R&B from the ViceLane universe that lives in dim rooms, glowing screens and empty highways. These records sit between soul and trap, more like scenes than songs.

From The Slip and Orbit to Pinned at the Top and Last Exit Call, each track is its own moment. Conversations in hotel hallways, messages that stay pinned, quiet ultimatums, long drives away from the noise. Guitars, pads and 808s carry it, but the focus stays on story and mood.

Run it front to back when you want late night energy that feels cinematic and personal at the same time.

ViceLane R&B // Night Scenes

Phone Games vs Toxic Lust – his side / her side, track by track

This is ViceLane R&B built around screens and signals. Dark RnB and Trap grooves, smooth vocals and thick 808s, but the focus stays on story. Play it front to back for the full arc or drop it into your late night rotation whenever you are done answering calls from the wrong person.

The Phone Games Arc

Day 19 of 35 in 35: “From the Mud | Ash”
Part of the END album

“From the Mud | Ash” is Rosa Sparx’s crucible: a cinematic R&B–operatic wail born from fire, not the streets. Here, the woman who once rose from poverty and mid-level hustle confronts her greatest trauma—the cartel’s murder of her husband—and transforms her grief into righteous fury.

Why this track matters:

    Rosa’s Pain Arc: Witness her somber vows (“He was my world…”) give way to an operatic scream (“SOMEONE’S GONNA DIE”) as she steps from victim to avenger.

    Epic Fusion: Sparse, rain-soaked piano and ambient pads meet soaring harmonies, haunting cello undercurrents, and a half-spoken, half-sung delivery that crescendos into a soul-shattering belt.

    The END Album Story: This is the backstory for Rosa Sparx—tied up by politicians, betrayed by the cartel, and reborn in flame.

💬 Drop a “🔥” if her fire ignites yours
🔁 Share with #35in35 #Day19 #theEND #FromTheMudAsh

— KANTIBUS feat Rosa Sparx

From Ash

“The Slip” drops into a neon-noir night where leverage is currency. Harriet moves like a ledger; quiet rooms, tidy exits. And walks out of Room 103 with a future tucked in her pocket. 

On Floor 32, she collides with the city’s velvet hammer: a queenpin fixer who keeps the powerful breathing and the scandal contained. 

Their first conversation isn’t words so much as math; matchbook, camera code, a price named with perfect calm. 

The chorus keeps score (“Harriet one… two… three… World zero”) while the verses trade pressure for patience: the microSD peeking from a folded slip, the elevator hum swallowed by carpet, a phone call that ends a war before it starts. 

Funk-jazz bed, trap-tight drums, and a hybrid of contrasts. Sleek Miami smoke/Operatic Atlanta grit, turn a handoff into a heist you can dance to. 

It’s a chapter in a larger musical: two women testing each other’s rules and finding the line between mercy, access, and control.

the END

The Slip

ORBIT is a sleek ATL trap/R&B glide built on a quiet-flex mantra: say less, move clean, let the room lean. Metallic 808s and straight 1/16 hats carry a cool, low-light vocal; minimal melisma, tight end-line ad-libs. Chamber-string pads whisper under dusty piano stabs while the hook pivots on gravity: no glitter, just pull. It’s club momentum without the noise, posture, discipline, arrival. Put it on and watch the center of the room shift.

Orbit

Pinned At The Top is trap RnB about being the favorite secret but never the real choice. You are the thread that stays pinned at the top of their phone, the photos they save, the messages they reread when the room is dark, but you never make it into the group photos or the close friends list.

The lyrics live inside the notification bar. Muted calls, saved pics, blue text threads that hold your whole heart. It is frustration, clarity and finally a quiet decision to unpin yourself and walk away. Smooth vocals ride over guitar and 808s, keeping it moody and melodic while the story does the damage.

This one belongs with the rest of the ViceLane catalog as the digital heartbreak chapter, sitting between late night flex records and full on noir scenes.

Pinned at the Top

Last Exit Call is dark RnB for the moment you finally take the exit instead of doing another lap through the same story. Empty highway, sodium lights, phone lighting up on the dash and one decision that changes everything.

The track follows a quiet escape from a toxic pull. Blue lights in the rearview, a name still flashing on the screen, and that scoreboard line in your head: me one, you zero. It is not about crashing for someone else anymore. It is about leaving their storyline and living your own.

Guitars, pads and 808s sit under a controlled vocal that feels more like an internal monologue than a flex. Built for late nights, long roads and people who finally chose themselves.

Last Exit Call

Bad Reception is Trap RnB about somebody who always has four bars on their phone and zero bars for you. The calls only come from the back of the club, the excuses are always “no service,” and every serious conversation mysteriously starts breaking up.

The verses live in all the little lies. Lock screens, stories still going, new crowds, “tower must be down” when the DMs show otherwise. The hook flips it into a mantra: you got bad reception when it come to my heart, full bars for the world but you drop my calls. By the last chorus it turns into a clean cutoff, airplane mode and silence instead of chasing signal.

This one sits next to Pinned At The Top and Last Exit Call as part of the phone games arc. Three ways to realize the problem is not the service, it is the person holding the phone. Built for late night listening, scrolling through old messages and finally letting them go.

Bad Reception

“Signal Flooded” is the first response record to the Phone Games R&B arc.
Where the earlier songs followed a guy getting tired of mixed signals and missed calls, this one steps into the woman’s perspective. She is surrounded by attention, calls, DMs and invites, trying to keep her peace and make real decisions for her future while everyone assumes she lives for the spotlight.

Dark RnB and Trap drums, smooth but tired vocals and a cracked-screen phone image all echo the same truth: she is not ignoring him, she is overwhelmed. One quiet voice still matters more than the crowd, but by the time she can breathe again, the damage might already be done. This is chapter one of the Toxic Lust arc that lives alongside the Phone Games story in the ViceLane R&B universe.

Signal Flooded

Second chapter of the Toxic Lust arc. 
Her side of the story.

Where Pinned at the Top was him flexing over one contact that stayed glued to his screen, Pinned in Private is the opposite: a woman drowning in calls, DMs and fake love, trying to keep one real connection off the timeline and away from the wolves.

Dark Trap R&B, late-night tempo, soft vocals, heavy 808s. It lives in that space between “everybody looking at me” and “you’re the only one I’m scared to lose.”

Play this after Bad Reception / Signal Flooded if you want the full Phone Games + Toxic Lust storyline in order.

Pinned in Private

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. 