At their core, rap diss songs are often dismissed as immature, yet they remain a fundamental pillar of hip-hop culture. From the legendary lyrical warfare of “Ether” to the cultural phenomenon of “Not Like Us,” beef has consistently driven some of the genre’s most enduring anthems. With the release of “9 bitches,” a standout track from his latest EP cartunez, Ken Carson has effectively issued an audition tape for the modern diss canon.
While the rage rap star has previously engaged in implicit rivalries, “9 bitches” removes all ambiguity by calling out Nine Vicious by name. Nine Vicious has spent recent months embroiled in controversy, ranging from his widely criticized response to grooming allegations to public fallouts with figures like Tezzus. His recent penchant for performative provocation has drawn comparisons to the most polarizing figures in rap history.
When evaluating the success of a diss track, technical lyrical sparring is often secondary to the creation of an infectious, memorable hook. Ken Carson demonstrates his mastery of percussive, subconscious-ingraining melodies here, turning “9 bitches” into an unqualified victory. His delivery is matched by verses that are as bloodthirsty as they are catchy, blending genuine aggression with the theatrical intensity of rap kayfabe.
The track also serves as a significant showcase for ApolloRed1, a rising YVL signee who has cultivated a close creative partnership with OsamaSon. ApolloRed1’s verse is remarkably nimble, navigating the track’s ominous production with a free-flowing, aggressive cadence. He doesn’t hold back, weaving personal threats and sharp-tongued taunts into a performance that feels both energized and dangerously focused.
While some of the lyrical content—specifically regarding threats and derogatory language—is undeniably distasteful, it underscores the raw, unfiltered nature of the rivalry. ApolloRed1’s ability to maintain such an agile flow while delivering these barbs highlights his technical growth. By the time the track concludes, the repetitive, taunting nature of the chorus ensures that the listener is left with a lasting impression of the duo’s collective contempt.
