“On the one hand, being in California was something he very much wanted to succeed at. In the midst of working on Hellboy, Peep’s new management wanted him to leave the loft, and got him his own apartment in Echo Park, where he struggled with feelings of isolation. “Motorola phone, I ain't goin' home / I won't go to work, mama hate me and I know it though,” he sings on the hook. On “Drive By,” we can feel the stress of Peep being far from his family, grappling with a new environment without his usual support system. It remains Peep’s most cohesive project, and serves as a poignant time capsule of the stretch just before the then-19 year old became an ascendant mainstream hip-hop star, only to die from a drug overdose in 2017. Today, Hellboy is being released on streaming services, a somewhat herculean feat given the breadth of samples that needed to be cleared. He said that people would judge him off the way he looked, when he really just wanted to help people out,” says producer Smokeasac, who lived with Peep and a handful of other producers at the Skid Row loft where they made much of the seminal 2016 mixtape Hellboy. “He told me that he saw parts of himself in the character Hellboy. As a heavily tattooed, polarizing underground rapper, the sweet-tempered introvert felt a growing chasm between how he was portrayed and who he was, similar to the way the Mike Mignola superhero’s looks inspire fear even though he just wants to help. He’d loved Hellboy since he was a kid, and felt a kinship with him. In retrospect, it’s obvious why Lil Peep gravitated to a comic book character who has the appearance of a villain and the soul of a hero.
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