Munnie773’s Goin’ Over Crazy is a front-to-back masterclass in trap music, an album that doesn’t chase gimmicks or playlists but instead locks in on grit, precision, and raw energy. From the very first sound, the blowing of dust out of a Nintendo cartridge, it’s clear this project has vision. By the time the horns crash in, Munnie makes his stance obvious: he’s not here for trends, he’s here for impact.
The cover art may feel slightly off-kilter for such a hard-hitting trap record, but it’s quickly justified by Mario-inspired bars (“Jumping on bricks like Mario twins”) and the nostalgia laced into the intro. It’s playful at first glance, but within seconds, the metaphor unfolds into a record that’s anything but a game.
The record’s lead single, Bowser, ties most directly into the cover art, with suspected high-priced samples of official game sounds rippling beneath heavy drums. Munnie likens himself to the fire-spitting Bowser and lands sharp with, “Tryna take something from me you wildin, we got clips like Push and Malice.”
Active follows with the weight of an intro. Here, Munnie sets his mentality straight, off the top, reflective on his absence, and unflinching, delivering standout lines like “I’m a real trapper, you know how I play – Like Kim K, I was dumping the Ye,” “I’m fully activated, the game changed but I’m acclimated,” and “Sorry for the wait, I was moving weight.”
Cold Ca$h is one of the cleverest cuts, with synth-led production and bars that flex Munnie’s love for cash over cards in a way that supersedes recent releases like No Receipts. The quotables stack high, especially with, “.. and I hit the b*** like a game winner, she knock me down, now it’s time to go, I’m tapping my wrist like Dame Lillard.” It’s equal parts humor and heat, an undeniable highlight.
Wanna Talk stands out as the most polished track on the project and maybe Munnie’s sharpest display of dual artistry, his production and flow locking in perfectly to deliver a record that could stand alone as proof of his versatility.
Standing Ovation rises as the album’s anthem, horns blazing like a championship parade while Munnie raps like someone already holding the trophy. He declares, “When I’m riding around, gotta keep me a hammer, Go against the grain, you gon’ get nailed,” and the words echo with the force of a victory lap.
The closer, Keep It on The Quiet, is the wisdom piece. Where much of today’s rap leans reckless, Munnie flips the script, making silence sound like the ultimate flex. In an oversharing era, it’s his most rebellious stance.
The sonics across the project are consistent and colossal. Horns, synths, and basslines hit with clarity, never swallowing the vocals. Each track feels tailored for its message: cinematic horns for bravado, cool synths for flexes, stripped-down loops for introspection. Munnie’s voice cuts straight through it all, confident, commanding, and unbothered. What sets Goin’ Over Crazy apart is cohesion. Trap albums often sag with filler; this one doesn’t. Each track earns its spot, building toward a closer that feels definitive.
Goin’ Over Crazy earns its 5/5 stars by doing what most projects can’t. It’s witty, it’s bold, it’s thunderous, and it’s personal. The cover art may look like a curveball, but the music explains itself fast. Munnie is back in the game, and he’s not here to play.