They Got Names
Day 12/35 🚨

Quiet vengeance rides on jazz-tinted West Coast drums and low, moody bass pulses. This one’s a ledger of ghosts—Remy, Cipher, Colt, and Sin—each name a verdict you don’t survive twice. No hype, no brag; just hushed threats etched in midnight.

🔊 Stream below and let the piano’s syncopated stabs and glitch flickers pull you into the back-alley code. Remember: if you whisper the wrong name, you might not make it home.

✒️ Lyrics:
“Been stackin’ bullet stories…You meet ‘em once… and never find your way out.”

💬 Drop a comment with your favorite line—whose name chills you most?

They Got Names

🔥 Now Streaming: “Bob Marley in a Tea Bag” 🔥

Bob Marley has officially flatlined—and it’s hilarious. “Bob Marley in a Tea Bag” just dropped, serving up blown-out wobble bass, kettle-whistle builds, and a dazed rap flow that skewers spiritual epiphanies in chamomile. When that tea spills, the only divinity you’ll find is the punchline.

Listen & Watch:
▶️ Full track streaming now on SoundCloud!

Why You’ll Love It:

    Eerie tea-kettle intro leading into a massive bass drop at 0:31

    Absurdist verses: “Yo… why Bob Marley lookin’ at me from this chamomile bag?”

    Neuro-squelches & distorted drops that hit as hard as your morning caffeine fix

    Jokey aggression and grime humor—sipping chaos, one bar at a time

Get Into It:
☕️💀 If you’ve ever seen more than leaves in your tea, this one’s for you.
🎧 Drop a comment with your favorite absurd moment.
🔄 Repost & tag a friend who needs to hear the flatline punchline.

Bob Marley in a Tea Bag

One Last Ride
Track 14 of 35 in the #35in35 campaign

A dark, cinematic voyage through shadow-drenched highways and whispered threats. “One Last Ride” blends 70s moody blues-rock vibes with gothic overtones—warm analog bass, reverb-soaked slide guitars, and a killer 12-string arpeggio set the scene. Baritone vocals guide you into a nocturnal tale of obsession and survival, culminating in a chilling female reveal that flips the script.

Written and Produced by KANTIBUS
Art & cover by KANTIBUS AIMA
This was made by KANTIBUS AIMA Tectonic V1.0

🔪 For fans of noir-tinged rock and twisted storylines

Follow for the full 35-track journey—one song a day, every day.
▶️ Leave a comment, hit repost, and keep the ride alive.

One Last Ride

Threshold of Being

#16 of my 35 in 35 Campaign.

A 33-Year-Old Poem Realized Through Morrison’s Voice

Behind the Verse
Originally penned over three decades ago in a burst of apocalyptic vision, this poem lay dormant until KANTIBUS AIMA Tectonic V1.0 breathed it to life. With a Triple KANTIBUS PASS and Cinematic Expansion Boost, the raw existential musings—on evolution, extinction, and the thin line between—were sculpted into a full-blown Doors-style opus.

Sound & Style

    Vocal Performance: Deep, spoken-word baritone channels Jim Morrison’s gravel-edged mystique, sliding into haunting sung choruses that echo like a distant oracle.

    Instrumentation: A swirl of vintage organ pads and tribal tom pulses sets a hypnotic backdrop. Psych-tremolo guitars and bowed bass weave through piano leads and full-band crashes, driving the mythic arc.

    Dynamics: Whispered monologues give way to pounding floor-toms, cymbal swells, and orchestral washes—each transition a “threshold” moment, mirroring the poem’s themes of threshold and transformation.

Why It Matters
“Threshold of Being” isn’t just a song—it’s the culmination of KANTIBUS’s lifelong journey. It marries Morrison-era psychedelia with modern cinematic production, proving that a vision born in youthful poetry can still haunt and inspire in the digital age.

Credits
Produced, arranged, and performed by KANTIBUS AIMA Tectonic V1.0

Threshold of Being

#18 of 35 in my #35in35 Camapaign.

Grotesque Dreams is our latest banger—an adrenaline-soaked plunge into bruised vocals, droning riffs, and power-crush choruses. With razor-wire guitars undercut by haunted bass drones and a vocal performance that bleeds raw urgency, this track lives in the cracks between dusk and dawn. It’s a dark-hued anthem for restless nights and restless souls, where every line tastes of broken promises and every beat pulses with fractured hope.

🔊 Perfect for late-night drives, empty rooms, and anyone chasing catharsis in distortion. Leave a like, drop a comment, and share if you feel the groove.



Grotesque Dreams

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

Day 20 of 35 in 35: “Rafters”
Track 4 on the END album & stage show

“Rafters” is Racks Atlantic’s gritty R&B/hip-hop anthem—an 808-driven club banger with razor-sharp verses and a hook built for the rafters. From “tools keep grinding, racks poppin’ off the fold” to that unforgettable “paper stackin’ past the rafters in the trap,” this one’s a masterclass in streetwise swagger and relentless hustle.

Why you’ll feel it:

    Deep groove: 75 BPM 808 pulse + rapid hi-hats + dark pad wash

    Hooks for days: A “paper stackin’” chorus that sticks like glue

    Racks Atlantic flair: Nautical swagger, frost-cold punchlines.

    Stage show epicness: Built to light up the live “the END” production

🛠️ Drop a 🔥 if you’re stacking past the rafters
- KANTIBUS feat. Racks Atlantic

Rafters feat Racks Atlantic

Contact
Day 21 of #35in35 • KANTIBUS

“Contact” is a wild collision of 90s electronic-pop and contemporary trap—think Devo meets post-Migos swagger. Anchored at 75 BPM in C♯m, its industrial 808 swells and glitch-shard intro give way to stuttering hi-hats and a bubbling synth arpeggio. Every line is a cut-and-paste blueprint: “I architect the chaos, stacks rise in the smoke.”

By the pre-chorus, a reverse-reverb snare riser jolts you into the chanted hook—“Contact high… contact high…”—where a call-and-response crowd chant meets heavy synth stabs and trembling sub-808 pulses. The bridge’s seismic beat-switch unleashes distorted 808s and rolling triplets, sending the energy into orbit. It’s frenetic, fun, and defiantly off-kilter—a blueprint for rebellion in neon and steel.

💥 Drop a comment if you felt that beat-switch!

Contact

Nemesis
Day 22 of #35in35 • KANTIBUS

Step into the shadow with “Nemesis,” a dark-R&B/Chicago-Drill hybrid that feels like a power ballad whispered from the underworld. At a driving 145 BPM in C♯m, it layers sliding 808 glides and syncopated triplet hi-hats beneath a haunting bell motif and sparse, oppressive pads.

But the real knockout is the vocal: a measured, icy delivery that suddenly unleashes a 12-second melismatic belt—pure sustained power that hangs in the air like a challenge. Verses land like calm storms (“Fear I might storm through your fortress”), the hook hits with chilling precision, and the final cry—“Nemesis reigns—bow to the calm storm!”—echoes long after the beat fades.

💥 Drop a “💀” if that held note sent chills

Nemesis

#23/35 | “Subliminal”

🔥 From ruined streets to your speakers—KANTIBUS ignites the block with a soda-can inferno and a drill-trap backbone. At 75 BPM in C♯m, “Subliminal” fuses militant 808s, stark bell motifs and glitch shards, then blows the beat sky-high and rebuilds it with tom accents and sliding subs.

⛓️ Verses carve graves with razor-sharp bars (“I architect the chaos…”), pre-hooks reboot your mind (“Plug in… power up…”), and that hook—pure trap-drill bounce—sears its code in your brain:

    “Subliminal strike—sear the code in your brain
    Motion in the shadows—I redefine pain…”

⚙️ Beat-switch drills you into earthquake mode, then drips out with haunting bells and echoing toms. It’s a dark-r&b-tinged power drive, perfect for late-night playlists, viral snippets, and underground radio.

👁️‍🗨️ Why it slaps:

    Relentless energy & cinematic menace

    Hook that sticks faster than a covert message

    Production sharp enough for club subs and headphone heads alike

🎧 Stream “Subliminal” now and feel the blueprint of chaos come alive.

— KANTIBUS #35in35 —


Subliminal

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. 

Nemesis

KANTIBUS

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