Name: LUNCH LINE FLEX by KANTIBUS
Duration: 2 min 11 s
Description: Cafeteria anthem with real classroom utility. Chicago trap drums, bell sparkle, and a chanty hook that turns tray balance, spacing, and please and thank you into a bounce routine. Kind swaps, clean tables, lunch crew strong.

Scene: The watchers pass a single code word. Tourniquet. Radios click. Elevators halt. The floor fractures into motion.

Purpose: Bridges Witness Statements into the interrogations. This is the raid in sound. It gives the stage time for movement while the album listener feels the walls close in.

What you will hear:
• Tense electronic intro that pulses like a countdown
• The callout, then a hard drop into a driving synth bed
• Heavy drums and dark arps that play for two and a half minutes while the scene unfolds
• Designed to slam directly into When Truth Dies, Lies Travel

Placement in playlist:
Witness Statements → Tourniquet Raid → When Truth Dies, Lies Travel

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

the END

Interlude - Tourniquet (Code Word)

Scene: Twenty thirty. 
A masked crew steps into the lights. 
The crowd leans in. 
In the haze, Racks watches—smoke and red eyes. 

No speeches, only consequence.

Purpose: This 0:42 prologue frames the entire crime-opera album the END.
It is the MC’s house lights speech before we rewind the tape to 2025 and meet FlipGame, Racks Atlantic, Harriet Thugman, and Rosa Sparx.

What you’ll hear:
• Spoken-word narrator
• Minimal drums, low sub pulse, cinematic hush. No melody hooks, just gravity
• Designed to flow straight into On the Pond (2030 Overture), then the rewind

Credits:
Written/produced: KANTIBUS (Kris Antibus) 
Concept: the END musical (album edition)
Voice direction & script: KANTIBUS

Listen in order: This is Interlude 1 of the full SoundCloud playlist for "the END".

Content: clean.
If you enjoy this, save the playlist and keep rolling into On the Pond → See the Candy Gleam.

Twenty Thirty (Intro) - the END

Scene: Cartagena and Medellín docks at night. Racks Atlantic, Chicago baritone tactician, has been flown in quiet and left louder with no papers. He counts exits he cannot buy. A coupe with Texas plates rolls slow. FlipGame leans out and offers a door that opens… sometimes.

Script highlights:
“It was supposed to be a meeting. Then the doors shut and the papers vanished.”
“Legend, you look light today.”
“We didn’t say cartel. We didn’t say debt. We just started walking.”

Purpose: Bridges Nonchalant into the Colombia fallout and sets the cause for the Vegas convergence. Designed as a tight spoken-word over a low lo-fi trap bed so it flows into the next chapter.

Placement in playlist:
On the Pond → Rewind: Twenty Twenty Five → See the Candy Gleam → Rafters → Simp Sick → From Ash → Nonchalant → Medellín Lesson → Side to Side → Bogotá Rumors → The Slip …

Credits:
Written and produced by KANTIBUS (Kris Antibus)
Voice direction: Racks Atlantic perspective
From the album edition of the END

Medellín Lesson (Interlude) - the END

Scene: A Vegas hotel at night. A calm tactician voice issues protocol. Room one oh three. Elevator B at twelve. Camera two goes blind in ten. If she runs loud the floor closes. If she walks clean doors open.

Purpose: Reveals the operation around The Slip and sets the alliance that follows in Madam. Built as tight spoken word over a minimal lo fi trap bed so tension stays forward.

Listener note: Some hear a soft hum and a breath at the top. The album lets you decide what that means.

Highlights
• No uniforms no jewelry no names
• Hand off window thirty seconds
• Receipt goes in the matchbook
• Debt is settled
• Do not return to this hotel

Placement in playlist
The Slip → Hotel Call Sheet → Madam

Credits
Written and produced by KANTIBUS (Kris Antibus)
From the album edition of the END
Runtime about 0:30

Hotel Call Sheet (Interlude) - the END

Scene: Night over Las Vegas. Racks returns from Colombia and meets Flip by the car. The plan is simple. Find the woman who runs the rooms. Tie sex and information to product. One crew. One ledger. No crowns on the flyer.

Purpose: Bridges Nonchalant and Medellín fallout into the Vegas takeover. Sets the alliance with the tactician and cues the first strike.

What you will hear:
• Chicago baritone tactician voice over a minimal lo fi trap bed
• Short, cold directives that set the play
• Final line designed to drop straight into Cloud of Bullets

Placement in playlist:
Madam → Back in Vegas: Build the Crew → Cloud of Bullets (Flood One)

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

Back in Vegas: Build the Crew (Interlude) - the END

Scene: Inside a luxury car at night. A quiet call is made while a small pharmacy bag sits on the console. The money is clean. The mind is not. If you want him sharp, pull him back now. Or point him and say when.

Purpose: Bridges Night Terrors into Sickness. Confirms the slide without naming names and keeps tension forward in under twenty seconds.

What you will hear:
• Velvet but firm voice over an ultra minimal lo fi trap bed
• Short lines and held breaths that push straight into Sickness

Placement in playlist:
Night Terrors → Check on Flip → Sickness

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

Check on Flip (Interlude) - the END

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

Scene: Night over Las Vegas. Engines low, phones off. A calm Chicago baritone delivers one last notice. Buy peace now or face the water.

Purpose: Bridges Best Enemies into Bring Water to My Enemies. Sets the threat and primes the downbeat so Flood Two hits hard.

What you will hear:
• Racks’ ledger-cold voice over a sub-heavy, minimal lo fi trap bed
• Short lines and clean pauses designed to drop straight into the next track
• No melody, no clutter, just pressure

Placement in playlist:
Best Enemies → Flood Warning → Bring Water to My Enemies (Flood Two)

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

Flood Warning (Interlude) - the END

Scene: After The Dragon’s Alley the narrator steps to the mic and closes the book. We return to the pond. The city keeps humming.

Purpose: Final tag that completes the twenty thirty frame and lets the album breathe out without crowd noise or extra dialogue. Built as warm spoken word over a barely there neutral trap bed so it fades clean into silence or a playlist loop.

What you will hear:
• Older African American baritone narrator, documentary calm
• Minimal bed, soft sub pulse and light rim, no melody
• Short lines and clear pauses for a graceful exit

Placement in playlist:
The Dragon’s Alley → Curtain Call: On the Pond Reprise

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

Curtain Call: On the Pond Reprise (Interlude) - the END

the END - MOVIE CUT

Cafeteria anthem with real classroom utility. Chicago trap drums, bell sparkle, and a chanty hook that turns tray balance, spacing, and please and thank you into a bounce routine. Kind swaps, clean tables, lunch crew strong.

LUNCH LINE FLEX

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. 

LUNCH LINE FLEX

KANTIBUS

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