JUMP OUT

By By Kizita

With his new album “Jump Out,” South Carolina rapper OsamaSon reveals that innovation can stem from chaos. After enduring months of leaks, the 21-year-old artist known for his presence on SoundCloud has finally granted us his most volatile and exhilarating project to date. Over the past year, OsamaSon has dealt with hundreds of songs being leaked. In fact, he witnessed one such leak during a livestream with Kick personality BruceDropEmOff. These leaks only heightened fan excitement, earning “Jump Out” the title of one of the most anticipated underground albums of 2025. Rather than succumbing to the leaks, the project emerges as a declaration that OsamaSon is firmly in the driver’s seat of the post-pandemic SoundCloud wave.

“Jump Out” boasts 18 tracks blending piercing 808s with G-jawing synths and an overt show of hardcore charisma. This album dares the listener and their delicate eardrums and is unapologetically harsh. Visceral rather than lyrical, ego-scratching anthems “Fool” and “Round of Applause” take unending energy-charged drum rolls up a notch by guillotine-tightening focus to a claustrophobic mix. Leading producer OK out of Charlotte, who worked on 15 tracks, set the bar for the rest of the producers to push the tempo high in "Jump Out" and didn’t hold back. Known for his work with acts like Nettspend and Glokk40spaz, OK delivers beats that sound like they’re about to combust. On “The Whole World Is Free,” he flips a Skrillex sample into a blistering, bass-heavy odyssey, pushing Osama’s voice to its most frenzied extremes.

OsamaSon's distinctive style and delivery, filled with taunt, infusion, and bionic cadence, adds character to “Jump Out.” Although clever wordplay does not stand out as his main focus, his swagger is effortlessly omnipresent. He raps on a waft and a chip like shoulder with something to prove, purely confident, sneers beside carefree “You had that check and fucked up? Huh, oh wow” on “Waffle House.” The best part of the album comes after “New Tune” and transitions into “I Got the Fye,” and that's where Osama truly shines. He sounds locked in as the songs matched his energy, and the melodies and beat choices beside them blended perfectly with him taking the new-gen's flag. “First place, yeah, bitch, where are my winnings?” might be prideful, but respect is demanded.

Like every other project, “Jump Out” does have strengths. Tracks such as “Room 156” and “Frontin” lack the intensity and creativity found in the more explorative tracks. Other songs may end up tiptoeing too far into their roots. While “GTFO the Room” provides a fresh take on “Of Course We Ghetto Flowers,” “Insta” falls into imitation of Playboi Carti far too deeply. OsamaSon, however, makes up for it by walking the line between paying respect to influences and maintaining originality without balance, which is truly impressive. He may draw inspiration from Carti, but he reshapes that influence into something more abrasive, more unhinged, something undeniably his own.

“Jump Out” gives me the impression that it blends both OsamaSon’s development alongside the underground’s pent-up vigor. While it isn’t polished, that contributes to its appeal as well. The roughness, the flaws, and the overwhelming sonic complexity are all supporting a character and a sound that defies convention. It's clear he is not just responding to the leaks and disorder around him; he is absolutely relishing in it. With “Jump Out,” he absolutely decimates any opposing views by proving his place in the conversation, and I mean wonderfully - he barges in, tosses everything over, and lights it up.