Pinned At The Top is trap RnB about being the favorite secret but never the real choice. You are the thread that stays pinned at the top of their phone, the photos they save, the messages they reread when the room is dark, but you never make it into the group photos or the close friends list.

The lyrics live inside the notification bar. Muted calls, saved pics, blue text threads that hold your whole heart. It is frustration, clarity and finally a quiet decision to unpin yourself and walk away. Smooth vocals ride over guitar and 808s, keeping it moody and melodic while the story does the damage.

This one belongs with the rest of the ViceLane catalog as the digital heartbreak chapter, sitting between late night flex records and full on noir scenes.

Pinned at the Top

Last Exit Call is dark RnB for the moment you finally take the exit instead of doing another lap through the same story. Empty highway, sodium lights, phone lighting up on the dash and one decision that changes everything.

The track follows a quiet escape from a toxic pull. Blue lights in the rearview, a name still flashing on the screen, and that scoreboard line in your head: me one, you zero. It is not about crashing for someone else anymore. It is about leaving their storyline and living your own.

Guitars, pads and 808s sit under a controlled vocal that feels more like an internal monologue than a flex. Built for late nights, long roads and people who finally chose themselves.

Last Exit Call

Pinned at the Top (Throwback) takes the same story but runs it through a 90s RnB filter. Warm keys, live-feeling bass and that slow bounce swing under a vocal that is trying to stay calm while jealousy eats the edges.

The song is still about being the favorite secret. Pinned at the top of their phone, saved in their photos, always there when the room is dark but never really chosen when the lights come on. Lines about lock screens, screenshots and red dots pull the story into the present, while the harmonies and groove feel like the golden era.

If the original version lives in the trap RnB lane, this one is the late night radio mix. Same frustration, same metaphor, different decade.

Pinned at the Top (Throwback)

Bad Reception is Trap RnB about somebody who always has four bars on their phone and zero bars for you. The calls only come from the back of the club, the excuses are always “no service,” and every serious conversation mysteriously starts breaking up.

The verses live in all the little lies. Lock screens, stories still going, new crowds, “tower must be down” when the DMs show otherwise. The hook flips it into a mantra: you got bad reception when it come to my heart, full bars for the world but you drop my calls. By the last chorus it turns into a clean cutoff, airplane mode and silence instead of chasing signal.

This one sits next to Pinned At The Top and Last Exit Call as part of the phone games arc. Three ways to realize the problem is not the service, it is the person holding the phone. Built for late night listening, scrolling through old messages and finally letting them go.

Bad Reception

Final chapter of the Phone Games arc. This is the moment after the missed calls, after the pinned thread, after the last highway exit. No more signal issues, no more second chances. Just a clean swipe and a quiet mind.

“I Deleted Your Number” is Dark RnB / Trap from the ViceLane universe. Heavy 808s, late night pads, and a vocal that sits right between cold and relieved. If Bad Reception was the warning and Last Exit Call was the getaway, this is the paperwork that makes it official.

Written and guided by KANTIBUS. Mastered for night drive volume and headphone replay. Run it in sequence with Bad Reception, Pinned at the Top and Last Exit Call to hear the full story.

I Deleted Your Number

Third song in the Toxic Lust arc. Her answer to his track “Last Exit Call.”

“Missed Your Exit” is late-night Dark R&B / Trap told from the woman’s side of the story. She’s racing across the city in heels, phone blowing up, trying to catch one man while drowning in everyone else’s attention. One red light, one wrong turn, one missed text – and he takes the last exit off her highway for good.

Warm female vocal, close-mic verses and big cinematic choruses, deep 808s, rainy-highway guitars and a hook built around the line “You took the last exit and I missed your exit.” This sits in the same ViceLane universe as Bad Reception, Pinned at the Top, Last Exit Call and I Deleted Your Number, but from her POV: not heartless, just overwhelmed, trying to survive the night and save the one connection that actually mattered.

Listen with “Last Exit Call” for the full dual-perspective story.

Missed Your Exit

Fourth and final chapter of the Toxic Lust side of the Phone Games vs Phone Games story.

After Bad Reception, Signal Flooded and Missed Your Exit, she’s standing on the other side of “I Deleted Your Number”. Watching him brag about moving on, knowing she could still dial him in her sleep, and choosing silence instead of one more fight.

Dark R&B / TrapSoul, slow-burn 5-minute closer: soft but powerful female vocal, deep 808s, hazy pads, and a late-night confession about boundaries, memory, and letting go without pretending it was never real. Play this after his arc for the full he-said / she-said gut punch, or let it ride solo on a 3AM drive when you’re not texting the person you still remember by heart.

I Still Know Your Number

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. 

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