Au revoir mon amour

Si on sombre ce sera beau

Mayrig

🔥 New Track Out Now! 🔥  
Title: [The Silent Crown]  
Produced by: [Music RooM]  

This track is a blend of real bars, raw emotion, and authentic rap vibes.  
If you're into real hip hop, storytelling, or trap beats – this one's for you.  

New dubstep track from Los Angeles producer 

💬 Let me know what you think in the comments.  
💽 More music dropping soon – follow to stay updated!  
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#usadubstep #americanproducer #edm #dubstep #brostep #bassmusic #trapmusic

The Silent Crown

A REMIX OF THE ORIGINAL "EYE OF THE BEHOLDER" 

[Verse 1]
Shadows hide the truth
Eyes can bend the proof
Lost inside the fear
What you see unclear

[Pre-Chorus]
Hearts can twist the view
Dreams distort what’s true

[Chorus]
In the eye beholder
Love’s a spark
A smolder
What’s near feels colder
In the eye beholder
Love

EYE OF THE BEHOLDER 1

This gritty rock opera opens not with magic, but with an inquisition, violently subverting the classic fairytale. The speaker, likely one of the stepsisters or the stepmother, aggressively interrogates Cinderella, accusing her of being a manipulative liar who has blackened their good names. Every element of the familiar story is savagely deconstructed: her ashes are proof of deceit, her tiny foot a fraud hidden under a dress, and her prince a "royal dimwit" she has conned. The music mirrors this confrontation, building from sparse, tense acoustics into explosive, screaming choruses that embody the raw fury of the accusation, framing Cinderella not as a heroine but as a "lyin' deceiving monster" who deserves execution.

The narrative climaxes in a shockingly dark turn of domestic horror. The speaker's threats escalate from mere accusation to graphic violence, vowing to turn a pumpkin into a guillotine. Cinderella’s response is not passive submission but deadly agency: she serves a pot of tea "laced with lemon and arsenic." The subsequent "trial" is a farce of rewritten narratives, where publishers choose the most marketable lie and sanctify it as the "official" fairytale. The truth, it seems, is wholly malleable, sold to the highest bidder as the haunting drone of a banjo underscores the eerie, unresolved corruption of the tale.

The final verse shatters any remaining certainty, propelling the ancient grudge into the modern era. A lie detector test supposedly exonerates Cinderella and implicates the sisters, but the speaker immediately undercuts this, admitting they too prefer spinning lies. The song concludes with a brilliant, jarring twist: a news report that a distant cousin is suing Disney for fifty million, for slandering the family. This meta-commentary seals the opera's core theme: that storytelling is a battleground of power, profit, and perpetual revision, where there is no one truth—only competing fictions fighting for control, and now, for colossal financial damages.

Mayrig

Solann