The second studio LP of 2026 and the 11th from Las Vegas, Nevada emcee Ouija Macc. Insane Clown Posse signed Ouija to Psychopathic Records nearly a decade ago, shortly after the independent debut EP Trashfire, and Ouija rose to fame, proving himself to be the greatest solo performer in the space of nearly nine years by releasing the last 10 full albums, 2 greatest hits compilations, 8 mixtapes, and 5 EPs. He even started his own record label, Chapter 17 Records, and Darby O’Trill is now the only artist signed to it. He’s been declaring himself America’s Most Evil Man since November, emerging from the Skull Pyramid to allow Flexatelli to fully produce Sixela a week after Caleb Konley ended CoKane’s reign as the JCW World Vaudeville Heavyweight Champion.
“Sixela Legna” opens with a sinister trap about how he’s on the verge of losing his mind, while third single “Zombie Walkin'” starts talking nonsense again, crushing something as soon as he takes the stage. “Sour Dough Toast” talks about a Ouija feeling like he doesn’t belong on this planet because it’s a curse, just before lead single “Phonky Phonky Sh17” embraces the phonk sound and infuses it with horror-core lyricism.
As for “Kerosine Flex,” we have C17’s CEO busy getting back to their trap sound, while the fifth and final single, “Corpse Boy,” talks about squirting loaded cuts at any fool that stands in his way and being an MVP in the art of murder. From there, “That Dust” goes on to tell us what it was like to have a Ouija board growing up in the desert of Sin City, leading up to “Mulda Mission,” talking about slaughtering his opponents and torturing them until he was done.
Halfway through “Out da Jungle” Sixela talks about hanging out with dead people because the living can’t stand him, while “Set Trippin'” continues with the second verse about Chapter 17 being the reason for having his throat slit and killing anyone who disturbs his mood. “Sally Mander” gives the final verse a shout-out to Death Grips, whom I’ve loved since high school, while “God’s Ashtray” asks the listener for their interpretation of hell.
After an “inner monologue” detailing suicidal ideation, “Demon Juggalo” blithely talks about pulling into the scene like he owned the hoe, while “Calculator” brags about being an elaborate digital killer. “Dracula” talks about eating pussy at a red light because he’s a pervert, while the closing song “Elote” sums up Cissera’s singing, looking into his newborn child’s eyes and making him feel as if he’s already passed away.
Devereaux is generally credited with producing a lot of Ouija Macc’s records, with a few notable exceptions, but I really appreciate what he’s trying to do with Sixela, even if I prefer the last album from 3 months ago as my favorite thing he’s done in 2026. Flexatelli’s production is certainly refreshing for anyone hoping Ouija would collaborate with others behind the scenes, and it compliments the latter’s wicked lyricism.
Rating: 7/10
