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.

GAME

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)

Raw old-school hip-hop beat meets sharp social commentary. A witty, biting look at the compromises made to climb the ladder.

Lyrics :

The Immigrants "Bow to Rise"

[Intro] 
If you wanna rise, You gotta bend low. Bend low, bend slow. Yeah, that’s how the game goes.
[Verse 1] 
Bless the boss with the shiny shoes, Laughs too loud, got nothing to lose. Always got some clowns around, Standing stiff, spinning round and round.
Acting big, but he’s full of air, Talk too slick? Better beware. Boom boom, pop pop, just noise, Clown kings playing with broken toys.
[Pre-Chorus] 
Bend low, bend slow, Bend your pride just so. Smile fake, stand in line, Pretend you fine, pretend you fine.
[Chorus] 
If you wanna rise, you gotta bow. Bend your back, fake that vow. If you wanna rise, you gotta bow, Play the fool, at least for now.
[Verse 2] 
Promises cracked like worn-out boots, Oaths so fake they got no roots. If the prince got pockets of sand, Don’t expect gold in the people’s hands.
Heads up, kid, watch your back, After this hustle, what you gonna stack? Think this world gonna smile for you? You might see what the blind never knew.
[Pre-Chorus] 
Bend low, bend slow, Bend your pride just so. Smile fake, stand in line, Pretend you fine, pretend you fine.
[Chorus] 
If you wanna rise, you gotta bow. Bend your back, fake that vow. If you wanna rise, you gotta bow, Play the fool, at least for now.
[Bridge] 
What's the game, what's the play? A broken crown on a broken day. Say "hi" to the puppets, wave to the throne, Kiss the ring, or break the stone.
[Outro] 
Bow to rise, Bow to rise, Bend your pride, Bow to rise.



Bow to Rise

A continuation of Violet, blooming into resilience. From grief to hope, the city’s noise fades, leaving only the heartbeat of renewal.

Midnight_Express

Evergarden

Coded precision. A vocal fragment, sharp as an algorithm, cold as steel.

Interlude : 

Neon blood on the steel floor,  
I don’t knock / I phase through doors.  
Creepin’ like a glitch in time,  
Silhouettes in optic grime.  
Red dot / breath stop / fade to black,  
Hitman runnin’ on a data track.

Three Bullet Theory

Hitman.exe (interlude)

Acid lines driving forward, a hint of Russian melodic touch under heavy 140 BPM pulse.

man on acid.

before eternity.

Already a known piece in Dark Earl’s world, “Purple Atlas” finds its place in the album as a map of shadows. Breakbeat pulses collide with ambient layers and darkcore weight, charting an imaginary terrain.

Purple Atlas

Rif Kif Dubman’s hidden demo Later, a Dub Breakbeat Trip-hop track that never made it to release. A raw and playful groove, kept alive through rare_version.

Later

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

Dr0pit

Hello Grey! is Lotus Pastel at its most enigmatic. Words spill like fragments of an absurd philosophy, half chaotic, half prophetic, where hidden truths hide in nonsense. The song plays with shadows and riddles: who is Grey, and why does his name echo in the title? No answer is given. Instead, the track leaves a trail of questions, absurd and luminous, a signature of Lotus Pastel’s universe where chaos itself becomes meaning.

Hello Grey!

Andromeda drifts as pure sound: layers of techno ambient textures unfolding like distant light across silence. A track that moves slow, vast, and magnetic, holding the weight of Dark Earl’s universe without words.

Andromeda

Playboi Carti

Magnolia

D'JNIYEN - I HAVE A DREAM

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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