Lock Me Down

The Dark Sinful Hours is an exploration of love’s most dangerous corners — where lust bleeds into obsession, and devotion becomes destruction. Each song lingers like perfume on skin, tracing the outline of something forbidden. It’s a world built on tension and tenderness, where every heartbeat feels like a warning and every kiss could be the last.

This isn’t about fairy tales. It’s about the kind of love that ruins you beautifully — the kind you crave even when it burns.

Note:
“On the Line” exists between confession and collapse — a duet of two souls caught in a dangerous pull. One voice remains unnamed, by choice.

Prayers

“Stop being dramatic.”
Oh… sure.
Let me just fold my chest in half and pretend it doesn’t hurt to breathe.
Let me swallow the world, smile through the smoke, and act like that’s normal.
Let me learn how to burn quietly enough that it doesn’t make you uncomfortable.

Every word I say, you twist it until it fits you.
Every feeling I feel, you erase it until it’s quiet enough for the room.
My chest is too loud.
My tears are too heavy.
My voice is too much.
So I guess I should just stop.
Stop asking for help.
Stop reaching for understanding.
Stop hoping that maybe this time, you’ll hear me before you dismiss me.

Stop being dramatic.
Stop.
Being.
Dramatic.
That’s what you say when I flinch, when I shake, when my breathing catches on itself.
Looking your way is dramatic.
Crying for help is dramatic.
Speaking when it’s inconvenient is dramatic.
Existing in the wrong tone of voice is dramatic.
Do you hear how cruel that sounds?
I’m not a scene.
I’m a heartbeat trying not to disappear.
I’m a person trying to exist without being punished for feeling too much.

I’m dramatic because I feel everything deeply, even when I wish I didn’t.
I’m dramatic because silence eats me alive when I keep it in too long.
I’m dramatic because I survive what you refuse to see.

Because I still reach for you, even after you’ve looked away.
I remember every joke you used to cut my truth in half.
Every time you laughed when I tried to explain.
I’m not trying to be loud.
I’m trying not to vanish.

You think I’m performing.
You think I want attention.
No.
I just want someone to notice I’m bleeding before I start apologizing for the mess.
You call it overreacting because you can’t stand the reflection of your own indifference.
You want me quiet so you don’t have to hear what you did.
Fine.
But silence doesn’t mean safe.
Silence just means you win.

Stop being dramatic.
Stop telling me what’s real and what’s allowed to hurt.
Stop deciding which parts of me are too much to love.
Stop calling it overreaction when I’m just reacting at all.
You call it noise, but this is me breathing.
You call it a scene, but this is me begging.
You call it drama, but this is me trying to exist without needing permission to exist.

And when the echoes fade, I’ll still be here.
Small, shaking, but still here.
You can call it drama.
I call it surviving.
I call it reaching for light in a room that keeps calling it fire.
I call it living in color while the world demands grayscale.
I call it feeling—because feeling is the only proof I’m still alive.

“Stop being dramatic.”
Yeah, I’ll get right on that.
Right after I stop being me

"Stop Being Dramatic"

Another Night Like This

Scene: A quiet room after a loud argument. The tactician’s voice cuts the air. Egos down. Count what bleeds when kings compete. The enemy is outside this room, not in it. Walk clean, work quiet, bring proof.

Purpose: Halts the internal fight after Best Enemies and points the machine outward toward snitches, the city, and the badge. Sets the stage for Witness Statements and keeps the album narrative moving without delay.

What you will hear:
• Single female voice with strong chest and precise phrasing
• Minimal lo fi trap bed under clear spoken lines
• Built to hand off directly into Witness Statements

Placement in playlist:
Best Enemies → Ceasefire: Aim Outward → Witness Statements

Credits:
Written and produced by KANTIBUS (Kris Antibus)
From the album edition of the END

Interlude - Ceasefire: Aim Outward

lyin in my sheets

This track is a smooth trap-R&B confession with just the right amount of chaos. Kahleel floats on the beat while calling out the games, the energy shifts, the IG stalking, the blocking, the petty truth. Toxic? Maybe. Relatable? Absolutely. Late-night vibes + ATL soul = instant replay.

You Got Me F*cked Up

Lyrics & Arrangements By RegiB
Sounds & Resources By SUNO
Graphics By RegiB

W(indo)W

Abandoned But Upgraded is Lyra Noel’s anthem of growth, survival, and self-reclamation. From heartbreak to healing, this album blends trap-R&B vibes with powerful storytelling about overcoming betrayal, embracing independence, and rising stronger than ever.
It’s bold, empowering, and unapologetically honest — the soundtrack for anyone turning pain into progress and leaving toxicity behind.

Bad weather , Better woman

More Than You Know Master

Love obsessed

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. 

Interlude - Ceasefire: Aim Outward

KANTIBUS

Recent comments

majesty

Related tracks