(☆▽☆)

k🪐

i tuoi capelli in faccia, l’erbaccia ;(

thx to everyone involved that made this possible

cover art by @sign_visuals

Follow on instagram:
@narcolessia._
@illmethos
@sign_visuals
@lil_electrocardiogram

Narcolessia, Methos - NON HO VOGLIA DI USCIRE (G2Ü rmx)

sto picchiando un creeper vicino casa tua (questa l'ho fatta prima dell'altra creeper)

settembre w/ hen848 (moth.)

M&M: @nxfeit
[TESTO]

Ci bastava un prato verde
A me e te che
Non abbiamo mai un posto nel mondo
Tu te la prendevi sempre 
Come se 
Non sapessi che lo fai per attenzioni infondo 

Stavamo così bene 
Ma ho rovinato tutto 
I tuoi capelli in faccia l’erbaccia 

Ho fatto le mie scelte 
Ma non ti ho mai raggiunto 
Non sono abbastanza ma basta 


adesso vorrei distrarmi 
Ti prego non chiamarmi più 
Che ogni volta
Poi Mi manchi 
E mi manca la mia felpa blu 
 

Ma il mio cuore ormai è crashato 
E io guardo sempre giù 
Per non guardare al passato 
Non era amore hai ragione tu 

Vorrei parlarti e non è facile Se 
Da tempo sei solo un immagine e
Vorrei strappare le mie palpebre ma
Solo per smettere di piangere e

Se tu mi prendi e mi guardi 
Io Lo so già quello che vedi
E ora che tu no non mi manchi 
non ti penserò questi mesi

E la tastiera si consuma e si consumano i giorni 
Cazzo ma sei scema che non te ne accorgi 

E quel prato verde
Ora lo brucerei
Tanto non ci serve 
Tanto non ci sei 

adesso vorrei distrarmi 
Ti prego non chiamarmi più 
Che ogni volta
Poi  Mi manchi 
E mi manca la mia felpa blu 
 

Ma il mio cuore ormai è crushato 
E io guardo sempre giù 
Per non guardare al passato 
Non era amore hai ragione tu 

Stavamo così bene 
Ma ho rovinato tutto 
I tuoi capelli in faccia foglie L’ erbaccia 
l erbaccia 

Ho fatto le mie scelte 
Ma non ti ho mai raggiunto 
Non sono abbastanza ma basta

Prato verde [@nxfeit]

prod. @nxfeit
master @polvere

lyrics:

nxfeit:
mi metto in situazioni scomode
come fossi electrode esploderei dal nulla
ho problemi a stare sempre stabile
ho problemi con tutti e tu neanche ci sei
tu cosa mi guardi, non ho niente di strano,
penso solo ai soldi e ad evitare il gabbio,
non è un tuo problema, penso io per me
e neanche ti guardo se non sei come lei

rageless:

e sai non è un problema 
quando resto con te 
se mi guardi mi fai male 
non ho più lacrime 
se ti guardo ci sto male ma tanto lo sai già 
non ho smesso con le droghe 
ho smesso con l amore 
meglio essere infelici che una pugnalata al cuore 
ho buchi sul mio corpo fatti per lo stress ma allora basta
allora basta allora basta 

loui:

stupida io stupido per lei
ogni sbaglio rifarei
riempiresti i musei, se ti spogliassi
baby, sarò il tuo dj
io ti porterò ad un rave
le tue ali sul display
dimmi solo che ci sei
torneremo in A come nel 2007, a parte morire
ho esaurito le certezze, baby questo è un lifestyle
non sono tendenze, suona quel violino
e sarà per sempre

nxfeit:

mi metto in situazioni scomode
come fossi electrode esploderei dal nulla
ho problemi a stare sempre stabile
ho problemi con tutti e tu neanche ci sei
tu cosa mi guardi, non ho niente di strano,
penso solo ai soldi e ad evitare il gabbio,
non è un tuo problema, penso io per me
e neanche ti guardo se non sei come lei

hen848:

e sono solo e stupendo
solo se non ti penso
si sto bene ma a stento, anche se non ti sento
con la musica a palla mi lagga il cervello
e vorrei dirtelo urlando
mi hai davvero rotto il cazzo, e non capisco mai a cosa pensi
che magari pensi a un altro, dai ti prego non fare la difficile
fumiamo una canna, sentiamo quel che dici te
però sto bacio mo dammelo

nxfeit:

mi metto in situazioni scomode
come fossi electrode esploderei dal nulla
ho problemi a stare sempre stabile
ho problemi con tutti e tu neanche ci sei
tu cosa mi guardi, non ho niente di strano,
penso solo ai soldi e ad evitare il gabbio,
non è un tuo problema, penso io per me
e neanche ti guardo se non sei come lei

unione europea ;P ft. @rrageless, @2loui_, @hen848_

@piccolosuicidio 
@polverepolvere
@user-781586234: 
Mix: @nxfeit

Continuo w/ kimori [polvere+kissure]

Novembre w/@rrageless

Cenere-PEZZI  ft. @hen848,@1kimori(Kissure Remix)

testo:

kimori:
cosa vuoi da me
smetti di dire cazzate 
oltre a giocare a lol no non so più che fare 
e non sai più che fare della tua vita di merda
tanto sei una egirl (fuck)
ti devi sparare
come fai non lo so 
a fare così schifo bi
davvero non lo so 
levati dalle palle cazzo smettila di piangere 
con la propic di un anime 
che fa pure cagare

kimori RIT x2:
e non so se mi stai sulle palle 
no non farmi male
davvero piuttosto vattene 
e se mi stai sul cazzo non cercare di parlarmi 
stiamo giocando a  Minecraft troia devi solo andartene 

NXFEIT:
è arrivato il momento di vederti piangere  ora prendiamo due paste, per sentirci piu vicini
 mi piace il tuo profumo ma mi uccidi ah ah,
non so mai pormi 
se ti incontro x strada, non è mai la tua
faccia, di sempre
aiuto, vuole fumare gas, ma a me prende l'ansia, di stare nella mia stanza con qualcuno che mi ama c’è qualcuno che
parla scusa ma nn ti ho mai a
mata, che sbatta, scusa amo ma non ti ho
mai amata

RAGELESS:
se mi stai sul cazzo allora saltaci puttana 
sto fumando si quel gas che puzza tutta la serata
non rompermi il cazzo se mi vedi insieme a un altra 
non rompermi il cazzo che sei una psicopatica 
se mi guardi mi fai male non ho più lacrime 
sei la droga peggiore infatti ho smesso con te 
sei la classica ragazza che ora si ammazzerei 
e mi fai schifo al cazzo quindi perfavore vattene

kimori:
siamo su Minecraft lasciaci in pace 
tu sei troppo stupido non capisci un cazzo 
devo proprio smettere di farmi del male 
se non ricomincio a dormire la notte mi incazzo

MI STAI SUL CAZZO ft NXFEIT, RAGELESS (nxfeit)

prod @22rockyy

[rit: narcolessia]
e tu non sai niente di me quindi baby stai zitta
che odiare i maschi non ti rende femminista
tu mi rendi razzista, odio la tua famiglia
fanculo le tue amiche e tutti i tuoi post su insta (x2)

[strofa: rocky]
Ok dimmi perché non mi sopporti
Non sai neanche di cosa parli
Non riesci ad ammettere i tuoi sbagli
come faccio a non odiarti
sei troppo vittimista
Baby non fare finta, mica sei un’attivista
Giravi con le FILA
facevi la pr, mettevi tutti in lista
E non pensavo di amarti davvero
Il mio cuore batte ma sempre più lento
Dovrei fare il backup di tutto quello che penso
Di ogni sentimento

RAZZISTA

RAZZISTA ft. narcolessia (me)

Waifu Material

Hitsville USA, The Motown Collection 1972-1992

I Just Called To Say I Love You (Single Version)

Wake me up Before you Go Go

Chuck Berry - You Never Can Tell

ABBA - Dancing Queen (Slowed, Reverb, & Bass Boost)

Excerpts from the album 'THE ULTIMATE BEE GEES'.
BUY THE DELUXE DOUBLE CD & DVD SET from Amazon <a href="http://amzn.to/1brkEjR">USA</a>, <a href="http://amzn.to/13m2yuv">Canada</a>, <a href="http://amzn.to/1aT2W9B">UK</a>, <a href="http://amzn.to/1auhjNU">France</a>, <a href="http://amzn.to/12yro7t">Germany</a>, <a href="http://amzn.to/12XkhoT">Italy</a>, <a href="http://amzn.to/12NLidu">Spain</a>, <a href="http://amzn.to/194AqQW">Japan</a>.
BUY THE DOUBLE CD from Amazon <a href="http://amzn.to/1brikth">USA</a>, <a href="http://amzn.to/13m1yqh">Canada</a>, <a href="http://amzn.to/11ZpOAr">UK</a>, <a href="http://amzn.to/194C3hv">France</a>, <a href="http://amzn.to/13zPNZf">Germany</a>, <a href="http://amzn.to/13Qm59C">Italy</a>, <a href="http://amzn.to/12JOv2f">Spain</a>, <a href="http://amzn.to/194AqQW">Japan</a>.
DOWNLOAD THE ALBUM from <a href="http://bit.ly/11ZocXv">iTunes</a>, or Amazon <a href="http://amzn.to/15oILcH">USA</a>, <a href="http://amzn.to/17ngCEb">UK</a>, <a href="http://amzn.to/15K92lE">France</a>, <a href="http://amzn.to/18pBX4E">Italy</a>,<a href="http://amzn.to/18mu506">Germany</a>, <a href="http://amzn.to/12XiWOL">Spain</a>, <a href="http://amzn.to/13zLJrN">Japan</a>.
LISTEN ONLINE on <a href="http://www.deezer.com/en/album/422914">Deezer</a>, <a href="http://grooveshark.com/#!/album/The+Ultimate+Bee+Gees/4657434">Grooveshark</a>, <a href="http://www.last.fm/music/Bee+Gees/The+Ultimate+Bee+Gees">Last.FM</a>, <a href="https://myspace.com/beegees/music/album/the-ultimate-bee-gees-14023661">MySpace</a>, <a href="http://www.rdio.com/artist/Bee_Gees/album/The_Ultimate_Bee_Gees/">Rdio</a>, <a href="http://www.rhapsody.com/artist/bee-gees/album/the-ultimate-bee-gees">Rhapsody</a>, <a href="http://slacker.com/r/lLHTB">Slacker</a>, <a href="http://open.spotify.com/album/3JXTUy5Ccdpe79HUgUiMF9">Spotify</a>.


ABOUT THE BEE GEES
Formed: 1958 in Brisbane, Queensland, Australia
Years Active: '60s, '70s, '80s, '90s, '00s

No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly.

The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb — with Barry writing songs — they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them.

By late 1966, they'd decided to return to England — which, thanks to the Beatles, was now the center of the world for rock and popular music. The group had sent demo recordings ahead of them, and "Spicks & Specks" — which became their first Australian hit while they were in mid-ocean — had attracted the interest of manager Robert Stigwood. The trio was signed by Stigwood upon their arrival, and began shaping their sound in the environment of Swinging London. Barry and Robin Gibb alternated the lead vocal spot, harmonizing together and with Maurice. Barry played rhythm guitar, while Maurice played bass, piano, organ, and Mellotron, among other instruments. Their first English recording, "New York Mining Disaster 1941," an original by the group with a haunting melody and a strangely surreal, almost psychedelic ambience, was released in mid-1967 and made the Top 20 in England and America. They had successful follow-ups with "Holiday" and "To Love Somebody," the latter actually written for Otis Redding to record, and "Massachusetts," which topped the U.K. charts.

After Bee Gees' 1st, the Gibb brothers took over producing their own records. It was easy, amid the sheer beauty of their recordings, to overlook the range of influences that went into their sound, which came from a multitude of sources, including American country music and soul music. At this point in their history, they were most comfortable deconstructing elements in the singing and harmonies of black American music and rebuilding them in their style.

In 1969, the trio split up in a dispute involving the Odessa album. A lushly orchestrated double LP, it was their most ambitious recording to date, but they were unable to agree on which song would be the single, and Robin walked out. Barry and Maurice held on to the Bee Gees name for one LP, Cucumber Castle, while Robin released Robin's Reign. Without a group to promote it, the Odessa album never sold the way it might have, even with a hit, "First of May." Cucumber Castle generated several successful singles in England and Germany, including the gorgeous, African-influenced "I.O.I.O.," while Robin had a hit with "Saved by the Bell."

In 1970, almost two years older and a good deal wiser, they decided to get back together. They related to each other better and had also evolved musically, now creating a progressive pop/rock sound similar to the Moody Blues. They came back on a high note with two dazzling songs: the soulful "Lonely Days," the group's first number one hit in America; and the achingly lyrical "Morning of My Life," which proved so popular with fans that the group was still doing it in concert decades later.

Their success began to ebb, however, after another huge international hit with "How Can You Mend a Broken Heart" in 1971. The single "Run to Me" made the Top 20 in 1972, but the album To Whom It May Concern was forgotten almost instantly after a brief chart run. Their fortunes continued in reverse during 1973 withLife in a Tin Can and the single "Saw a New Morning" — despite a move to America and a heavy promotional push, the song never made the Top 40 and the album stalled out.

The trio was falling into a deep creative and commercial hole. Rescue came from a suggestion by Eric Clapton, that they try recording at Criteria Studios in Miami, Florida, where he had just cut an album. The Bee Gees took his advice and came back with Mr. Natural (1974), produced by Arif Mardin. This record was a departure with its heavily Americanized R&B sound, and the following year they plunged headfirst into the new sound with Main Course — the emphasis was now on dance rhythms, high harmonies, and a funk beat. And spearheading the new sound was Barry Gibb, who, for the first time, sang falsetto and discovered that he could delight audiences in that register. "Jive Talkin'," the first single off the album, became their second American number one single, and was followed up with "Nights on Broadway" and then the album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." Then, in 1977, their featured numbers on the soundtrack to the Robert Stigwood-produced Saturday Night Fever, "Stayin' Alive," "How Deep Is Your Love," and "Night Fever," each topped the charts, even as the soundtrack album stayed in the top spot for 24 weeks. In the process, the disco era in America was born — Saturday Night Fever, as an album and a film, supercharged the phenomenon and broadened its audience by tens of millions, with the Bee Gees at the forefront of the music.

It was a profound moment although, ironically, there wasn't that much difference in their sound. Amid the dance numbers, the Bee Gees still did a healthy portion of romantic ballads that each offered memorable hooks. They'd simply decided, at Arif Mardin's urging, to forget the fact that they were white Englishmen and plunged into soul music, emulating, in their own terms, the funkier Philadelphia soul sounds that all three brothers knew and loved. In one fell swoop, the group had managed to meld every influence they'd ever embraced, from the Mills Brothers and the Beatles to early-'70s soul, into something of their own that was virtually irresistible. Spirits Having Flown was their crowning commercial triumph, topping 30 million in sales and yielding three more number one singles.

By the end of the '70s, however, the disco era was waning from a combination of the bad economy, political chaos domestically and internationally (leading to the election of Ronald Reagan), and a general burnout of the participants from too many drugs and profligate sex (which would precipitate an epidemic of sexually transmitted diseases and herald the outbreak of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves, with mass burnings of Bee Gees posters and albums organized by DJs. The group itself helped contribute to the end of the party with their participation (at Stigwood's insistence) in the film Sgt. Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album. The movie was a commercial and critical disaster, and an embarrassment to all concerned.

In America, the Bee Gees were virtually invisible for most of the '80s. Instead, Barry Gibb pursued work as a producer for other artists, creating hits for Barbra Streisand and Diana Ross. By 1987 and the E.S.P. album, their sales had rebounded everywhere but the United States, yielding a number one single (outside of the U.S.) in "You Win Again." Their 1989 album One got a good reception around the world and generated a Top Ten U.S. single. And in the '90s, Polygram Records released the four-CD anthology Tales from the Brothers Gibb, which sold well around the world. The trio's 1997 induction into the Rock & Roll Hall of Fame led to a resurgence of interest, which heralded the release of the live album One Night Only (1998), cut at their first American concert in almost a decade.

The Bee Gees remained active until the death of Maurice in January 2003, from cardiac arrest during surgery. Following his death, Robin and Barry decided to cease performing as the Bee Gees. Their recorded legacy, however, subsequently became more visible than it had been in decades with the move of their catalog to Warner/Reprise. The latter company began the long-awaited upgraded CD reissue of the Bee Gees' post-1966 library, including the first-ever release of outtakes and rehearsal versions of songs. Robin was diagnosed with and underwent treatment for cancer in 2011. He died in London in May 2012 due to complications from cancer and intestinal surgery; he was 62 years old. Given the previous deaths of Andy (who had several number one hits and who died of an inflammatory heart virus in 1988) and Maurice Gibb, Robin was the third Gibb brother and second member of the Bee Gees to pass away.


Music ℗ & © 2009 Barry Gibb, Robin Gibb and The Estate of Robin Gibb under exclusive license to Warner Strategic Marketing Inc. a Warner Music Group Company.


Waifu Material

sillyelly