Bro i swear I took like 250g Of shrooms and soundcloud was on autoplay ,this started playing and I started to have a heart attack

jugnino - q's n p's prod zuro

https://www.youtube.com/watch?v=h2xCjQ-op98

lyrics: 

i can't...i can't...

i can't pop deez pills around me

hop up innat jeep innat yea i know...

hop up innat jeep  innat luh caaarr...

hop up innat jeep i see yo bitch goddamn
man i luh dat money i'm like please goddamn

I CAN FUCK YO NIGGA OR YO BITCH, NIGGA IT DO NOTT MATTEEERRRR
POP ANOTHER PILL NIGGA LIFE DO NOT MATTERRRRR
MAN I'M LAUGHIN AT DEEZ NIGGAS JUS TO MAKE EM MADDERRRR

bitch i got jetlag, shoutout mattox
livin life how i want to social ladder
i don't wanna see yo bitch i know that mine is badderrrr
i don't wanna see yo bitch i know that mine is badderrrr

pop a pill pop another pill, i cain't give no fuck
pop a pill pop another pill, i cain't give no fuck
pop a pill pop another pill, i cain't give no fuck
pop a pill pop another pill, i cain't give no fuck
pop a pill pop another pill, i cain't give no fuck

we cannot kick it nigga, it is not yo lucky day!
we cannot kick it nigga, it is not yo lucky day!

pull up innat jeep, let the windows down i let it spraayyy!
pull up innat jeep, let the windows down i let it spraayyy!

i cannot kick it wit deez niggas, all deez niggas gay!
i cannot kick it wit deez niggas, all deez niggas gay!

i jus wanna drop the pills, i'm praying for the fucking day!
i jus wanna drop the pills, i'm praying for the fucking day!

pop another pill, i'm dying by the motherfucking day!
pop another pill, i'm dying by the motherfucking day!

playing danganropa wit my niggas, man we love da game!
playing danganropa wit my niggas, man we love da game!

in reverse (playing danganropa wit my niggas, man we love da game!) x3

social ladder prod me!!! *mv in description, thanks for listening!!!*

risk (clay10 reklus1ve)

I'm tellin ya what
I put a hole in ya crush
Big blunts and u knowing they stuffed
I'm finna rock out like Big Time Rush
I got my cock out and yo hoe Gon' Suck
I got my Glock out and yo hoe Gon' Blush
All these niggas they be doing too much
I don't think I'm ever doing enough
Ion think these niggas shootin' enough
All that cap rapping and they music be butt
All that dick riding and you ain't even up
Talk down boy we sending you up
Talk down boy we sending you up

This hoe on my dick why?
She see that I'm up now
That lil hoe wann cut now
That lil hoe wann
AP, Rolley might cut my wrist
Ion give a fuck lil hoe I'm rich
She throwing a fit I ain't buying her shit
I know yo teeth hurt always biting some shit
They call me emo cause I'm tired of shit
I'm off this gas pack bitch I'm flying and shit

Creepin in the fuckin blinds & shit
I don't really got no time for this shit

Creep-

Creepin in the fuckin blinds & shit
I don't really got no time for this shit

Creepin in the fuckin blinds & shit
I don't really got no time for this shit

I'm tellin ya what
I put a hole in ya crush
Big blunts and u knowing they stuffed
I'm finna rock out like Big Time Rush
I got my cock out and yo hoe Gon' Suck
I got my Glock out and yo hoe Gon' Blush
All these niggas they be doing too much
I don't think I'm ever doing enough
Ion think these niggas shootin' enough
All that cap rapping and they music be butt
All that dick riding and you ain't even up
Talk down boy we sending you up

AP, Rolley might cut my wrist
AP, Rolley might cut my wrist
AP, Rolley might cut my wrist
AP, Rolley might cut my wrist
AP, Rolley might cut my wrist
AP, Rolley might cut my wrist
AP, Rolley might cut my wrist
AP, Rolley might cut my wrist

Big Time Rush (Prod. Zatru)

prod @awfultop n @iera1

(lyrics) 

I don't got no patience 
try to talk to me no I wont say shit 
deadly silent niggas we don't say shit 
tryna test boy that blade give you a face lift 
tryna test me now you turn into a patient nigga I don't got no patience 
and she as me what we are no situation 
bitch I don't want no situation 
I want money so you know I had to chase it 
ain't believe now they see it and they chasing 
get the fuck up off my dick and stop that glazing 
can not give no sauce up I don't want no patients

no patience prod top n iera (lyrics in des)

i can't leave wit out my blick
i can't leave wit out my stick
ion want smoke im tryna get rich
man im fly asf more happy den a bitch

i got bands don't need no prepaid
wit my brother we outside tdy
nigga u ain tryna die tdy 
i been gettin money idk what u get into 

i can spend 100 fuck around nd touch yo mental
cannot gaf niggas don't kno what i been thru
ian tryna crack shawty wtf got into u 
chillin smokin pack nigga it ain much i gotta do 

u a silly nigga wit no racks
i was down nigga had to pick it up yuh 
u a clown nigga u can't hang wit uss

can't leave (prod. orihime)

isolation ft chaosysl drevenci

egress1, noli2, triin ; one of us prod trino

bro can’t go without his flame
trap or die sellin drugs that’s how i got my name
born up in the highs
ts don’t fly here dawg this ain’t no game 
fuck u thought dis was
can’t surround myself aroun u lames
index trigger fucking shooting at u niggas inflicting pain 
my mama still trippin she think i’m out here wit da gang
glock don’t got no numbers can’t find dis shit don’t got no name
trap or die

bout some time u niggas hear some real shi
y’all not on dat
went to the jails held my own fuck u talkin bout
stomp him out chop that nigga down he like to run his mouth 
bitch shut up don’t do nun of that talkin just give me dat mouth

kno some niggas really inna highs that’ll rlly take u down
how tf niggas b my opps they ain’t worth checking out
 fuck the pd pigs threw me in dat cell i’m screaming lemme out
dis dat 80 shi call my nigga up he get it done no doubt

inna duffel bag it’s a glock touch me nd it’s up
the crackers on my dick they pull me over they tryna lock me up
i cheated on my bitch she couldn’t play her role dont gaf
i love that ecstasy it turn me up i love feeling of drugs

niggas kno i’m slime
put yo boy on fox turn the tv on 
nigga it’s our time when i go up kno i put my niggas on
speaking on dat live niggas pussy niggas knowin what i’m on

bro can’t go without his flame
trap or die sellin drugs that’s how i got my name
born up in the highs
ts don’t fly here dawg this ain’t no game
fuck u thought dis was
can’t surround myself aroun u lames
index trigger fucking shooting at u niggas inflicting pain 
my mama still trippin she think i’m out here wit da gang
glock don’t got no numbers can’t find dis shit don’t got no name
trap or die

fuck the other side on my life they all gone die
just gimme time imma get that glock n up at they mind
it’s open fire i’m shooting till it click ain’t ceasing mine
oh igh niggas want that war till we turn off they lights

trap or die prod wrath #hahaha

etys9af
 first w https://soundcloud.com/data_drain 
2 3 6 w https://soundcloud.com/nevermissed

sep t beats2222

“La Vie Electronique” first was published as a strictly limited 50 CD-Box and later it was released in chronological order in 3CD-sets including some material never released before.

This second set contains pieces, which have been recorded between 1972 and 1975

“North of the Yukon“ and “Study for Philip K. Dick“ are from another historic tape with no date or other markings, with no real start and no end. lt was probably recorded in 1972 or 73 and what you hear is mostly the heavy sound of Klaus‘ old electric Teisco organ to which he added some strange sounds. More of these strange sounds he used on “Electric Love-Affair”.

Is it wrong if I state that Klaus was the first who dared to use noise (as in “Electric Love-Affair”: a lot of noise and buzz) as stylistic device? The four tracks “Nightwind“, “Minuet“, “Signs of Dawn”, and “Land der leeren Häuser“ are from a collaboration in the year 1973 between Klaus and a friend at this time, Hans-Jörg Stahlschmidt. These titles were played and recorded at ‘delta acustic“ studio in 1973. The proposed group name for Klaus‘ and Hans-Jörgs collaboration changed between “Tau”, “Tao“, and “Timewind” (!) Also, a deal with a German record company had already been made, but for reasons unknown today, the album never came out. The music sounds like early ‘New Age‘, but of course this definition wasn‘t known then. Klaus very own keyboard playing style is already identifiable. Klaus mostly plays the organ, and both played also guitars and bass guitar. The whispering voice on “Signs of Dawn” is Klaus. The singing voice on “Land der leeren Häuser“ is not Klaus. The three shorter titles are the original titles as given on the tape box. In 1973, same more “avant-garde” music was done by Klaus, for the radio play “Das Große ldentifikationsspiel (The Big Garne of ldentification)”, a Science-Fiction thriller by Alfred Behrens, it won the award: “Preis der Kriegsblinden Deutschlands“, and since then it has been regularly repeated on German radio. The tape box says: “Ballett Titanensee“, and it dates from about 1973.

lt’s mainly, if not only, the Farfisa “Professional Duo“ organ und an echo device. At least to me it sounds as if it‘s already the “Farfisa“ and not the Teisco anymore.

In February 1973 we picked up this new and heavy two-manual organ from Farfisa, for a concert in Paris (which was Klaus’ first solo concert).

Of course, there was no ballet ever produced with this music, and therefore, for release we gave it the title “Titanensee“ and cut the additional word.

“Studies for Organ, Keyboard and Drumset”: recorded 1974 in Berlin, this music was then stored away in another of those dusty tape boxes, where I unearthed it 22 years later, under exactly this title. We hear Klaus play a drum set, a pair of bongos, the Farfisa ‘Professional Duo“ organ (which I have just mentioned above), and a second keyboard which could be the ‘Solina String Ensemble“(?). Reverb, echo, phasing and stereo panning were also used by Klaus in his now established way.

“Memento Mori“ and “Blaue Stunde” belong together. Not that the music is the same, but they both mark a change in Klaus‘ music. The era of “Timewind” and “Moondawn“ is coming. I can still see Klaus, sitting night after night in front of his equipment in the cellar of the house that we had rented in Hambühren, after our move away from Berlin in August 1975. The recording was probably done in autumn or winter 1975. Partly this is a beautiful and at the same time eerie experiment, und partly it is very soft, silent, subdued music. Both tracks are typical for this “cellar situation“: Here, Klaus used to play for many hours without a break, this was his normal nightly routine. Sometimes the tapes from these long sessions were stored... und therefore, we have two other beautiful gems of classical Schulze that mark a change, from early experiment to the KS as we know & love him since “Timewind“ and “Moondawn.

sep t beats2222

ynxxet

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