WE COULD HAVE FUN

LOOKER

Flesh Jeans (Prod.Whysea n Vital Myers)

Freak Uh Leek (Prod.Whysea n Vital Myers)

Looker (Prod.Amane n Vital Myers)

One More Time

AntiFlesh (Prod.Whysea n Vital Myers)

This track sounds like getting high off violence and ego. It’s a full-body trip—a trap beat soaked in narcotics and menace. The bass doesn’t knock, it punches. Everything is drugged, glitched, and feral. It sounds like it was recorded in a hot car parked in hell.

Whysea’s influence adds this dark, sticky producer-on-acid energy, while Vital comes in like a possessed ringleader with blood on his hands. The repetition hypnotizes you, but the lyrics feel like they’re daring you to keep listening. It’s giving psychosexual chaos.
PSYCHOLOGY & SYMBOLISM:

This is Vital unhinged and deliberately provocative. It’s sex, death, ego, and power in a blender. The lyrics aren’t about literal sex—they’re about dominance. Every “I’m fucking these bitches” is Vital reclaiming control, making himself untouchable. He’s not saying he’s wild—he’s saying he became the thing the world was scared he would become.

“Got your man’s skin on my back” is cinematic horror—like Hannibal Lecter in a club. It’s metaphorical: Vital isn’t just killing other people’s egos, he’s wearing them. He’s become the sum of every man who underestimated him. This track plays out the fantasy of becoming the predator after being prey.

“Deathcrush” itself is a concept:
	•	Death = ego death, emotional pain, past identities.
	•	Crush = obsession, lust, overwhelming desire to destroy and be reborn.

It’s about the eroticism of destruction. The sacred ugliness of self-destruction as a form of becoming godlike.
WHY VITAL WROTE IT:

This song was made during a time Vital was tired of being good. Tired of feeling broken and soft and careful. He needed to tap into the part of himself that doesn’t care what anyone thinks. This is the fantasy where he’s heartless, powerful, and sexy because of it.

Vital didn’t write this to be understood. He wrote it to burn bridges and bless demons. It’s a form of spiritual flexing. A way to exorcise the part of himself that wants to fuck the world before it fucks him.
WHAT IT DOES TO THE LISTENER:

It shocks, seduces, and disturbs. Some people will turn it off. Others will loop it 10 times straight. This track is meant to trigger the beast inside you. It’s a gym song. A mirror song. A don’t-fuck-with-me spell.

It’s not for everyone—but for the ones it’s meant for? It hits like a bloodshot high.

DeathCrush ft. whysea (Prod.Whysea n Vital Myers)

Lyrics (Intro):
Got the eyes of a cannibal
I just came out the woods
With all armor

This isn’t music it’s psychic warfare. “Vital Resurrection” opens the album like a haunted siren call. The beat is theatrical and primal, with orchestras bending like metal under fire. It doesn’t “start” it erupts. You hear the sound of something being dragged out of a forgotten grave. The looped “Egypt” chant isn’t just a voice it’s a spell. It sounds like a demon screaming your name through a megachurch.
 Vital begins the album devouring himself.
“Got the eyes of a cannibal” is the psychology of inner war he’s consumed his former self, all the masks, lies, and wounds he once fed. Cannibalism here means identity integration: a shadow self that no longer hides in the corner but walks with him now, side by side. He didn’t kill the old version of himself—he ate it to survive.

“Came out the woods” symbolizes isolation, reflection, madness, and rebirth. He’s emerging from a psychological wilderness, not clean or healed but armored. It means he faced his trauma alone, in silence, and had to build his own skin from scratch.

The “armor” is not just protection it’s performance, image, divinity. It’s what the world sees when the real self is too raw. Vital is no longer just Josh. He is now a container for power, pain, past lives, and prophecy.

The repeated “EGYPT” isn’t a flex it’s a code. It’s where his soul was born. It’s the beginning of time, the wound of exile, and the return of the chosen. Egypt becomes a symbol for Vital’s true form: something mythic, something not meant to survive in this timeline but did. The distorted delivery shows how that identity has been mangled by modern culture, but it still survives in the blood, the sound, the movement.

Vitals Ressurrection Beat

Us (Prod.MassGrave n Vital Myers)

Within Days (Im Ur Drug) (Prod.MassGrave n Vital Myers)

Lyrics:
You you you
Yeah yeah yeah
Run away

Woke up next to you
I don’t know what to do
Oh oh why you leaving me
Now I have to leave

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[Hook]
You
I’m leaving
You
I’m leaving
You
I’m leaving
You

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[Verse]
Get your legs off of me
Get away from me from me
Get the fuck off
Bitch I hate you
I hate you
You piss me off
You piss me off off off
You want me to get off you
Yeah yeah yeah
Let me talk if you don’t want me to get off

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[Hook – Repeat]
You
I’m leaving
You
I’m leaving
You
I’m leaving
You
I’m leaving
You

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[Verse – Repeat]
Bitch I hate you
I hate you
You piss me off
You piss me off off off
You want me to get off you
Yeah yeah yeah
Let’s talk if you don’t want me to get off

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SONIC DESCRIPTION:

This song sounds like a ghost slamming every cabinet in the kitchen. The kick drum is brutal, like a heartbeat on cocaine. The synth loop is haunting—like a broken carousel spinning in the dark. It loops and loops, trapping you in the argument. It feels like a fight in a nightmare you can’t wake up from.

It’s ugly on purpose. Beautifully unstable. The vocals feel like someone spiraling mid-breakup, bouncing between pain, rage, and need. It’s unhinged, theatrical, and realer than any love song ever written.

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PSYCHOLOGY & SYMBOLISM:

This song captures the rawest moment of a toxic bond—when love and hate are eating each other alive. It’s the moment when you don’t know if you want to scream, cry, or fuck. The emotional whiplash is deliberate: “I hate you” gets followed by “Let’s talk”. It’s the psychology of attachment trauma—the inability to let go, even when every part of you knows you should.

The repetition of “You—I’m leaving” is obsessive. It’s the sound of someone trying to convince themselves they have power—but still haunted by the other person’s presence. They’re not fully gone. They’re still under the sheets. Still in the room. Still in your nervous system.

Vital’s voice doesn’t sound like he’s healed—it sounds like he’s mid-crash. That’s what makes this track dangerous and holy. It doesn’t clean the mess—it bleeds in it.

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WHY VITAL WROTE IT:

This was never meant to be a polished breakup track. It was a scream into the mic. Vital wrote this in a moment of total emotional overload—when the person you love becomes a demon, and all you want is to be free and held at the same time.

It’s not just about a person—it’s about every relationship that made him feel insane. The kind of bonds that confuse love with possession. This song was therapy. Exorcism. A sonic slap in the face to wake himself up from delusion.

He made this to say: “I still loved you while I was screaming. But I’m done.”

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WHAT IT DOES TO THE LISTENER:

It unlocks the part of you that’s still angry about what you stayed through.
This isn’t for the healed. It’s for the almost-there. It makes the listener feel seen in their emotional mess. It gives permission to not be “graceful” during pain.

It’s not supposed to be pretty. It’s supposed to be true. And in that truth—it becomes art.

I'm Leaving You (Prod.Whysea n Vital Myers)

Ride It ft.BBYKOCAINE (Prod.Whysea n Vital Myers)

Sex Cymbal (Prod.Whysea n Vital Myers)

Lyrics:
This gas is taking over
And I don’t know if you really want me to come over
Ou ah
Can’t you see me now?
I’m just coming around
Flashing lights on me
Oh can you feel me now?
Can you feel me now?

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[Chorus]
I’m so androgynous
Ou oh oh
I’m so androgynous
I’m so androgynous
I’m so androgynous
Androgynous
Androgynous
Androgynous
Androgynous
I’m so androgynous
Ou oh oh
I’m so androgynous
Ou oh oh
I’m so androgynous
Ou oh oh
I’m so androgynous
Ou oh oh

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SONIC DESCRIPTION:

The beat is molten fashion week pop—clean but loud, synthetic but holy. The kick drum takes control, almost overpowering your heartbeat, like it’s pulling you onto a runway made of lightning.

Your voice bends gender completely here—haunting, soft, sensual, alien. It’s giving Michael and Janet in one body. Prince and Gaga in bed with themselves. There’s a dreamy haze over everything, but the percussion is pure demand. You’re floating and stomping at the same time.

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PSYCHOLOGY & SYMBOLISM:

This song is a mirror maze of self-recognition. The gas taking over? That’s identity breaking free from the binary. That’s transformation starting in the lungs. You don’t know if they want you to come over—because the real you isn’t easily invited. You show up as a disruption, not a comfort.

“I’m so androgynous” isn’t about gender. It’s about divine duality.
It’s feminine rage, masculine softness, sexual ambiguity, and psychic rebellion. The repetition is a mantra to hypnotize the listener into seeing you fully, not just “understanding” you.

This track isn’t asking to be accepted. It’s saying “I already exist beyond your categories.”

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WHY VITAL WROTE IT:

Vital made this as a mirror for himself and for others like him. For the ones who were told they were too much, too confusing, too pretty, too emotional, too loud, too soft. This track is a spell of integration. It’s not about explaining queerness—it’s about embodying the future.

He made it to feel sexy in his own skin. To bend the light around him. To haunt mirrors. This song is a way of saying: “If you don’t know what I am, then you’re not ready for me.”

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WHAT IT DOES TO THE LISTENER:

It seduces them. It disorients them. It lets them fantasize about becoming more. It gives language to the part of them that never fit in but always felt like a star. It awakens the soft killer in everyone—the one who doesn’t want to pick a side, but wants to become the whole spectrum.

This is a freedom track for the in-between.
It makes the listener want to wear heels with boxing gloves. To cry in leather. To smile in the face of being misunderstood and still walk like royalty.

Androgynous

Cannibal (Prod.Whysea n Vital Myers)

Goodbye Dearly Beloved (Prod.Whysea n Vital Myers)

Make It Last Foeva (Prod.MassGrave n Vital Myers)

Dysmorphia (Prod.Whysea n Vital Myers)

Forever

Get Uhway (Prod.Whysea n Vital Myers)

Why Cant We Be Friends (Prod.MassGrave n Vital Myers)

The Leopord (Prod.Whysea n Vital Myers)

I Want 2 <3 U (Prod.Whysea n Vital Myers)

Vital Myers – Rave 2 My Grave

(Intro – Spoken)
Bruh Whysea, I got a idea…

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[Hook]
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave

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[Verse 1]
Rave to my grave
Cooking it up like it’s some meth
Ran up on a nigga, call that nigga Death
Choke that bitch, catch your breath

Rave to my grave
Cooking it up like it’s some meth
Ran up on a nigga, call that nigga Death
Choke that bitch, catch your breath

Rave to my grave
Cooking it up like it’s some meth
Ran up on a nigga, call that nigga Death
Choke that bitch, catch your breath
Smoke you like a bomb
Don’t you love this song?
Fucked around and went to Hong Kong with your dead body
Body, body
Touch on my fuckin’ body

⸻

[Bridge]
Stand the fuck up
Stand the fuck up
Hey you right there!
Are you not entertained?!

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[Verse 2 – Repeat Structure]
Rave to my grave
Cooking it up like it’s some meth
Ran up on a nigga, call that nigga Death
Choke that bitch, catch your breath

Rave to my grave
Cooking it up like it’s some meth
Ran up on a nigga, call that nigga Death
Choke that bitch, catch your breath

⸻

[Hook – Repeated]
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave

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[Outro – Breakdown]
Fuck you mean
I’m the one who brings violence
Fuck you mean
I’m in the pit bringing violence
Fuck you mean
I’m in the pit with your bitch

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[Hook – Final]
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
What
Rave to my grave
This is Vital at his most cracked out, raw, and theatrical. The beat is a mutant child of rave, trap, and deathcore. It sounds like it was recorded in a war zone with glowsticks. The synths are ripping, the percussion is punishing, and the energy is militant, like a club riot turned spiritual awakening.

It doesn’t just play. It slaps you awake. The constant “What?!” in the hook feels like a demon barking through a megaphone, daring the crowd to lose control. It’s violent, funny, manic, and somehow… freeing.

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PSYCHOLOGY & SYMBOLISM:

This song is a psychological purge. It’s about dancing through madness—rage, lust, self-destruction—and turning it into theater.

“Cooking it up like it’s some meth” = weaponizing chaos.
“Call that nigga Death” = confronting fear and becoming the thing that scared you.
“Touch on my fucking body” = reclaiming the physical self as power, not shame.
“Stand the fuck up / Are you not entertained?” = Vital turning pain into performance, into a gladiator arena.

It’s not about literal murder or drugs—it’s about ego death through chaos. Vital is mocking death. He’s saying “Even if I die tonight, I’ll do it dancing, screaming, fucking, and shining.” It’s spiritual punk.

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WHY VITAL WROTE IT:

This track was born from mania, anger, and liberation. Vital wrote it to create a safe space for destruction. He needed to scream. To mock death. To laugh in the face of trauma. This is the kind of track you make when you’re done explaining your pain—you just detonate it.

“Rave 2 My Grave” is also about owning your ending. The world doesn’t get to kill Vital—he already died. This is the celebration after the funeral, when you come back as something more terrifying and beautiful than before.

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WHAT IT DOES TO THE LISTENER:

It puts them in a trance of rage.
It’s meant to break people open. This is for the ones who’ve been silenced, laughed at, abused, and want to scream. It gives them permission to be loud, reckless, and divine. It makes people feel like their madness is sacred.

You don’t just listen—you throw your body into it. It’s the kind of song that makes people tear the club apart and cry in the bathroom later. And that’s the point.

Rave 2 My Grave (Prod.Whysea n Vital Myers)

Lyrics :

[Intro – Refrain]
Egypt
Egypt
Drink his blood

⸻

[Verse 1]
Inject me with vitalism
I wanna fuck your bitch in motherfucking Egypt
I wanna see your bones crawl out your skin
I wanna see you dead on the fucking bed
Gasoline on your skin
Shall I strike a match for you?
Don’t you fucking cry
I don’t wanna see you cry in—

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[Chorus – Refrain]
Egypt
Stand the fuck up
Egypt
Stand the fuck up
Egypt, Egypt
Gasoline on your skin
Shall I strike a match for you?
Don’t you fucking cry
I don’t wanna see you cry in—
Egypt
Stand the fuck up
Egypt
Stand the fuck up
Egypt, Egypt

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[Verse 2]
I’m fucking tweaked on shrooms
I’m off the sulfur fumes
I’m sleeping in my fucking tomb
I’m a freakaholic in the room
Send your ass to the back rooms
I’m a cannibal, I do consume
I’ma badass bitch, I got perfume
I got a shank and a costume

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[Refrain – Repeat Verse 1 + Chorus]
Inject me with vitalism
I wanna fuck your bitch in motherfucking Egypt
I wanna see your bones crawl out your skin
I wanna see you dead on the fucking bed
Gasoline on your skin
Shall I strike a match for you?
Don’t you fucking cry
I don’t wanna see you cry in—

Egypt
Stand the fuck up
Egypt
Stand the fuck up
Egypt, Egypt

⸻

SONIC DESCRIPTION:

This sounds like a sermon in a cursed cathedral—echoing church pads, but corrupted. The bass is possessive and pulsing, almost like a heartbeat after a panic attack. Your vocal delivery is spiritually violent, like a preacher turned demon, screaming straight into the soul of the listener with this deep, crazed, commanding tone.

The energy feels like Moses with fangs. Like if Prince, Marilyn Manson, and Ghostmane did ayahuasca in a tomb and recorded a gospel.

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PSYCHOLOGY & SYMBOLISM:

This song is religious psychosis as divine art. Egypt here isn’t literal—it’s Vital’s kingdom. It’s his past life. His myth. His true origin. When you scream “Stand the fuck up,” you’re not just speaking to a country—you’re yelling at the forgotten god inside the listener, begging them to wake the fuck up and rise.

“Inject me with vitalism” is the core line—it means to be filled with spirit, with madness, with life force so raw it burns. The violence isn’t meant to glorify murder—it’s symbolic for obliterating illusions. Ego. Control. Weakness.

“Shall I strike a match for you?” becomes this psychological metaphor—are you ready to be burned clean? To be judged by fire? To resurrect into your real self?

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WHY VITAL WROTE IT:

This was Vital’s spiritual purge. A direct channeling. He didn’t write this from his brain—this was from his stomach, his rage, and his past lives. It’s about reclaiming divinity from filth, power from madness.

He wrote it for the people who’ve been mocked for being too weird, too intense, too different—and now, they get to be dangerous in a holy way. He made this as the anthem of Antiflesh. It’s what plays when you step into the arena of becoming more than human.

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WHAT IT DOES TO THE LISTENER:

It doesn’t comfort—it awakens.
It’ll make some listeners feel scared, and others feel finally seen. It’s not for the casual listener—it’s for the ones who’ve been waiting for something feral, sacred, and alive. This song hits you in your reptile brain. Your past life. Your trauma body.

It’s meant to possess. It’s meant to initiate. It’s Vital throwing holy gasoline on the lies we’ve been told—and daring us to light the match.

Vital Myers

Pinned to spotlight

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