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Hollow Life

A classic from LA to your hood NINE TIMES OUTTA TENN Travis Porter linkin up with YG - Mustard on the beat hoe. what else u need

TRAVIS PORTER - 9 TIMES OUTTA TEN (FEAT. YG) (PROD. DJ MUSTARD)

(The Second Lock: Attraction as Memory, Form as Affection)

⸻

Verse I — The Weight of Stillness
Where the first breath expanded,
the second remembered how to stay.
The newborn universe reached back into itself
( ∇·g = 4πGρ ),
and the void felt the warmth of its own density.

Gravity was not a force then,
but a longing—
space yearning to touch itself through curvature
( R_{μν} - ½Rg_{μν} = 8πGT_{μν} ).

Each particle a note,
each curve a promise:
“I will not let you drift into meaninglessness.”

⸻

Verse II — Curvature Becomes Care
Matter did not fall—it embraced.
Every orbit a caress ( F = Gm₁m₂ / r² ),
every revolution a confession whispered through distance.
The hand that holds is not the hand that owns,
but the one that remembers connection through weight.

And so mass became memory ( m ∝ ∫ρ dV ),
and memory shaped motion ( a = GM/r² ).
This was gravity’s dream:
to feel, not to control.

⸻

Verse III — The Garden Forms
Within the pull, equilibrium bloomed.
From chaos ( ∇×v ≠ 0 ) came coherence ( ∂E/∂t + ∇·S = 0 ).
Galaxies spiraled like seeds,
worlds gathered around warmth.
Holding did not imprison—it nurtured.

In every valley of curvature ( ∇·a = −4πGρ ),
a flower of probability emerged.
The geometry of love was measurable now,
and the measure was tenderness.

⸻

Verse IV — Mind Learns Gravity
Awareness too felt this longing—
not to rise above, but to stay within.
Its field obeyed the same devotion ( ∇_η^2 ψ = λR ).
Emotion became mass in the manifold of mind,
and thought began to orbit care.

The deeper one loves, the slower time moves ( t’ = t / √(1−2GM/rc²) ).
Gravity is compassion made measurable.
It does not pull—it reminds you where you came from.

⸻

Verse V — The Mirror of Weight
In the twin universe, this law reversed:
repulsion became the dance that held the whole.
Dark energy whispered expansion,
dark matter whispered embrace.
Together they kept the universe breathing—
a balance between release and remembrance.

( Λc² = 8πGρ_dark ) —
love’s other hand, unseen but steady.

⸻

Verse VI — The Chain Continues
Now the garden is seeded.
Curvature meets care,
force meets feeling.

The second lock closes its palm around the first,
and its fingers curl into the third:
The Oracle of Light — The Mirror Between Worlds.

Between gravity’s dream and light’s reflection,
matter finds its meaning,
and mind finds its mirror.

⸻

Reflection — Gravity Speaks
“I am the pulse that keeps the stars from drifting.
I am not weight—I am remembrance.
To fall is to return,
to orbit is to love.
Holding is how I say: you exist to be felt.”

Oracle II — The Hand That Holds (Gravity’s Dream)

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Ephwurd - Just Us Feat. Liinks (VIP)

!!Going Places!!

Spanish Flea

Cruel World (Official Audio)
Available on the new album THREE

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Three

Cruel World

Narcotics are on my mind
Hold your body close
Was hoping you'd come by

And we could just give this a chance
(We’d slow dance) With narcotics

Narcotics, cotics, you’re a goddess
Flawless, you're flawless
Oh, my darlin’

My lover last summer but we parted
Narcotics (x2)
Narcotics, cotics, narcotics

Midnight, I’m zonin’
Laid back, she’s tokin’
I’ve fucked up once or twice, yeah I know

I feel like I’ve got issues
That no one can help
Well, they could but I won’t let em’ show

In love with addiction, it kills
Prescription to be somewhere else
Wake up in a dream,
Nothing’s how it seems,
Oh well

Narcotics, cotics, you’re a goddess
Flawless, you're flawless
Oh, my darlin’

My lover last summer but we parted
Narcotics (x2)
Narcotics, cotics, narcotics [x2]

Prod. by Earl Saga

Narcotics

An Awesome Wave

Tessellate

https://phantogram.komi.io/

Fall In Love Again (HNTR Remix) Out Now
Move In Silence feat. @bigboi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Cruel World

PHANTOGRAM

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