Trippie Redd is a rap artist whose catalog record begins in 2025 and extends across a dense run of releases through the early 2040s. The release-dated discography shows repeated bursts of album activity, from early projects such as “Awakening my InnerBeast” Ep and Beast Mode ++++ to later albums including The Leak 2, Bigger Than Life, It’s Only Me, Demons At Play, and Saint Michael V3.
The release-dated catalog opens with a fast succession of singles in April 2025, then quickly expands into full-length projects. Within that early span, Trippie Redd issued “Awakening my InnerBeast” Ep, Beast Mode ++++, Rock The World Trippie (xxxxx), White Room Project, A Love Letter To You 4, Pegasus, Trip At Knight, and MANSION MUSIK. The density of these releases suggests an artist establishing identity through volume, with album titles alternating between romantic motifs, fantasy imagery, and hard-edged rap framing.
Public press coverage from BillBuzz documents a period in which catalog songs and projects repeatedly hit major streaming milestones. Articles on “Together,” “Throw It Away,” “I Try,” “Missing My Idols,” “the Jungle Book,” “Negative Energy,” “Immortal,” and “Bust Down” frame Trippie Redd as an artist whose earlier material continued to accumulate audience attention well beyond its initial release window. Because these are press-dated milestone notices rather than release notices, they are best read as evidence of sustained catalog consumption and public visibility in the late 2020s.
After several years in which the release-year summary shows lighter annual volume, the album record marks a renewed sequence with Life On 1400 Street, No More Breaks, Sex, Money, Drugs, Hit Me When You Land, and The Leak 2. In catalog terms, this period reads as a regrouping around full-length statements, with project titles emphasizing autobiographical branding, pressure, vice, and momentum.
The 2041 catalog is especially concentrated, opening with Guapanese Musik and continuing through Rock Out EP, Bigger Than Life, Wizard 101, and It’s Only Me, while representative singles and EPs from the same year expand the picture further. Taken together, the titles point to a period of aggressive self-definition: rap-centered in genre labeling, but still marked by the dramatic naming and high-output pattern that had characterized the earlier catalog.
The most recent documented phase combines two late albums, Demons At Play and Saint Michael V3, with direct artist-authored posting around album activity. Chattr posts including “album mode ❔,” “A L B U M ✅,” and repeated Saint Michael V3 announcements indicate a rollout framed explicitly around album completion and release. Additional posts such as “27 club 🖤” and “🎂 🕊️” add a more elegiac, personal tone to the public record around this same broad period, though they do not independently establish external events.
The most clearly documented current chapter is centered on Saint Michael V3, which anchors the latest album entry in the album release history and is reinforced by multiple artist posts announcing and promoting the record. Those posts present the period as an active album-focused moment rather than a stray catalog addition.
The album record shows a long-running, high-volume catalog with especially dense release activity in the mid-2020s and again in the early 2040s. In the later album history, Trippie Redd moves through sequel projects, self-branding statements, and dramatic titles that align with the concise artist-authored identifier “1400” on platform bios.
No video sources are present in the available archive, so no source-backed visual narrative can be established from this packet alone.
BillBuzz coverage in the source packet centers almost entirely on streaming milestones, presenting Trippie Redd as an artist with durable catalog performance across multiple songs and projects in the late 2020s. No award nominations or wins are present in the available archive.
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