IN MY HOOD EARS

Lebxanon - Flood (p Symelz) Sped Up

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trappin pt. 2 - rainn w/lucheeny [prod. byttt]

bassists - rainn/lucheen [pr. ccured, noxnova, milanezie rpr. real6hunnid]

fly - rainn [prod. 2xcond]

michelin man - rainn w/lucheeny [prod. goshxo]

in effect - rainn w/lucheeny [prod. byttt]

Flooding Pianos

Daily Devotions with Pastor John David Mull of Shepherd of The Valley on the three-year Lectionary Readings. Lectionary C, Baptism of our Lord.

Psalm 29

Originally Published Oct 25, 2024
"serenity

free for profit

(prod by. 22Snow!) to use"

japan has flooded and the people are still meditating type beat

If you’ve just made a decision to be born again, please respond here: https://bit.ly/ConnectwithTSC We’d be honored to help you on your next steps! If you would like to contribute financially and help us create more opportunities for people to experience a life-changing relationship with Jesus, click here: https://tsc.nyc/give The Worldwide Prayer Meeting is held at Summit International School of Ministry the Bible School of Times Square Church each week. If you'd like to learn more about Summit, visit: https://www.summitpa.org

Shouting For Joy in the Midst of a Flood | Carter Conlon

@02kudo
@benjithemachine
@flooddubs
2025 <3 <3 first song ily
this kudo guy sounds familiar

mardi gras +02kudo [benjithemachine x flood]

01 10 2025  Nephilim and the Others  - Genesis 6 -7

This beat was made as I was literally learning how to use thv software. 
It has a _2 in the name because thv orignal version was all thv sounds playing at once, so this version doesnt do that haha. It was made after I took a break & got ready for bed after making thv first version on call with Lunaris & GC Van.
Made 12/1/25, during thv first priest counsel meeting after Van said I should be thv one to start beat making in thv Moongrove.
Assisted by Van helping me with samplez

moonproject1_2

Original beat made 13/1/25 but remastered and structured on 15/1/25. It also has a _2 because thv orignal one had a glitch so i had to redo it lolz (turned out it wasnt a glitch it was just a track which was playing in another tab in thv software i didnt know how to stop lolz).
This track I was focusing on creating climax using a bass and creating structure by turning off and on layerz.
Song still sounds ass. Getting there

LabZmoonZ_2

Vertigo.
Head in a spin.
Knock, knock, let me in.
Self-medicate.
Listen to the voices.
Swallow the cure.

1, 2, 3 maybe 4
The flaws I abhor
Read me like a page.
Misfit.
A jigsaw with no frame.
I'm multidimensional with no depth.
Plain Jane
Nothing fancy, produced in mass.
Seen one, seen 'em all.
Extrapolative
Each footstep plunges into destiny.
Smash the crystal ball.

Vertigo.
Head in a spin.
Knock, knock, let me in.
Self-medicate.
Listen to the voices.
Swallow the cure.

Wires tangled, pixels bleed,
Circuit minds converge at speed.
Chemicals in cocktail blend,
Hallucinate, transcend.
Swipe right into the void,
Our avatars, now paranoid.

Paranoia in the binary flood,
Steel pulses, electric blood.
Paranoia in the binary flood,
Steel pulses, electric blood.

Boundaries.
As far as the eye can see.
May never know what could become of me.
This song is from the 2025 1.0 Album.
Artist: Paul Louis Villani
Release Titles: 2025 1.0, 2025 The Internationals, 2025 2.0
Release Date: 2025
Overview:
The 2025 trilogy is my reckoning with the past and an uncompromising embrace of the future. Three albums—2025 1.0, 2025 The Internationals, and 2025 2.0 - will stand as a testament to my unrelenting need to create, even as I distance myself from the human chaos that once defined my musical career. Spanning up to 50 works, this monumental release splits into three distinct identities while maintaining their cohesion as a singular artistic statement.

Background:

Mid 2021, everything changed for me. The band dynamic that had dictated my creativity for decades was gone, leaving behind a hollow, venomous resentment for the compromises and burdens I had carried. For nearly 40 years, I was always the one: the one with the reliable car, the one funding the studio time when others came up short, the one dealing with the egos of unreliable bandmates. That grind left scars that are still raw.

When I finally walked away from bands and the pitiful Australian Music Industry (unless you’re drinking with or taking drugs with the right people you have no chance), I thought I was done. But music and creativity doesn’t just let go. By 2024, 20 tracks were ready for vocals, and then floodgates unexpectedly opened. Even as I resented the relentless drive to create, stealing my sleep and dragging me back into long hours of recording, I couldn’t stop. Yet this time, it was on my terms. No live performances. No face-to-face collaboration. No compromises.

Challenges and Resilience:

My refusal to collaborate in person isn’t stubbornness; it’s survival. The toxicity of past experiences pushed me to sever ties with the traditional music-making process. Nearly four decades of dragging bandmates and their baggage through every stage of creation left me bitter and done with humanity’s role in music. I don’t mince words about it: "I’m fucking over it. I’ll never share a rehearsal room, stage, or studio with anyone ever again."

But out of this anger, a new way of working emerged—a way that fueled my creativity without reopening old wounds. Texts and emails with Mauro Elias, the album’s vocalist, brought refreshing simplicity. Mauro’s immense talent and organic approach to crafting melodies proved to me that music doesn’t require the chaos of human proximity.

Looking Forward:

Is this the end? I want to believe it is, but I’m no Nostradamus. The future looms large, with artificial intelligence already playing a role in the visual components of 2025. While AI hasn’t yet touched the music, lyrics, or vocals, I see its potential. AI could eliminate human messiness from music production entirely, something I entirely welcome. If anything can convince me to keep going, it’s the idea of embracing a future where creation no longer hinges on human involvement.

2025 1.0

Paranoia in the Binary Flood

Paranoia In The Binary Flood

flaming soul and the house burns
let me feel the same that only god knows
tiny paper on a tongue but that’s a high dose
that’s the shit that i can’t douse
bitch i’m real here with ghosts
they telling weird stories i’m lost
fairytales of the lost worlds
i wanna scream but it’ll be worse 
help me live cause i’m the one cursed...

...the one cursed.

#flaminsoul (prod. omaije)

comment like follow repost . will do the same.

Daily Devotions and Weekly Messages from God's Word with John David Mull - Christ-follower, husband, and father.  Pastor of Shepherd of the Valley Church in West Des Moines, IA.

beats, throwaways, etc

@22Snow! for actual music

Album Synopsis:
Artist: Paul Louis Villani 
Release Titles: 2025 1.0, 2025 The Internationals, 2025 2.0 
Release Date: 2025 

Overview: 

The 2025 trilogy is my reckoning with the past and an uncompromising embrace of the future. Three albums—2025 1.0, 2025 The Internationals, and 2025 2.0 - will stand as a testament to my unrelenting need to create, even as I distance myself from the human chaos that once defined my musical career. Spanning up to 50 works, this monumental release splits into three distinct identities while maintaining their cohesion as a singular artistic statement. 

Background: 

Mid 2021, everything changed for me. The band dynamic that had dictated my creativity for decades was gone, leaving behind a hollow, venomous resentment for the compromises and burdens I had carried. For nearly 40 years, I was always the one: the one with the reliable car, the one funding the studio time when others came up short, the one dealing with the egos of unreliable bandmates. That grind left scars that are still raw. 

When I finally walked away from bands and the pitiful Australian Music Industry (unless you’re drinking with or taking drugs with the right people you have no chance), I thought I was done. But music and creativity doesn’t just let go. By 2024, 20 tracks were ready for vocals, and then floodgates unexpectedly opened. Even as I resented the relentless drive to create, stealing my sleep and dragging me back into long hours of recording, I couldn’t stop. Yet this time, it was on my terms. No live performances. No face-to-face collaboration. No compromises. 

Challenges and Resilience: 

My refusal to collaborate in person isn’t stubbornness; it’s survival. The toxicity of past experiences pushed me to sever ties with the traditional music-making process. Nearly four decades of dragging bandmates and their baggage through every stage of creation left me bitter and done with humanity’s role in music. I don’t mince words about it: "I’m fucking over it. I’ll never share a rehearsal room, stage, or studio with anyone ever again." 

But out of this anger, a new way of working emerged—a way that fueled my creativity without reopening old wounds. Texts and emails with Mauro Elias, the album’s vocalist, brought refreshing simplicity. Mauro’s immense talent and organic approach to crafting melodies proved to me that music doesn’t require the chaos of human proximity. 

Looking Forward: 

Is this the end? I want to believe it is, but I’m no Nostradamus. The future looms large, with artificial intelligence already playing a role in the visual components of 2025. While AI hasn’t yet touched the music, lyrics, or vocals, I see its potential. AI could eliminate human messiness from music production entirely, something I entirely welcome. If anything can convince me to keep going, it’s the idea of embracing a future where creation no longer hinges on human involvement. 

For now, 2025 isn’t just a trilogy of releases; it’s my statement. It’s my defiance. It’s my refusal to let the weight of the past crush my urge to create. And whether it’s my swan song or the start of something new, 2025 is a raw, unfiltered declaration of who I am, what I’ve endured, and where I refuse to go back to.

@synthetickids
@moderndayuk
she/her

Banner by @toxin_brewer

Dr. Jim Logan and Rev Paul Jordan make up the team of BRMinistries. We are a non-profit Biblical counseling center located in Sioux City, Iowa. Our desire is to provide Biblical teaching in every area of Spiritual life, including Spiritual Warfare. Find out about us online at www.brministry.org and www.inthesecretplace.org.

Amateur songwriter/musician originally from Texas now living in Virginia thru parts of North Carolina. Don't ask.

My story:

I got somewhat into recording in the mid 80's briefly with a Tascam Porta One, but used it mostly as a scratch pad while writing songs. When the 90's hit, life hit, and all this stuff took a back seat for the next 25+ years. 

For therapeutic reasons, and the pandemic as well (having to spend more time at home), I decided it was time (2020) to get back into it, and I absolutely love it!

I like all kinds of music from pop, country, electronic, rock, folk, big band, orchestral, blue-grass, americana, etc. I'm really all over the map. As a kid I religiously watched anything relating to the NFL (yes I was a Cowboys fan) because of the music of NFL Films. I still listen to it today.

Some artists and bands I have liked over the years are Collective Soul, Cheap Trick, The Stones (of course), Waylon Jennings, Travis Tritt, John Mellencamp, and Glen Campbell. I even liked KISS as kid in the 70's. Of course when they got into disco and then hair-metal, that was an ender for me but I still like their stuff in the 70's quite a bit.

I got "more" into music at about 14 (1980). That summer Eddie Rabbit released an album named "Horizon" (which I played endlessly) and about a month later AC/DC released "Back in Black". Now that's a combination for you! While they were miles apart sonically, they had one thing in common: good, catchy songs.

With all that said, the one band that I've always loved, and just struck a chord with me, is The Who. Not sure how to explain it. I "discovered" them well after their heyday of course. Maybe it's the anthemic nature of their songs? Maybe it's the creative genius of their chief songwriter/guitarist (my opinion)? Maybe it's the sound they produced as a 3-piece band, where they didn't really have a "lead" guitarist -- their bassist essentially filled that role (and quite admirably too)? Maybe the drummer, who played everything as one big fill? I don't know but I thought they were fantastic. Still do.

-Frank Wood

New tracks tagged #Flood