Hi! This is one of many labs me and @cxrsewavv2 have on the way!

Its been a pleasure working with him :)

Check him out:
https://soundcloud.com/cxrsewavv2

My stuff: 
Insta- https://www.instagram.com/prodmltn/

Get a cheap artwork @ shorturl.at/bxGS9

(Could make an artwork for this later also the end is trash but i ran out of ideas lol)



AS SEEN ON: https://soundcloud.com/ceremonyofsin/ceremony-of-sin-comp-2

bloodshed w/ CXRSE

Im back with a new banger with ma boi marty i was not sure about posting this but fuck it. enjoy

-Go follow him : https://soundcloud.com/martylegend

-Artwork by ma boi unseal : https://soundcloud.com/unseal

-On spotify : https://open.spotify.com/album/1oZi2GM0lOKCLm8CwzFpBO

-See ya next month

Gargantuan

Gargantuan w/ Marty Menning

haqaru x marty menning - Gargantuan. (OUT ON ALL PLATFORMS)

Here are some example from my SUPER DEAD DRUMS sample pack. There are also lots of one shots. More details at jakereedmusic.com/store

SUPER DEAD DRUMS

SUPER DEAD DRUMS VOL 1 SAMPLE REEL

everyone constantly reposting wave shit so i accidentally made something that slightly resembles it

never know

bullet.

well, this WAS supposed to be a Spotify exclusive project but they're the biggest fuckbois when it comes to help. 

but alas, I told y'all that this was gonna get released before this month ends. can't fuck up a promise, can't I? this is probably the most fun I've ever had making a project and i hope it shows for your ears and eyes only. hell, even your friends. 

come join me on this tour. be wholesome. bang your head into mush. but most of all, enjoy your stay. <3

shoutababy's sampledriver tour '24.

ICECOLDBABY!

Unlike most of Volume 3, Track 5 is an instrumental, yet it communicates just as much — if not more — than a vocal performance could. Here, MEEJ samples “Song and Dance” by The New Age, a contemporary Metal band he grew up listening to and has sampled on earlier projects as well (a thread that connects back to his earliest experiments in blending aggression with vulnerability). This choice is significant: The New Age is part of his foundation, a sound he grew up immersed in, and one that already lived in his emotional vocabulary.
The instrumental begins subdued, almost deceptively gentle. MEEJ carefully isolates fragments of The New Age’s song and reshapes them into an “Afro-Beat”-esque bounce, steady and hypnotic. Beneath that pulse lies a low, distorted 808, his unmistakable signature. The beat feels like a held breath — an ominous calm, the kind that only exists before collapse.
As the track evolves, the atmosphere begins to fracture open: a deep sub-bass bridge emerges, under which MEEJ layers chopped, stretched versions of the sample across low, high, and natural octaves. The effect is suffocating, like a mind repeating the same thought until it distorts into madness. Without warning, the production erupts into a Trap Metal explosion — furious, chaotic, cathartic — the eruption of all the pressure that’s been building underneath.
At its height, MEEJ lets The New Age’s words pierce through the chaos: “Bug, it’s taking over every part of me. I can’t run. If only I could try to suffocate it. It’s just a bug.”
In The New Age’s original work, the “bug” is a metaphor for intrusive and destructive thoughts — an infestation of the mind. In MEEJ’s world, the metaphor hits even harder, almost autobiographical. His battles with trauma and suicidal ideation, confessed openly across Volume 3, give the “bug” a second life: it becomes not only an image of internal struggle, but also a haunting reminder of his brush with literal death. For most, “the bug” is a thought they can’t suffocate; for MEEJ, it’s a presence he has already faced — and in a hidden layer known only to those who follow him closely, survived. His resurrection lingers behind the production, buried under the distorted sample like a ghostly undertone.
Here, the imagery also branches back to trees, which played a central role in the layered symbolism of Track 4. Just as the “.44 Bulldog Bark” invoked both gunfire and tree bark, the “bug” becomes the parasite burrowing inside the trunk, feeding off the core, weakening it from within. The suffocating cycles of intrusive thoughts mirror the slow decay of a tree being hollowed by unseen insects — a reminder that collapse can come from the inside out. And yet, despite infestation, the tree still stands until the moment of its fall. This is the quiet terror MEEJ encodes in the track: survival in the face of slow inner ruin.
The decision not to flip The New Age’s piece beyond recognition, but instead to honor it by scoring it directly, reflects his reverence for both the music and its message. He doesn’t erase the original metaphor — he sharpens it by embedding his own chaos around it. Where The New Age described the feeling of the bug consuming, MEEJ mirrors that suffocation through sonic density, the production itself becoming overwhelming and inescapable.
This makes “Bug” one of the most pivotal tracks on Volume 3. It doesn’t rely on MEEJ’s voice, because here words would almost diminish the truth of what he’s trying to express. Instead, he lets the instrumental and the borrowed lyrics testify on his behalf. The suffocating repetition, the sudden eruption, the relentless density — it all mirrors the cycles of collapse and survival he’s lived through.
Thematically, this track deepens the EP’s core motifs: collapse, suffocation, inevitability, and rebirth. Earlier songs externalized these battles through relationships, nature, and violence. Here, the imagery is turned inward — a war inside the self. And just as The New Age’s lyric claims “If it’s the same old song and dance every morning, well I’ll dance to the fucking end”, MEEJ’s decision to keep the sample intact reads almost like a vow: even if the “bug” returns, he will face it head-on, again and again, until the end.
Ultimately, Track 5 is more than a tribute — it’s a cipher. A direct bridge between the music that shaped him and the pain that continues to live inside him, where influence and autobiography merge into a single storm.

THE BUG INSIDE MY HEAD. | (SONG AND DANCE.) [PROD. MEEJ.]

inspired by @prodmist

boobs taste like rubber , stay a virgin kids its not worth it . or just be gay idk .

the mix is ass but ass taste like trail mix so it aint bad I promise

doubt .

raxos/challa
producer/concept artist
will be back in 2026

never know

raxo.s