt Ox, and 2chainz. Despite his cryptic nature and intriguing fashion sense, the less one knows about Skeletrix, the more his listeners will understand his current message as a rapper and overall creator. 

The intense spark of Skeletrix’s inner void begins with his two new albums. Each album is separated by their covers: one features an AI-generated image of a museum's interior, the other under his Im A Monster moniker, is simply the color purple, dark, featuring no other images. The dual projects simultaneously lead their listeners into a treacherous yet inviting maze of high pitched screams chopped in and out of tempo – sounds of breaking glass and repetitive beats that seem as if they were made in reverse, disorienting in their decay. This is the main trick that Edward Skeletrix loves to present without its usage ever being worn out: an uncertain and off-kilter image that scares its listeners. This is evident through his music videos which are primarily AI-generated.

I originally found Edward Skeletrix through his YouTube channel, discovering his recently deleted videos which make up a large amount of his visual content online. AI art has always been an enemy of mine, though Skeletrix utilizes the tool in an incredibly inventive manner. Associating his emotionally disturbed and discordant music with imagery that is dangerously close to having a horrible dream. Bright, wide eyes and smiles that gleam against grey concrete. Blank beings dancing in and around unidentifiable corridors, shapeshifting with each move and every artificial laugh. You shouldn’t watch them for very long, you’ll feel sick. This is where Skeletrix finds himself to be most successful: leaning into a menacing presence that drags its voice over knotty beats with confidence. 

(Life get scary)

Total fear all in my ride

She need help, I can’t find her mind

I need help, I’m not getting no likes, yeah

She need help, she not getting no likes, yeah

BBL on her backside.

Track 12 - “Killing Over Likes”

Immediately, one will notice the open and disconcerting amount of self destructive storytelling within these two projects. Amongst this mix of removed and possibly relatable characterization lies the quintessential sexualization of another character in Skeletrix’s life, although nothing about these sexually motivated lyrics is remotely sexy. They are isolated in their attempts, as if to say these lyrics are merely fillers. To weave in and out of what is common and what is actually unnerving to its listeners. Mocking the existence of overtly sexual rap songs, but also playing a part in its recognizable form. 

This happens to be one of the many elements of Museum Music. Each aspect has its own list of reasons and personal artifacts that construct the final piece we have today. As of late, it seems that the most natural and accepted reaction to the common listener/viewer of Skeletrix is complete confusion or lack of interest, assuming he is an artist that poses for the sake of posing, relying on esoteric visuals and flexing his wealth through private jets and clunky designer shoes. Unfortunately, this stands as a completely surface level analysis, which leads a sizable amount of listeners astray. On its own, these assumptions play a major role in Skeletrix’s current and future identity. 

Gnawing out at the torn timeline of New York Trap, deconstructing what is commonly known as a tough mix of bassy beats and satisfying lyrics into a delirious soundscape of dark and electrifying rap. Edward Skeletrix is terribly alone in his attempt and he loves it, quickly forming a singular and undeniably entertaining presence that distorts expectations. 

Brilliant.