Verse 1 sets the scene: camera two’s red dot, deadbolt pop, the notice creased to a threat and set afloat. 

On “Hallway math, breath slow; I count like a scope” the bass and sub enter hard. Each hook arrives after a brief half-bar mute that snaps back in, and after the first hook there is a 1-bar stop-time with an immediate re-entry. 

Verse 2 tightens the audit with boxcutter logic, rubber and rain on the gloves, patience of steel, then one whistle sends the boat off.

Tempo 149 BPM • Key D minor • Lane: cinematic drill, ATL trap cadence • Non-Radio.

Origami

Best Enemies is the flashpoint of The END Musical. The moment two founders stop being brothers-in-arms and start aiming at each other. Verse 1 Racks lays the case. Both cut the room in half on the hook. Verse 2 FlipGame fires back. Rosa follows with a powerful sermon. Harriet closes with a flat, icy verdict.
This sits in the RICO arc: after “Night Terrors,” before “Bring Water” → “Witness Statements.” It’s not reconciliation; it’s the last calm breath before somebody does something everyone will regret.

Production notes: slow-swing Southern bed, wah guitar stabs, deep 808, syrupy pads; vocals comped from multiple takes. Headphones or a system with real low-end recommended.

Credits: written & produced by Kris Antibus • mastered in-house.

Best Enemies

Count-along with ATL bounce. Instant chant hooks and a grin you can’t fight.

Count to Five (1-2 Buckle Trap Mix)

The ants go marching with whistle swing and sub-smile. Left, right-let’s go.

ANThem Parade (Ant March)

River sway + gang vocals. Row-row groove for living-room laps.

Row Mode (Row Row Row Your Boat)

Itsy who? Sky-ladder whistle hook straight to the stars.

Space Climber (Itsy Bitsy)

Board-game rock-out. Up we go; slide we laugh.

Chutes & Ladda

Letter play, soul sparkle, and a mid-track rap burst.

Name-O (B-I-N-G-O)

808 barn party—moo, oink, cluck with flex.

Farm Flex (E-I-E-I-O)

Clap cues + drill-lite bounce. Happy on repeat.

Hands Up Happy (And You Know It)

KANTIBUS is an American producer/songwriter who has been creating songs since 1990.

It is a portmanteau of his first initial and last name. 

KANTIBUS started creating what would eventually become known as Drill or Trap Music, demonstrating expertise in both genres. 

As such, he is a pioneer of the "violent real life criminal" styles that exist still in the underground today. 