Name: 404 by Trapgh0st in TRAPTHERAPY
Duration: 1 min 46 s
Description: Love not found, glitchy melodies, broken kicks, a bassline searching through static.

A 100-track journey through the raw pulse of trap music. From industrial drums to atmospheric pads, this compilation blurs the lines between street energy and digital distortion. No rules, just waves, dark, distorted, hypnotic. Pure sound pressure for those who live off rhythm and shadow.

TRAPTHERAPY

Grind it, chop it, mix it, flava-it
Bitch I get it on my mind
Smoke it, roll it, taste it, bang it
Bitch I can't get even high
You can't get way that I'm flexin'
Bitch I'm on my demon time
You know that my flow is extended 
I grab that shit in my crime

Сломанный ублюдок - тот! 
Кем мне никогда не стать 
Карманы жрут купюры 
Стоило лишь мне начать 
Словно Boeing сука 
Манера создан чтоб летать 
Мне не тянули руку 
Я сам научился сиять

 Grind it, chop it, mix it, flava-it
Bitch I get it on my mind
Smoke it, roll it, taste it, bang it
Bitch I can't get even high
You can't get way that I'm flexin'
Bitch I'm on my demon time
You know that my flow is extended 
I grab that shit in my crime

Grind it, chop it, mix it, flava-it
Bitch I get it on my mind
Smoke it, roll it, taste it, bang it
Bitch I can't get even high
You can't get way that I'm flexin'
Bitch I'm on my demon time
You know that my flow is extended 
I grab that shit in my crime

Кто бы мог подумать , а? 
Lil shawty точно влюблена 
Тупит но вроде не дура , а
Запрыгнет со мной в бумер , я

Я видел это тыщу раз 
2 тыщи слёз 
Из тыщи глаз 
Manera bless 
Топлю на газ 
Ты знаешь что скажу сейчас

 Grind it, chop it, mix it, flava-it
Bitch I get it on my mind
Smoke it, roll it, taste it, bang it
Bitch I can't get even high
You can't get way that I'm flexin'
Bitch I'm on my demon time
You know that my flow is extended 
I grab that shit in my crime

xxxmanera - Never Broke Again

A powerful and immersive track where dark basslines and fractured percussion blend with futuristic synthetic layers. This piece evokes a crumbling city illuminated by flickering neon lights, remnants of a glorious past.

Wild Earl presents his groundbreaking new album titled "2070 Arabian Motor Man Playing Dangerous Distortion Game But Jumping And Enjoying Another Abstract Sunset Away At Ameder With Music". This ambitious project takes listeners on a journey through a futuristic, surreal, and emotionally charged soundscape.

Set in the year 2070, the album explores a dystopian world where humanity faces the consequences of its technological obsessions. Tracks like Arabian and Motor evoke the relentless hum of machines and the mystique of desert landscapes, while Man reflects on the human condition in an increasingly artificial world.

The energy shifts with Playing and Dangerous, capturing the thrill of risk and the tension of living on the edge, before plunging into the chaos of Distortion, where reality begins to warp. Game then pulls listeners into a labyrinth of choices, where every move carries weight.

The album’s emotional core lies in moments of introspection, like But, a pause between hope and uncertainty, and Jumping, a bold leap into the unknown. Tracks like And and Enjoying weave together fleeting moments of connection and joy amidst the chaos.

As the journey continues, Another opens the door to alternate realities, while Abstract and Sunset paint vivid, surreal landscapes of endings and new beginnings. Away offers a sense of escape, leading to At, the point of convergence where everything comes together.

The enigmatic Ameder stands as a symbolic destination, shrouded in mystery, while With and Music remind us of the universal bonds that transcend time and space.

Wild Earl’s "2070 Arabian Motor Man Playing Dangerous Distortion Game But Jumping And Enjoying Another Abstract Sunset Away At Ameder With Music" is a sonic adventure that challenges, inspires, and captivates, leaving listeners eager to explore its depths again and again.


Biography of MiraeBliss:
MiraeBliss (미래블리스) – a star born under the sign of dreams and happiness. Born on December 21, 1990, in Seoul, and now residing in Tokyo, MiraeBliss embodies a perfect fusion of two worlds: the vibrant electro beats of the metropolis and the deep heritage of Korean culture. Away from the spotlight, she is an independent artist, a free spirit navigating life with a dreamy soul, captivated by sensations and the simple pleasures.
Her music, a blend of atmospheric electro and alternative pop, is an invitation to escape into a parallel universe, where every note tells the story of a world yet to be discovered. Passionate about exploring love, happiness, and freedom, MiraeBliss writes and composes her songs with the intention of celebrating the beauty of the moment, while also addressing deep, personal subjects.
She has never been one to follow the crowd. Since childhood, she’s always identified with the fluidity and simplicity of art, especially in the realm of electro. She started producing her own music in her room, playing with sounds and beats, drawing inspiration from her love of the color blue, a symbol of peace and depth.
Though often solitary, her music is a universal cry of love, a bridge between cultures, between East and West. MiraeBliss also collaborates with many DJs and artists worldwide, adding her unique touch to exciting collaborations. Her influence grows each day, and she continues to pave her path with one mantra in mind: live in pleasure, simplicity, and love, while moving toward a bright future.
The name MiraeBliss reflects her future filled with happiness (Bliss) and dreams (Mirae), a future where everything is possible, where beauty is found in every simple and pure detail of life.


ABSTRACT (ft. MiraeBliss)

You can find my beats at SALAKOPROD.COM 😮‍💨

Purchase Beat Version 

Alessia Cara - Here [Salako Remix]

JACKBOYS 2

KICK OUT

JACKBOYS, Travis Scott - KICK OUT (OG) (JACKBOYS 2)

The Get Down

Frenetic beats, masterfully sampled Japanese flute, and deep traditional voices collide in a high-energy blend. Imperfection is crafted into perfection, echoing the district’s chaotic spirit raw, dynamic, and impossible to tame.

Midnight_Express

San'ya

A storm of noise and distortion, “The Echo of a Time Long Past” is pure chaos carved into sound. Dark Earl pushes the limits with raw frequencies, broken pulses and desert echoes that collapse into darkness.

The Echo of a Time Long Past

Each color is imagined as a force in a race. Red ignites like a flaming engine, Orange flows like protective fuel, Yellow bursts forward with childlike sparks, Green holds steady like a disciplined motor, Cyan glides above the track, Blue bonds the racers together, Violet mystically illuminates the road, White explodes into a blinding sprint, and Black closes the course with a sudden silence. Musically, each section shifts tone and texture, each drop becomes an overtaking move, and the track is a nine-lap ritual of sound.

Neon Highways

Nine Colors

Minimal but deadly, built on pounding 808s and ghostly chops.

Dr0pit

Drop It

Love not found, glitchy melodies, broken kicks, a bassline searching through static.

Harder, faster, more violent, the ghost returns.

Drop it (Reload)

Fragmented beat, chopped in four, hypnotic repetition and spectral pads.

Ms-Dos Dealer

I’m the Ghost… in the Shell returns in a rare Breakbeat minimal cut, uniting Dark Earl, Lotus Pastel, and Ghost of Maya for the first time on record. Their friendship has stretched for years, crossing paths in shadows and echoes, but never converging in one song until now.

Here the beat sharpens, stripped down to raw pulse, carrying three voices that weave into each other like fragments of the same dream. Dark Earl’s alien confession meets Lotus Pastel’s spectral warmth and Ghost of Maya’s elusive presence. Together they shape a track that feels at once fragile and unstoppable, an answer not just to messages but to history itself.

This meeting is more than collaboration. It is resonance, the long-awaited alignment of three hidden worlds.

Dark Earl, Lotus Pastel, and Ghost of Maya chose to merge because they share the same vision: that their presence is not to be consumed as biography, but to be lived as art.

This collaboration is an indirect reply to the curiosity of fans. Not everything must be known, verified, or exposed. Their existence is a personal matter, their names only roles inside a wider universe. What matters is the message: sound as a mirror, art as the only truth.

I’m the Ghost… in the Shell (feat. Lotus Pastel, Ghost of Maya)

Playboi Carti

Magnolia

NBA Youngboy -  Decieved Emotions

Maya Guzmania, alias Ghost Of Maya, est une artiste belge dont le parcours oscille entre l’ombre et la lumière. Avant de devenir autrice-compositrice-interprète, elle a longtemps œuvré dans la production musicale, sculptant les sonorités des autres sans jamais oser imposer sa propre voix.
À six ans, elle enregistrait déjà des bribes de mélodies sur de vieux magnétophones, convaincue que la musique était un langage secret. Adolescente, elle passait ses nuits dans les clubs underground de Bruxelles, absorbant les rythmes du breakbeat, du dubstep et de l’électro, en quête d’une alchimie sonore qui lui échappait encore. À vingt ans, elle plongeait dans l’industrie musicale en tant que productrice, affinant son art dans l’ombre des studios. Pendant des années, elle façonnait des morceaux pour d’autres artistes, effleurant l’idée d’écrire pour elle-même, sans jamais franchir le pas.
Puis, un soir, au détour d’un morceau inachevé, elle a compris que sa place n’était plus derrière la console, mais au cœur du son. La voix qu’elle modelait pour les autres devait désormais être la sienne. C’est ainsi que Ghost Of Maya est née, fruit d’un vertige et d’un besoin urgent de rattraper le temps perdu.
Aujourd’hui, elle prépare son premier album, une œuvre immersive où les spectres du passé rencontrent les pulsations du futur. Et demain ? Si le futur appartient aux âmes qui osent, Ghost Of Maya pourrait bien devenir l’un de ces mystères musicaux qui traversent les époques, insaisissables et hypnotiques.

Maya Guzmania, known as Ghost Of Maya, is a Belgian artist whose journey sways between shadow and light. Before becoming a singer-songwriter, she spent years behind the scenes as a music producer, shaping the sound of others while keeping her own voice in silence.
At six, she was already recording fragments of melodies on old cassette players, believing that music was a secret language. As a teenager, she wandered through Brussels’ underground clubs, absorbing the pulse of breakbeat, dubstep, and electro, searching for a sonic formula that remained just out of reach. By twenty, she had dived into the music industry as a producer, perfecting her craft in the shadows of recording studios. For years, she created for others, brushing against the idea of writing for herself but never taking the leap.
Then, one night, amidst an unfinished track, she realized her place was no longer behind the console but within the music itself. The voice she had shaped for others had to become her own. And so, Ghost Of Maya was born—from that moment of vertigo, from the urgency of reclaiming lost time.
Now, she is preparing her debut album, a hypnotic journey where echoes of the past merge with the rhythms of the future. And what lies ahead? If the future belongs to those who dare, Ghost Of Maya may soon become one of those musical enigmas elusive, timeless, unforgettable.

Born in the deep pulse of Georgia, USA, TrapGhost are a young couple who treat trap as both ritual and rebellion. Their music is not just bass and beats, it is haunted storytelling where Southern grit collides with futuristic sound design. Raised on the legacy of Atlanta’s trap pioneers yet drawn to the shadows of underground EDM, they carve a sound that is both intimate and spectral. Dark pads drift like memories, robotic vocal chops confess like ghosts in the night, and every 808 they drop feels like a heartbeat echoing under purple fog. For TrapGhost, trap is not a genre but a séance, a way of summoning love, loss, and survival from the other side of silence.

404

Trapgh0st

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