Mic Myers has miles to go before he sleeps with “Stunt Creep”

Updated: Apr 27, 2019

From the macabre mind of Mic Myers comes “Stunt Creep”, directly inspired by the horror classic, Death Proof from Quentin Tarantino. “Stunt Creep” does exactly what the title says but damn if that might not mean a lot of different things depending on who you are and what mood you’re in. If you’re in a sinister mood then it probably means you were along for the ride the second you heard the engine roar and your car door lock.

Mic Myers (The Boogeyman)


Mic Myers turns into Stuntman Mike to take you into a deeper, darker, more exuberantly vile place. The unapologetic flow of a sociopath peaks its head in with lines like “they call me Stuntman Mike, why? because I stunt man, and plus the name is mike”, where he doesn’t seem to care enough to be complicated. When you hear the next line “this shit is death proof bitches, but in order to really benefit, your ass needs to be sitting where I’m sitting” the effortless delivery carries over from the previous line but the bars are back. The cocky overtones underplay the schizophrenic mindset of an artist ready to snap.


The chorus comes in with more subtly than you’d expect but plays with small lyrical nuisances to not be one dimensional and doesn’t overstay its welcome. The second verse is more Mic Myers than Stuntman Mike and that only helps to add to the unhinged feeling of the song. The aggressive delivery is at the forefront and the wordplay and syllable counts are there right away and never leave. The standout line is when he calls out whack rappers and dares them to come watch him have sex and threatens to turn them into cuckolds. This line would be known as evidence in a courtroom if you were trying to prove how menacing Mic Myers was in this song.


As the chorus comes in for the second and last time it all ends with the airy vibe of a 1970′s exploitation film. Its pretty fitting considering niche topics and lurid content were staples of the genre and this song is packed with both. So much so that it feels like it should be echoing through the speakers in Kurt Russel’s car, right before the headlights come on.



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