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Cevlade - Enamorado

LETRA : 

pa mi esta bien
si por mi sientes odio
pa mi esta bien
hasta yo mismo me agobio

everything can be more painful
to pue ser mas doloroso
problemas intravenosos

no hay plenitud aunke este en altitud

me sobra la actitud y problema en el baul
recuerdos vividos en un mundo plastico

si soy drastico
como un sicario 
atake e paniko
cerka de sikiatrico

es otro mes
el mismo estres
es 
el mismo bisnes
otro casset

me miran mal
yo les miro bien
tengo ansiedad
y ya no se ke hacer


hater glo
ke me odie tu generacion
no no no 
yo no kiero su aprobacion

scammer glo
nunca he recibido amor
hater glo
yo solo odio y a mi me odian to

(☝◞‸◟)☞ 𝚖𝚎 𝚘𝚍𝚒𝚘  (all prod by me)

stop the car w/ horse head (prod. smokeasac)

Los ZVF1RO$

CECI - TENGO UNA COCA QUE FLIPAS

Lil Emo - Gwen Stacy Ft. Luny3l Prod. Charlie Shuffler

@lunyel 💚

twitter.com/distancedecay

art by @ birdiiiiiiiiii

Lunyel - No Es Pa Tanto (prod. distance decay + Lunyel)

Milion Dollar Baby (CEEGEEOTCP)

<(￣3￣)y▂ξ ceci og kush <(￣3￣)y▂ξ

luny3l - pamii

a lil track I wrote the other day

hope you enjoy :)

Free Download

just like heaven

☻♥卍  PROTOTIPO 00  卍♥☻  _¸.•'´ $$*`'•.¸FT.NOVI¸.•'´ $$*`'•.¸_

say ok

Mixed by me , Mastered by @angelslayerxxx, prod by @xangangbeats

Lyrics
(Coro)
No quiero escuchar , estos negros blabla
Vamonos a gastar , baby esto no es navidad
Siempre pienso en ti , no me creas que es normal
Siempre off the xans para poderte olvidar
Y ya Deja q esos lames hablen ya sin saber
Te quiero tanto ,pero nadie puede verlo
El tiempo ya se fue ,no se que más hacer
Ya no se que hacer con esto

(Verso)
Lo nuestro bby era especial
Ya no hay razon para cambiar
Tramadol , pal dolor , no me hables de amor
Ya no quiero pensar , que nos va pasar
Ya no puedo confiar yaya
Ya no espero ninguna llamá
La confianza se fue, Ya no volveré
Ya no quiero pensar lo que pasó ayer

No quiero escuchar estos negros blabla
Siempre con las marcas y algunos alprozalam
Ya no mientas más, que todo es de verdad yayayay
Ya no se que tengo que esperar

Y ya Deja q esos lames hablen ya sin saber
Te quiero tanto ,pero nadie puede verlo
El tiempo ya se fue ,no se que más hacer
Ya no se que hacer con esto

(bridge)
Ya no se que tener mas que hacer
La esperanza bby ya se fue
Ya no quiero tener que ver

(coro)
No quiero escuchar , estos negros blabla
Vamonos a gastar , baby esto no es navidad
Siempre pienso en ti , no me creas que es normal
Siempre off the xans para poderte olvidar
Y ya Deja q esos lames hablen ya sin saber
Te quiero tanto ,pero nadie puede verlo
El tiempo ya se fue ,no se que más hacer
Ya no se que hacer con esto

Irina (Prox.Xangang)

Spotify

Love Kills 2 (XanGang)

iPhone 4 Freestyle (Prod. Woesum & Kamixlo)

Esta canción forma parte de mi ego en un nivel anterior de mi alma.

video.
https://www.youtube.com/watch?v=F3T8Cx6Ucxw
-
-
prodnk  https://soundcloud.com/prodnk

cover art x apolo bacco

♪ SieMprE ღ♣$$♠ PROD NK ♠ #(VÍDEO EN DESCRIPCIÓN)*¿¿¿

Singles

LUNY3L - clos3 [prod. Lusi]

luvox - crushonme [irys remix]--->goonncity.com<--

stradanie - Duele (2018) rare

Eartheater - Phoenix: Flames Are Dew Upon My Skin
Format: LP / DL
Cat.No. PAN 112
Release Date: 2 October 2020
Purchase/stream: pan.lnk.to/Phoenix

Composed, produced, and arranged by Eartheater alone, Phoenix: Flames Are Dew Upon My Skin draws a path back to the primordial lava lake from which she first emerged, as it also testifies to the reincarnating resurrections the project has undergone over its first full decade of existence. While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.

Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live. Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire.

Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.

Read full press release: bit.ly/2XtJGvQ

Phoenix: Flames Are Dew Upon My Skin

Eartheater - Volcano (PAN 112)

una conversacion con el desierto

DILLOM - SAUCE

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