DON'T SPIT REMIX DUBSTEP

A3) Breeze

Session

🚧🔥 **Vueltas de la vida – Brian Ft MCKS x Underground Barrio Prod 2025** 🔥🚧
💣🧱 Desde el **cemento frío** se escucha el eco de Brian y MCKS, soltando rimas duras como piedra. 🎤💀
😤 La calle no perdona, la vida da giros 🎢⚡, y cada vuelta trae golpes, tachones y cicatrices que marcan. 🩸🚬
🕶️👊 Esto no es música pa’ sonar bonito, es pa’ los que pisan fuerte en el asfalto 🛣️🔥, pa’ los que agarran el spray en la madrugada 🌃🎨 y dejan su nombre tatuado en la pared 🚷💥.
🎧💥 Con la producción sucia y real de **Underground Barrio Prod**, este track es puro **barrio, resistencia y vandalismo**. 🔥💣🧨
🔥RapCallejero #💀VueltasDeLaVida #🎤Brian #😈MCKS #🎧UndergroundBarrioProd2025 #🧱RapReal #🚷VandalStyle

Vueltas de la vida x Brian Ft Mcks x Underground Barrio Prod 2025

What I never realized is that I was the only one who didn't know that it was all lies. Then, when I found out, I felt ashamed of myself, for being so naif, for being a fool. Now I remember them with affection, because I lived them as truth while they were true to me, they missed that

Byron Jean Baker

Solo Me Quedo Shot 02

cruising down fantasy pkwy alone at night. street lamps won't come on.

music & lyrics by Joshua Turner
produced by Christopher Hooks
mixed & mastered by Akiyoshi Ehara

HAVE FUN, Pt. II

"A child who is not embraced by the village will burn it down to feel its warmth."

music & lyrics Joshua Turner
produced by Christopher Hooks

Child Outta Wedlock

SOAR - DESBOW x F NIGHT (GRABBED)

Διαθέσιμο Beat προς πώληση.

LOCAL (For Sale)

This was the first remix I created for the album. My idea was to blend Hip-Hop with the original rock sound, to show how more samples and groove could reshape the track’s energy. Combining analog rock textures with samples and Hip-Hop approach — that’s what I’d call the dogma of “Hybrid Theory.”
The remix starts with a syncopated synth riff, which I chose as the main element instead of the fully melodic guitars of the original. The sound engineer from Dahaka Productions, who mixed and mastered it, added a guitar amp VST that transformed the synth into a distorted, gritty guitar tone — exactly what I imagined. Structurally, the track follows a 90s Hip-Hop mindset, gradually introducing the original guitars and blending them with my distorted synths, especially in the chorus.
I also played a new, groovier bassline, built on rhythm rather than melody, and swapped the original drums for 808s and hi-hats in the chorus to make it bounce more. When I first played the demo in rehearsal, the feedback was positive, they acted impressed by listening their song (another one which I didn’t contribute anything on it as I joined later) in a different version. The best comment I got about it was that “this is the type of music I enjoy listening to at home”. Quite encouraging as a comment to keep pushing the remix project forward. 
A year and a half later, this remix was supposed to be the first official release — but it became the one that triggered the whole conflict. Even though the release date had been planned months in advance and all tracks had been shared, three days before launch I was told the remix was “bad” and shouldn’t be connected to the band as an official remix. Ironically, “Cracks” — a song about authenticity and creative integrity — became the crack between me and the group.
The lyrics talk about being fearless, honest, and creative as an artist in a culture built on illusion — and that’s exactly what I decided to keep doing with my art. I continued the remix project to show what I had worked on for over a year and a half. Maybe my sonic vision would only reach five or ten people more — but if they connect with my vibe and approach, that is enough.

A3) Breeze

Bouklas Beats (T.A)