Sendeki cesaret bende olsa
Korkmaz mısın aşk bir uçsa
Ölmez misin kalp bir dursa
Bilerek beni kaybettin

Dönmüyorum sana her ne olsa
Baştan sona her yarışta
Bir galip olur bir de asla
Kazanamayan birileri

Tabi tabi kim seviyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Kafama değil bak nereme geldi
Tabi tabi kim ölüyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Yanıma değil başka yere geldi

Sana diyorum ben he yo he yo
Senin bu aşkın uzayıp gidiyor
Ayrılırken lütfen sen de bir şey deme
Kurtulmuş olalım böylelikle

Sana yazık da bana değil mi
Kaçıp giden hiç geri gelir mi
Duydun işte sen her şeyi
Kalbim sana atmıyor suç benim mi

Tabi tabi kim seviyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Kafama değil bak nereme geldi

Tabi tabi kim ölüyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Yanıma değil başka yere geldi

Yine mi çalıyor daha yeni kapadığım
Senin giremediğin kapı dum dum
Seni duydum kesin oydun
Telefonunu da açmıyorum zor durum

Sana yazık da bana değil mi
Kaçıp giden hiç geri gelir mi
Duydun işte sen her şeyi
Kalbim sana atmıyor suç benim mi

Tabi tabi kim seviyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Kafama değil bak nereme geldi

Tabi tabi kim ölüyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Yanıma değil başka yere geldi

Tabi tabi kim seviyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Kafama değil bak nereme geldi

Tabi tabi kim ölüyor belli
Sana akıl daha yeni mi geldi
Sözlerine koyup attığın o taşlar
Yanıma değil başka yere geldi
Tabi tabi

The song begins with a gentle instrumental introduction that sets a reflective tone. As the verses unfold, the intensity builds alongside the instrumentation, adding depth to the emotional landscape. The chorus presents a catchy counterpoint that offers relief from the introspective verses. The bridge strips down the melody, allowing for a concentrated moment of reflection, before returning to the energetic chorus, culminating in a thoughtful outro.

Male vocals are smooth and emotive, ranging from thoughtful reflections to catchy hooks that resonate with the listener.

The lyrics focus on themes of love and heartbreak, reflecting on past relationships and the emotional turmoil they bring.

The song presents a melodic composition that combines emotional lyrics with catchy hooks. Instrumentation features a blend of soft keyboards and rhythmic guitar, underpinning the reflective themes of love and heartbreak. Vocally, the delivery is smooth and emotive, capturing the listener's attention with a dynamic range of expression. The catchy chorus ties the song together with an uplifting yet melancholic feel, making it memorable and relatable.

Upbeat mid-tempo Turkish pop track characterized by electronic beats, catchy synthesizer hooks, prominent programmed drums, bass, bright acoustic and electric guitar textures, rhythmic clapping patterns, layered background vocals, expressive lead vocals with dynamic phrasing, electronic sound effects for transitions, energetic and playful overall atmosphere, clear production with a focus on dancefloor-friendly arrangement, no notable duet elements.


Me voy
Pero me llevo todo lo que te ofrecí
Si un día dije que te amaba
No lo vuelvo a repetir

Las horas en la madrugada
Cuando no podías dormir
Quién era el que te acompañaba
El que siempre estuvo allí

Si me lo hubieras pedido
Te juro que yo habría corrido
Hasta el fin del mundo
Para darte mi mano
Pero era inhumano
No fui correspondido
Te perdiste
De un enorme corazón
Que se encuentra en estos tiempos
En peligro de extinción
De esos que dan serenata
Pero con su propia voz

Te perdiste
De un catorce de febrero
Que comienza el mes de enero
Y se renueva el año nuevo

Te perdiste
De lo que no encontrarás
En ningún otro lugar
Alicate pa' que te joda
Andrw John

Si me lo hubieras pedido
Te juro que yo habría corrido
Hasta el fin del mundo
Para darte mi mano
Pero era inhumano
No fui correspondido

Te perdiste
De un enorme corazón
Que se encuentra en estos tiempos
En peligro de extinción
De esos que dan serenata
Pero con su propia voz

Te perdiste
De un catorce de febrero
Que comienza el mes de enero
Y se renueva el año nuevo

Te perdiste
De lo que no encontrarás
En ningún otro lugar

The song develops from a soft introduction featuring intimate acoustic elements, building up to emotionally charged choruses. Each section transitions smoothly, maintaining a consistent emotional arc that reflects the lyrical content, ultimately leading to powerful conclusions that resonate deeply.

The lyrics reflect themes of longing and emotional vulnerability, painting a vivid picture of personal experiences and deep feelings. They invite listeners to reminisce about lost love and what could have been.

The vocals are delivered with a soulful essence, marked by nuanced emotional expressions that captivate the listener. Each phrase carries weight, and the dynamics within the vocal performance enhance its heartfelt nature.

A deeply emotional song that reflects themes of love and heartbreak. The soothing interplay of acoustic guitar and strings creates a warm ambiance throughout. The vocals shine with smooth, expressive melodies, captivating the listener with their heartfelt delivery. The overall mood is melancholic yet romantic, inviting introspection and reflection on the complexities of love. It's a modern ballad that resonates with anyone who has experienced the bittersweet nature of relationships.

Dominican-style bachata rhythm with bright, syncopated nylon-string guitar leads, punchy requinto accents, steady guira percussion, deep bass line underpinning, clean crisp bongo fills, romantic lead vocals with dramatic emotive phrasing, backup harmonies in chorus, occasional vocal melismas, lush reverberation on guitars and vocals, heartbroken lyrical themes, modern pop production polish while retaining traditional acoustic instrumentation, subtle synth pads for added warmth.


[Verso 1]
Eu ainda consigo ver o lado daquele velho terraço de hotel
Eu ainda consigo ouvir você dizer: "Eu só quero dormir agora"
Então eu te pedi para sair, como eu pude ter sido tão, tão frio?
O que foi que você viu escondido nesses olhos de pedra?

[Refrão]
Cabelo tão curto e rebelde
Estilo Audrey Hepburn
Josephine
[Verso 2]
Eu ainda consigo te ver parada na porta, em dezembro
Com uma garrafa na mão, parecendo eterna
Então você veio na estrada, amor rápido nos bastidorеs
Através da França, pela neve, agora mе segurando a coisas das quais me recordo

[Refrão]
Cabelo tão curto e rebelde
Estilo Audrey Hepburn
Josephine

[Refrão]
Agora eu consigo ver que o tempo de fato anda
Com ou sem eu e você
Olhe para todas as noites perdidas
Nós estamos perdendo todos os voos noturnos
Josephine, eu te quero

[Ponte]
O luar me fez um mentiroso, e a luz do Sol me fez forte
Fiz minhas malas pela manhã, e de noite eu já havia partido

[Refrão]
Agora eu consigo ver que o tempo de fato anda
Com ou sem eu e você
Olhe para todas as noites perdidas
Nós estamos perdendo todos os voos noturnos
Josephine, eu te quero


Te pego na mentira, tô dizendo chega
Catemba no terreiro tem malandro, chega
Sou feio assim mesmo, que besteira, chega
Tem queimagem na caatinga, todo mundo chega

Maria Madalena, quem te viu primeiro
Partir de madrugada, chegar no oiteiro?
Segura o seu juízo pelo ano inteiro
Quem pergunta por cachaça quer sentir o cheiro

Só porque fiquei não fui, não fui, não vou ficar
Quero nunca mais voltar, quero nunca mais deixar
Só porque na volta e meia a meia volta faz
Quero sempre mais voltar, quero sempre mais

Só porque fiquei não fui, não fui, não vou ficar
Quero nunca mais voltar, quero nunca mais deixar
Só porque na volta e meia a meia volta faz
Quero sempre mais voltar, quero sempre mais

Te pego na corcunda ta pesado chega
Cutuca no segredo da quebrada chega
Com medo do escuro canto alto chega
Tem badalo todo sino que badala chega

Maninha, essa mania é de mosqueteiro
Agarro pela fita o santo milagreiro
Pegou sua cartilha, soletrou dinheiro
Quem te leva na conversa faz jogo rasteiro

Só porque fiquei não fui, não fui, não vou ficar
Quero nunca mais voltar, quero nunca mais deixar
Só porque na volta e meia a meia volta faz
Quero sempre mais voltar, quero sempre mais

Só porque fiquei não fui, não fui, não vou ficar
Quero nunca mais voltar, quero nunca mais deixar
Só porque na volta e meia a meia volta faz
Quero sempre mais voltar, quero sempre mais

Te pego na mentira, tô dizendo chega
Catemba no terreiro tem malandro, chega
Sou feio assim mesmo, que besteira, chega
Tem queimagem na caatinga, todo mundo chega

Maria Madalena, quem te viu primeiro
Partir de madrugada, chegar no oiteiro?
Segura o seu juízo pelo ano inteiro
Quem pergunta por cachaça quer sentir o cheiro


Regresa, amor, a mí, a casa
Mi voz, sin ti, no es nada

Y sigue tu aroma penetrado en el sillón
Y sigue tu risa aquí sonando con tu voz
Hablo con fantasmas a solas y es verdad
Me paso el día ahogado en el alcohol

Regresa, amor, a mí, a casa
Mi voz, sin ti, no es nada
Y la paciencia de esperar se me acabó
Y también los días se hacen largos, pero hoy
Ya me cansé de valer madre, hoy voy por ti a ver cómo me va
Las cosas no serán como tú digas y esta vez me escucharás

Regresa, amor, a mí, a casa
Mi voz, sin ti, no es nada

Quiero un momento de silencio, por favor
Quiero expresarte lo que siento por ti hoy
Ya pensé bien las cosas y yo ya no quiero verte nunca más
Por mí te puedes enterrar agujas en los ojos, de verdad
Me tienes harto y ojalá que te dejen plantada en el altar

The vocals are tense and raw, conveying a strong sense of emotional vulnerability alongside resolute frustrations directed at a lost love.

A deeply emotional rock song that blends frustration with introspection. The song's driving guitar riffs and rhythmic patterns support powerful vocal deliveries that express a tumultuous mix of longing and resentment. The lyrics capture the bittersweet nature of love and heartache, reflecting on personal struggles and emotional conflicts.

The song opens with soft guitar influences, gradually building intensity in the instrumentation and vocal delivery. Each verse brings more emotional depth, culminating in a powerful chorus, creating a sense of catharsis as the narrative unfolds with increasing urgency.

The lyrics reflect a tumultuous relationship, grappling with feelings of disillusionment and longing, showcasing a journey through heartbreak.


[Intro: instrumental; guitar; light accompaniment; gentle; inviting; builds anticipation; Soft instrumental guitar sets a gentle tone, inviting the listener into a reflective mood.]
Driver, follow that car

[Verso: male vocals; soft and expressive; guitar; bass; simple drums; reflective; somber yet melodic; Warm tenor voice delivers introspective lyrics, accompanied by a delicate guitar and light percussion, evoking a sense of solitude.]
Ando só pois só eu sei
Pra onde ir, por onde andei
Ando só, nem sei por que
Não me pergunte o que eu não sei
Pergunte ao pó, desça ao porão
Siga aquele carro ou as pegadas que eu deixei
Pergunte ao pó por onde andei
Há um mapa dos meus passos nos pedaços que eu deixei
Desate o nó que te prendeu
A uma pessoa que nunca te mereceu
Desate o nó que nos uniu
Num desatino, um desafio

[Refrão: male vocals; melodic and uplifting; guitar; drums; bass; harmonized vocals; uplifting; introspective; hopeful; The vocal delivery becomes more powerful and melodic, layered with harmonies that reflect a sense of hope despite the theme of solitude.]
Ando só, como um pássaro voando
Ando só, como se voasse em bando
Ando só, pois só eu sei andar sem saber até quando
Ando só

[Solo de Guitarra: instrumental; guitar solo; expressive; emotional; An expressive guitar solo emerges, filled with emotion, bridging the introspective verses and uplifting chorus.]

[Refrão: male vocals; melodic and uplifting; guitar; drums; bass; harmonized vocals; uplifting; introspective; hopeful; The chorus repeats, the voice soaring above the instrumentation, creating a sense of upliftment and continuity.]
Ando só, como um pássaro voando
Ando só, como se voasse em bando
Ando só, pois só eu sei andar sem saber até quando
Ando só

The lyrics explore themes of solitude and personal journey, inviting listeners to reflect on their own experiences and paths.

A reflective and melodic composition that captures the essence of solitude and self-discovery. The blend of soft vocals and expressive guitar work creates an emotional journey for the listener, drawing them into a thoughtful exploration of life's pathways. The instrumentation complements the vocal delivery, with gentle rhythms that support the introspective themes presented in the lyrics.

The vocals are soft and expressive, conveyed with a warm tenor tone that adds depth to the emotional weight of the lyrics.

The song begins with a gentle guitar introduction, leading into the verses marked by introspective lyrics and soft vocals. The choruses deliver a more uplifting and melodic contrast, while the guitar solo interjects with emotive depth, followed by repetitions of the chorus that reinforce the song's themes.

Layered electric and acoustic guitars with jangly, arpeggiated patterns, steady electric bass, crisp drum kit with syncopated hi-hats and snare, subtle keyboard pads adding atmospheric texture, occasional synthesizer samples, prominent melodic male vocals with introspective and poetic delivery, harmonies in choruses, energetic yet contemplative feel, urban and nocturnal ambiance, slight folk-rock influence evident in chord progressions, cryptic and passionate lyricism, New Wave and Art Rock overtones interwoven with Pop Rock sensibility, dynamic arrangement building to emotional peaks, no duet.


[Zwrotka 1: male vocal; conversational; rhythmic delivery; electronic beats; rhythmic synths; reflective; personal struggle; Strong rhythmic delivery with a conversational tone, supported by driving electronic beats creating a sense of urgency.]
Stare rany robią nowy ból
Nowe mówią do mnie: "catchy, catchy"
Nowe rany lubią mówić: "mmmmmmm"
Dobrze, że mam wokół swoich braci
Stare rany robią nowy ból
Nowe mówią do mnie: "catchy, catchy"
Nowe rany lubią mówić: "uuuuuuu"
Dobrze, że mam wokół swoich braci
Mówią: "potrafisz", to robię te rapy
I nie są podane na tacy, jak z nią te śniadanie zaraz po kolacji
Jak z nią te śniadanie zaraz po kolacji
Jak z nią te gadanie o rzeczach niełatwych
Jak się nie zeszmacić w tym świecie, gdzie wszystko się robi dla papy
Ja pierwszy raz jestem tak blisko tej szansy

[Refren: male vocal; emotive delivery; hopeful; bass; layered synths; hopeful longing; Emotive vocals resonate hope, layered synths and deep bass enhance the uplifting sentiment of taking control of one's life.]
Dlatego płonę, cały płonę
Z nadzieją, że to będzie dla mnie dobry omen
Dobry omen, dobry moment
By wziąć w swoje dłonie życie, co tak pogubione jest

[Zwrotka 2: male vocal; expressive; narrative style; beats; synths; minimal production; storytelling; autobiographical; Expressive narrative style, the rhythm shifts subtly as the instrumentation adapts, emphasizing the lyrical depth and emotional weight.]
A cały ten smutek podzielę jak cuty, zamienię na rapy
I dam ci na raty, bo byś nie udźwignął tu tego, co wziąłem se kurwa na barki
Ja noszę stygmaty, spójrz na moje łapy zmęczone od pracy
I nie za karaty, raczej za drobniaki
Musiałem przejść drogę tą, żeby tłumaczyć i nie za hajs mamy, i nie za hajs taty
A teraz prowadzę dzieciaki jak Noe do arki
Ja to Alan dark, a rapy to światło z latarni
Tym światłem z latarki to świecę w zaświaty
Mógłbym ci policzyć, ile tych patyków wydałem na to, żeby wieczorem płonął ten badyl
Nie chcę dawać rady, ja sam chcę dać rady i nie chcę się zabić, chcę zabić te sprawy i widzieć jak uśmiech się kłania do kawy
I widzieć, że wszystko co puste to wzięli mi diabli
A odbicie w lustrze przestało się dławić, problemy to Goliat, siema, jestem Dawid
I w chuju mam, że wtykasz nosa w ten blat, co jest biały (what?)
Nie wtykam nosa w nie swoje sprawy, ja nie wtykam nosa w nie swoje sprawy
A jak coś spierdolę, to zawsze się staram naprawić

[Bridge: male vocal; urgent; commanding; beats; instrumental backing; intense; urgent appeal; Intense and commanding vocals bring a sudden energy shift; the production drops to highlight urgency in the message.]
Bit zabij, check, dawaj, next nawiń dziś, słaby
Więc daj mi lek albo z serc rady
Bit zabij, check, dawaj, next, dawaj, tekst nawiń
Dziś słaby, więc daj mi lek, albo weź dragi

[Refren: male vocal; emotive delivery; hopeful; bass; layered synths; hopeful longing; Hopeful and emotive, with a consistent rhythmic backbone that reinforces the recurring themes of struggle and aspiration.]
Dlatego płonę, cały płonę
Z nadzieją, że to będzie dla mnie dobry omen
Dobry omen, dobry moment
By wziąć w swoje dłonie życie, co tak pogubione jest

[Zwrotka 3: male vocal; reflective; melodic; beats; guitar; synths; introspective; narrative focus; Reflective and melodic, carrying a weighty narrative in vocals; a blend of beats and guitar adds to the complexity of the mood.]
Życie to moment, nie będę wzorem
Popełniam błędy, ale prawda w oczy kole
Ja kręcę film, nie, nie, nie jestem aktorem
To co zrobiłem, to jest dopiero zapowiedź
Biorę co moje, dzielę na dwoje
Skończę bez dachu nad głową, kiedy zakupię kabriolet
Serce nie kamień, czasem treningowy worek
Musiałem trochę wyłapać, teraz wiem, że się obronię
Gitara nie gra mi dobrze, usiądę i ją nastroje
Nastroje są jak huśtawka, usiądź, by wyrównać moje
Wolę być sam tylko wtedy, kiedy ładuję naboje
Nie chciałabyś tego poczuć, róża ma na sobie kolec
Musiałem to w sobie zabić, żeby móc w ogóle coś poczuć na nowo
Chcieli mnie spisać na straty, za to ja spisałem te słowa wzorowo
Nie chcę wiedzieć, ile osiągnę w tym, chcesz to wykładaj sobie ten tarot
Żaden z nich mnie nie przewidział, ale na całe szczęście liczby nie kłamią
Wpisz: "53715", odwróć kalkulator, przewrotnie bywało
Stałem na głowie nieraz, żeby dzisiaj mi niczego nie brakowało
(Żeby niczego mi nie brakowało)
(Żeby niczego mi nie brakowało)
(Stałem na głowie nieraz, żeby niczego nie brakowało)

[Refren: male vocal; emotive delivery; hopeful; bass; layered synths; hopeful longing; Reiterates the hopeful message, drawing on rich instrumentation to create a climactic emotional impact.]
Dlatego płonę, cały płonę
Z nadzieją, że to będzie dla mnie dobry omen
Dobry omen, dobry moment
By wziąć w swoje dłonie życie, co tak pogubione jest
Dlatego płonę, cały płonę
Z nadzieją, że to będzie dla mnie dobry omen
Dobry omen, dobry moment
By wziąć w swoje dłonie życie, co tak pogubione jest

The vocals are characterized by a deep, baritone delivery that is both conversational and expressive, conveying a sense of urgency and emotional depth throughout.

Lyrically, the song explores the concepts of personal struggle, hope, and the quest for self-discovery, creating a relatable narrative that resonates with many listeners.

Beginning with a rhythmic and driving beat, the song evolves through well-defined sections of introspective verses and an uplifting chorus. Gradually, it builds emotional intensity with each repetition of the refrain, while the bridge introduces a moment of urgency before returning to the hopeful resolution of the final chorus.

The song presents a powerful blend of introspective lyrics and engaging beats. It's an emotional journey that explores themes of hope and struggle, delivered through a contemporary rap style characterized by narrative-driven verses and an anthemic chorus. The instrumentation combines electronic beats with synths, creating a dynamic soundscape that complements the lyrical content. The delivery is confident and expressive, allowing for a deep connection with the listener.


[Verse 1: male vocals; aggressive; dark tone; synths; heavy bass; electronic beats; intense; confrontational; Gritty and aggressive male vocals paired with strong synths and heavy bass, creating an atmosphere of tension and struggle.]
Ateş düşer içine geceleri sıkıntıdan bir türlü yatamazsın
Tutulur vücudun kramplardan hiçbir yere adım atamazsın
Geceleri yalnız tek kal, yaşa
Ne kadar erkek yiğitsin bakalım bir dene
Bakalım yırtık dondan çıkmış gibi çıkacak mısın bi' daha gene?
Çok baba kalktı uçtu yükseklerden baktı yere
Geldiği yeri unuttu coştu nasihat almış olsa bile kaç kere
Çig süt emmiş insanoğlu özünde mi saklı acaba kanibal
Tanırsın sanırım köpeğim olur doktor Lector Hannibal
Tırnamı söktü götürdü etinden ayırdı seneler yalaka olan yapışır adama hani ineğin kıçındaki keneler var ya
Gözüne bakarak başlar başlatılır adı kriegler
Nedeni kendini bilmez bir iki üç piç freaklar yüzünden
Hangi yol gider düzüne başaramadım diye üzülme en derin bataklıklarda takıl ama kir bulaştırma yüzüne
Bakabilesin gözlere anlamlı derin derin donsun herkes
Essin Killa rüzgârı serin serin

[Chorus: male vocals; repetitive; anthemic; synth; drum machine; dark; defiant; An anthemic chorus with a repetitive structure, characterized by deep male vocals underpinned by consistent electronic beats.]
Beni karanlıkta yıldızlara sorun
Aydınlık güneş ateşi gölgede korun
Kıl üstüne yürür canlar kaynıyor kanlar tek atış tek şans anlayan anlar

[Verse 2: male vocals; raw; intense delivery; synths; heavy beats; bass; gritty; reflective; The intensity escalates with raw male vocal delivery, complemented by a pulsating bassline, embodying themes of urban life and conflict.]
Parayla da alamazsın bazı şeyleri ne kadar da uğraşsan boşuna gider kırılır Umutların yıkılır bir elde gel de uğraş
Kapamadın yedin cilleti it oldun âleme köpek
Biri paranın ucunu gösterdi di an diyorsun ağa nereni öpek
Sokaklar zamanını bekler gelecek elbet der bunun zamanı
Kurşun adres sormaz gelir hesabının tamamı ummadığın anda masada neye Güvendiğin neyin varsa geride kaldı kasada dondun
Kelebek oldun uçabildin ama yapidin buza kondun
Sıfırdan başlar hayat bazen yeniden tekrar başa dönersin tüm verdiğin çaba emeği toprak altına gömersin paso
Pislik içinde sürünürsün bakın su adama derler eskiden çok babaydı haso
Konuşurlar yardım etmez kimse paso tehlikeye girdiğin zaman çıkmasını da Bileceksin zor durumdan ani
Yabaninin de yabanisi vardır ama iş teknik style yani
Bir bildiğin varsa konuş söyle araştırıp da bulak
Madem babacan sağlamsın her yerde duyurak kulak kulak

[Chorus: male vocals; repetitive; anthemic; synth; drum machine; dark; defiant; The chorus repeats, reinforcing the anthem-like quality amidst the heavy production.]
Beni karanlık da yıldızlara sorun aydınlık güneş ateşi gölgede korun
Kil üstüne yürür canlar kaynıyor kanlar tek atış tek şans anlayan anlar

[Verse 3: male vocals; storytelling; intense; synths; heavy bass; sparse instrumentation; intense; narrative; Deep, powerful storytelling unfolds with assertive vocals over a sparse yet heavy instrumental backdrop, enhancing the message of resilience and struggle.]
Çok anlattım bilirsin artık toprağı tırnakla kazmak
Yaralı kanlı ellerle bembeyaz sayfaya yazı yazmak
Sözünden dönüp azmak gibi acayip tuhaf durumlar düşman kardeşle oturmuş göz Önünde yudum yudumlar bakarak
Karşı karşıya birbirlerinin sigaralarını yakarak kuman
Çekilen her nefeste kaybolur hayaller duman duman
Çok gördüm savaş eden adam gibi cesur yürekler silaha karşı çekilen kürekler et bedenden duvarlar
Paket edip yatırırlar yere bulunduğun yer kakalı dere olur sessiz gidersin bir söze boğulursun havuzda göz göre göre
Bu âlem karışık karışık işlerle barışık tez gelirsin tuşa çabuk gönderirler duşa giyin
İşkenceye şahit olursun derler ben görmedim deyin çünkü teksin solo konuşacak Pozisyon kalmaz yok öyle lolo
Verirler sepeti kola dersin buna iş oldu ola
Sallarsın başı bir sağdan bir sola

[Chorus: male vocals; repetitive; anthemic; synth; drum machine; dark; defiant; The final chorus returns, echoing the defiance and intensity presented throughout.]
Beni karanlıkta yıldızlara sorun aydın güneş ateşi gölgede korun
Kil üstüne yürür canlar kaynıyor kanlar tek atış tek şans anlayan anlar

The male vocals are dynamic, featuring a deep, assertive tone that captures the listener's attention. The delivery varies from aggressive to introspective, adding complexity to the overall experience.

Beginning with intense and confrontational verses, the song maintains a high energy throughout. Each chorus serves as an anthemic break that emphasizes the core themes while the verses provide depth and storytelling.

A powerful rap piece that explores themes of struggle and survival in an urban setting. The dense, aggressive production drives the narrative forward, while the heartfelt and gritty delivery ensures a strong emotional connection. A mix of heavy bass and synthesizers creates a dark atmosphere, perfectly matching the lyrical content.

The lyrics delve into struggles of life, loss, and perseverance, presenting vivid imagery and narratives that resonate with listeners facing similar circumstances.

Dark, brooding hip hop beat driven by punchy, tightly compressed drums and a prominent, deep 808 bassline

fast, aggressive Turkish rap vocals delivered with urgent flow

subtle atmospheric synth pads in the background

minimal melodic instrumentation, relying on rhythmic vocal delivery

occasional vocal ad-libs and sound effects emphasize lyrical intensity

overall raw, street-inspired production.


Kai mane pana paliko, parašiau dainelę šią
Išklausyk ir atsakyki - izoliuot mane ar ne

Aš benzino kolonėlėj, keistos mintys galvoje
Jei degtuką čia uždegčiau, atsibusčiau danguje

O jeigu eičiau pasivaikščiot zoologijos sode
Galbūt tikčiau vakarienei krokodilų aptvare

Nieks manęs neišmokino, kaip naudotis elektra
Televizorių įjungsiu, panardinęs vonioje
Jeigu būčiau kamikadze - išsprogdinčiau mafiją
Gal tada mane surinktų pagal fotografiją

Aš nevengiu neatsargiai vaikščiot stogo atbraila
Išmėgint asfalto storį nuolat prašosi galva

Bet jeigu nesusitvarkysiu - laukia sanatorija
Uždarys minkštoj palatoj ..ir visa istorija

The lyrics navigate complex themes of mental struggles, isolation, and self-reflection, resonating with an introspective audience and encouraging a contemplative mindset.

Beginning with soft guitar and piano, the song gradually builds intensity through layered instrumentation and dynamic vocal delivery. Key sections showcase emotional peaks and troughs, with the arrangement thoughtfully mirroring the lyrical journey, concluding with a gentle resolution.

The male vocals are smooth yet expressive, effectively conveying a wide range of emotions from introspection to passionate outbursts. The vocal style emphasizes clarity and depth, enhancing the impact of the lyrical content.

The song presents a poignant exploration of isolation and mental health, characterized by introspective lyrics that delve into dark thoughts and contemplative themes. The blend of guitar and piano creates a moody atmosphere, resonating with the listener's emotions. As the track progresses, the intensity builds, culminating in a rich musical tapestry that highlights the emotional weight of the subject matter.


J'ai mis ma belle robe à paillettes
Mais tu ne me vois pas
Mais tu ne me vois pas
Dans mes ch'veux des fleurs et des clochettes
Et tu ne me vois pas
Et tu ne me vois pas
Hélas, hélas, hélas…

J'ai mis les talons de ma sœur
Du maquillage de toutes les couleurs
Je suis allée en bas de chez toi
J'ai chanté : Please love me, aime-moi!
J'ai mis des étoiles sur mes doigts
Mais tu ne me vois pas
Mais tu ne me vois pas
Des tatouages sur mes bras
Mais tu ne me vois pas
Mais tu ne me vois pas
Hélas, hélas, hélas…
Un jour que j'étais en rage
J'ai pris mon sac et tout mon courage
Je suis partie dans l'Himalaya
J'ai fait des treks et du yoga
Hélas, hélas, hélas, hélas, hélas…

Depuis que je n'pense plus à toi
Et que je ne te vois pas
Et que je ne te vois pas
Soudain, tu brûles d'amour pour moi
Mais je ne te vois pas
Mais je ne te vois pas
Halas, halas, halas…

The female vocals are dynamic and layered, often fluctuating between playful and emotional tones that highlight the song's narrative.

An upbeat and playful track that combines lively instrumentation with expressive vocals. The song features catchy melodies that resonate with themes of love and self-expression. The vibrant rhythm and light production palette create a cheerful atmosphere, while the lyrics reflect a blend of nostalgia and yearning. It's an inviting listen that inspires both joy and introspection.

The lyrics explore themes of unrequited love and personal liberation, capturing a playful yet wistful mood throughout the song.

The song opens with gentle guitar strumming, gradually building up with layered synths and rhythmic percussion. The verses maintain a light and breezy charm, while the choruses explode with catchy hooks. The bridge offers a moment of introspection and intensity before leading into a soft, reflective outro.

Bright, playful blend of Middle Eastern pop and French chanson influences

prominent use of driving percussion, acoustic guitar, bass, synthetic strings, handclaps, and energetic keyboard riffs

vocals exude a quirky, bold character with French-language lyrics and distinctive phrasing

subtle electronic effects to enhance rhythm

overall sound creates a catchy, upbeat, world-pop fusion with a touch of nostalgia and modern flair.


[Uvod: female vocals; dramatic delivery; electronic sounds; ambient beats; dramatic; setting the tone; Electronic beats create an ominous atmosphere as female vocals introduce the theme with dramatic flair.]
Bombe, meci, mitraljez
Frka, buka, drama, bijes
Bombe, meci, mitraljez
Frka, buka, drama, bijes

[Strofa 1: male vocals; conversational; intense storytelling; heavy bass; synthesized beats; gritty; illustrative; intense atmosphere; Male vocals deliver a gritty narrative emphasizing the urban life and its challenges, supported by heavy bass and synthesized beats.]
Koliko auta ne moze se pasat' magistrala
Metropola turizma, kraljica mediterana
Žene u kupaći vanka sto pedeset dana
Niđe nema mjesta po kafana restorana
Ima tu svega i sa svija strana
Testosteron se nagomilava
Napetost u vazduhu, dešavaju se sranja
Što se tačno desilo pisaće dnevna štampa
Ma ne brini mala, oči moje plave
Pištolj je napunjen brale, stoji mi sa strane
Da mi te ko pipne za to padale bi glave
To bi bile scene užasa i strave
Pucam pe', šes' metaka u glavu i grudi
Fajront prije vremena, pobjegli su svi ljudi
Popaljena svjetla svi stanari budni
Gledaće na dnevnik pucačinu po Budvi

[Strofa 2: male vocals; rhythmically engaged; forceful; drum machine; steady rhythm; assertive; engaging the audience; playful vibe; The tempo picks up, with male vocals presenting a bold and rhythmic flow, driven by steady drum machine rhythms.]
Boka kotorska, noć je, u Budvu na piće pođem
A poslije toga plan je da se ide na Lovćen
Ako sve dobro prođe možda ostanem ovđe
Po to pivo se popije ako nam konobar dođe
Bate, u Budvu na ljeto mi je najjači show
Da sam znao na vrijeme bih rezervisao sto
Ovako moram se gurat' isto kô zadnji mentol
Možda bih popio metak da nisam ponijô pištolj
Ovako mogu da pucaju, paljbu ja ću uzvraćat'
Pištolj mi je napunjen ako se s nekim posvađam
Auto je blindiran i s donje strane ojačan
U slučaj kad se parkiram da neko bombu mi bača
No se mnogo ne cimam, śednem u kola, šibam
Treća, peta brzina, murija ne smije grinjat'
Ako treba da se branim vazda ima načina
Da se puca sa pištoljem i sa mitraljezima

[Refren: female vocals; catchy; repeated phrases; synthesized sounds; rhythmic percussion; catchy; emphasizes the chaotic theme; The catchy female vocals return, enhancing the chaotic vibe with repeated phrases that encapsulate the song's themes of violence and drama.]
Bombe, meci, mitraljez
Glavna biće opet vijes'
Frka, buka, drama, bijes
Da ti se pomuti svjes'
Bombe, meci, mitraljez
Glavna biće opet vijes'
Frka, buka, drama, bijes
Da ti se pomuti svjes'

[Strofa 3: male and female vocals; playful; assertive; layered beats; electronic effects; eclectic; blending narratives; highlighting violence; Both male and female vocals intertwine, showcasing a playful yet assertive style, with layered beats adding to the complex urban narrative.]
Ođe je bila idila bez uzbudljivih ludila
Prije no se bez stila svaki dan gradila vila
Nije Kristijan Dior no se Fila nosila
Sad omiljena pjesma je Džiboni - ka' Libar
Call of Duty uživo, to je Budva suživot
U pancir kupamo sa utokom se sunčamo (Aj!)
Praštaj, upucah te slučajno
Od Bečića do Starog grada cukamo se kundakom
To je kultura nasilja, oružjem fascinacija
Unikatni spoj Rusa i Divljeg zapada
Providni ljudi iza zatamnjenih stakala
Ne skupljaju se sličice no čaure sa parkinga
Plastičnim pištoljem pođi dragstor da odradiš
Vratiš se sa vrata jer kasirka vadi pravi
Antiteroristička imaće što da radi
Žutom trakom komotno nam cijeli grad ogradi
Ko rano rani grabi dva metka
Hekler, tetka. ponekad raketa
B4, dva i tri komande na kanter
Svaku noć vatromet, svaki dan after (Rokanje, rokanje)

[Refren: female vocals; catchy; repeated phrases; synthesized sounds; rhythmic percussion; catchy; emphasizes the chaotic theme; The cycle repeats with the catchy hook, driving home the themes of chaos and intensity.]
Bombe, meci, mitraljez
Glavna biće opet vijes'
Frka, buka, drama, bijes
Da ti se pomuti svjes'
Bombe, meci, mitraljez
Glavna biće opet vijes'
Frka, buka, drama, bijes
Rokanje, rokanje

The track pulsates with an intense energy, heavily influenced by the urban rap scene. The instrumentation combines electronic beats with deep bass lines, creating a dynamic listening experience. The vocals alternate between male and female artists, bringing a blend of storytelling and engaging delivery, underscoring themes of urban life and violence in a vivid manner. Each section maintains an edgy vibe, echoing a culture of nightlife and confrontation, which is reflected in both the lyrics and musical arrangement.

The song opens with a moody electronic intro that sets the stage for the unfolding narrative. It moves through verses that offer gripping stories supported by vibrant instrumentation before recurring to catchy refrains that reinforce the main themes. Overall, the energy fluctuates but remains consistently intense, paving the way for memorable hooks and dynamic rap passages.

The vocal delivery is characterized by a mix of conversational and dramatic styles, with male voices carrying a strong narrative presence and female vocals adding catchy elements that amplify the intensity of the track.

The lyrics are rich with visuals of urban experiences, illustrating a lifestyle filled with excitement, tension, and chaos, reflecting the duality of party culture and violence.


[Estrofa I: male vocals; lyrical flow; expressive; beats; bass; subtle synth; reflective; introspective; deep thoughts; A strong, expressive male vocal flows smoothly over rhythmic beats, creating an introspective atmosphere. The lyrics delve into personal struggles and the transformative power of rap.]
Tengo un corazón en decadencia, tres discos en la calle
Un síndrome de abstinencia, fuera esperan que no falle
Me pulo hasta el detalle, el rap me roba la energía
Me la devuelve en forma de sueños y de utopía

Me guía, me sacia cuando mi alma os espía
Si atraviesa tu puerta y te aporta una guía
Mc a ratos, pero otros tan harto de niñatos
De gatos sin cola de perros sin dientes y a solas
Pienso en cuantas manos harían de colchón
Si cayera de espaldas en este barranco
Para serte franco, sentado en este banco la melancolía
Expía mi alma sobre cada renglón

Y si el rap me despidiera, me exiliase de su vera
¿cuánto amor habría ahí fuera? Se esfumó la pasión
Si mañana no estuviera sobre la faz de La Tierra
¿Cuántas manos se alzarían a llorar mi oración?

Siempre tuve el don de hacer volar mi mente
Y al hacerlo pude hacer volar también la de otra gente
Soy el puente de aquel que vio brillar el horizonte
De aquel que cruza el mundo sin rumbo ni pasaporte

De gente del norte, de gente del sur
De oriente y occidente bajo la misma luz
De ese que me entiende y tiende su mano hacia el lado
Porque siente que el presente ha perdonado su pasado

[Estribillo: male vocals; call and response; motivational; beats; layered sounds; dynamic rhythm; uplifting; motivational; connecting; The mood shifts to a more motivational tone, with harmonious calls that resonate, providing a feeling of unity and connection within the music.]
Estira los dedos, como si el cielo escuchara
Como cuando aprietas tus auriculares a la cara
Tanto que nos une, tan poco que nos separa
Es como si la mente volara, el alma se dispara

Estira los dedos, como si fuéramos uno
Como la canción que llega en el momento oportuno
La magia que te eleva del lamento del ayer
Estira los dedos alto para volverte a coger

[Estrofa II: male vocals; introspective delivery; dynamic; beats; bass; synth melodies; emotional; complex themes; dedication; The vocal delivery remains dynamic and emotive, echoing complex themes of personal journey and mutual support while layered synths enhance the emotional landscape.]
Dicen que soy alguien distinto y complejo
Que les brindo los consejos que nos les dejó su viejo
Que soy como un catalejo con el que mirar más lejos aún
Que mi reflejo pinta en blanco su black moon

Dicen que guié a distancia sus almas perdidas
Pero fue su militancia la que me salvó la vida
En este salto suicida fuisteis mi colchón
Y hoy mi obligación es entrar hasta el fondo en cada corazón

Tengo que hacerlo, romper tu caparazón
Hacer que esos idiotas oigan esto y entren en razón
Tengo que echarle pasión y cojones
Rebobinar desde su tumba hasta que son solo embriones

Pasarme las noches entre renglones creando himnos
Y los días trapicheando como Rick Ross
Son los ciclos de la vida y sus peligros, lo he vivido
Y por los siglos de los siglos os estaré agradecido

Dicen que conmigo vuelan libres igual que libélulas
Que mi rap y su alma se conectan como dos moléculas
Tú solo estira los dedos
Imagina las manos de Dios y Adán en la Capilla Sixtina

No hay más cima que el honor,gracias por vuestro amor honesto
Por vuestros gestos, por perdonarme cada error en esto
Yo solo he puesto la carne y la piel sé lo que cuesta
Ahora dejad que mi música entre en la vuestra

[Estribillo: male vocals; call and response; motivational; beats; layered sounds; dynamic rhythm; uplifting; motivational; connecting; The mood shifts to a more motivational tone, with harmonious calls that resonate, providing a feeling of unity and connection within the music.]

[Estrofa III: male vocals; reflective tone; storytelling; beats; bass; atmospheric sounds; questioning; connectedness; supportive; A reflective tone accompanies the male vocals, focusing on connection and shared experiences, supported by a steady rhythmic foundation.]
¿Cuántos aguantan todo el peso de mis hombros conmigo?
¿cuántos de los que hay abajo cogeréis el testigo?
¿cuánto amigo innecesario y mal llamados hermanos?
¿cuántas mentes desconocen cómo nos elevamos?

Cuando oímos, escuchamos y sentimos que volamos
Si queremos nos reconocemos con solo mirarnos
Tan pocos fuera que por ti darán la cara
Tantas cosas que no unen, tan pocas que nos separan

Siempre tuve el don de hacer volar mi mente
Y al dejarla libre pude hacer volar mi corazón
Siempre supe donde estaban mis hermanos
Porque pude notar cerca cada roce de sus manos

Di los pasos con su aliento como una inyección de fuerza
Viento para cuando las cosas se tuerzan
Sé los que son, porque ellos sienten lo mismo
Los que lloran con tus lágrimas se alegran de tu triunfo

[Bridge: male vocals; emotional delivery; soothing; ambient sounds; soft beats; calming; hopeful; transcendent; Soft sounds create a tranquil atmosphere, encouraging listeners to close their eyes and envision a world free from pain, with soothing male vocals leading the way.]
Se van los nudos, los tragos más crudos
Los humos que estresan, la vida que pesa
El silencio en la mesa
Cierra los ojos y vuela conmigo
Imagínanos lejos de aquí
Lejos del dolor y del miedo
Haciendo lo imposible posible
Sintiendo lo invisible

[Estribillo: male vocals; call and response; motivational; beats; layered sounds; dynamic rhythm; uplifting; motivational; connecting; The mood shifts to a more motivational tone, with harmonious calls that resonate, providing a feeling of unity and connection within the music.] (x2)

The lyrics reveal an introspective journey, touching on themes of perseverance, community, and the transformative power of music.

Beginning with a reflective tone set by a solo vocal over minimal beats, the song builds as additional layers of rhythm and instrumentation emerge, enhancing the message of unity and resilience. The transitions between verses and choruses create a powerful ebb and flow, leading the listener through an emotional landscape.

Dynamic male vocals carry the narrative weight throughout the song, showcasing expressive storytelling that resonates deeply with listeners.

The song unfolds as a deep exploration of personal struggles and community connection, underpinned by a strong hip hop foundation. The emotional delivery of the verses offers insight into the artist's experiences, while the choruses inspire a sense of unity.


First things first
Deine Bitch geht allein schlafen in mei'm Merch
Mein Arsch ist auf der Straße vogelfrei and it's a purge
Rockstar, „New Era“ auf der Stirn, Fred Durst
If you're scared, go to church

First things first
Deine Bitch geht allein schlafen in mei'm Merch
Mein Arsch ist auf der Straße vogelfrei and it's a purge
Rockstar, „New Era“ auf der Stirn, Fred Durst
If you're scared, go to church

First things first
Ich piss' auf wer du bist
Ich merk' mir keine Namen und ich merk' mir kein Gesicht
Ich gehe durch mein Leben arrogant wie eine Bitch
Mit ganz Deutschrap auf mei'm Schwanz und es ist nichts
Hurensöhne wissen, ihr Vertrag ist grad geplatzt
Hol dir einen runter auf meinen Namen auf dem Blatt
Ja, ich hab' hervorragend geschlafen letzte Nacht
Hurensöhne suchen mich, but I don't give a fuck
Fahren durch die Stadt, deutlich unter dreißig km/h
Und fuck' dich ab, check die Farbe von dem Lack
Wer hat dir erzählt, dass mir gar nichts mehr gehört?
Wieso hab' ich davon aber gar nichts mehr gehört?
Baby, ich bin big Spender, big Tipper (ah)
Redet über mich, mach mich noch wichtiger
Nimm einen Schritt zurück, get the big picture
Ich bin am leuchten wie ein Tischflipper

First things first
Deine Bitch geht allein schlafen in mei'm Merch
Mein Arsch ist auf der Straße vogelfrei and it's a purge
Rockstar, „New Era“ auf der Stirn, Fred Durst
If you're scared, go to church

First things first
Deine Bitch geht allein schlafen in mei'm Merch
Mein Arsch ist auf der Straße vogelfrei and it's a purge
Rockstar, „New Era“ auf der Stirn, Fred Durst
If you're scared, go to church

First things first
Ich geb' nicht wirklich einen Fick
Ich bin, wer ich bin, und es ist, was es ist
Ja, ich fress' Geld, lass' die Hurensöhne hungern
Hurensöhne wissen nicht mehr weiter, wählen Nummern
Hurensöhne wollen mich am Telefon bedrohen
Hurensöhne geiern auf den Teller von mei'm Sohn
Immer noch „Ich bin“, keine Diskussion
Küss meinen Ring und vergreif dich nicht im Ton
Du willst mit mir ficken? Lil' Homie, lern' die Basics
Geh und dropp' ein Ziegenbock-Emoji für den Greatest
Sorry for the wait, mein Album kommt erst dann, wenn es paar Mios gibt
Ich rock' Diamonds in der Farbe von 'nem Chio-Dip
Ich bin bulletproof, als wäre ich bei G-Unit
Ich ficke einen Hurensohn, der denkt, dass er Bushido ist
Dein Albumvorschuss reicht mir nicht ma' für 'ne Tasche
Nehm' mir noch ein Schlückchen aus der Tasse

First things first
Deine Bitch geht allein schlafen in mei'm Merch
Mein Arsch ist auf der Straße vogelfrei and it's a purge
Rockstar, „New Era“ auf der Stirn, Fred Durst
If you're scared, go to church

First things first
Deine Bitch geht allein schlafen in mei'm Merch
Mein Arsch ist auf der Straße vogelfrei and it's a purge
Rockstar, „New Era“ auf der Stirn, Fred Durst
If you're scared, go to church


Tcha tcha ho
Tcha tcha ho
Tcha tcha ho
Tcha tcha ho
Tcha tcha ho
Tcha tcha ho
Tcha tcha ho
Tcha tcha ho
Meu amor, tem que ser muito artista!

Arreda, arreda
Isso é tecnobrega
Arreda, arreda
Isso é tecnobrega
Abre a roda, tecnobrega é foda
Abre a roda, tecnobrega é foda
Arreda, arreda
Isso é tecnobrega
Arreda, arreda
Isso é tecnobrega
Abre a roda, tecnobrega é foda
Abre a roda, tecnobrega é foda

Um, dois, três:
Arreda, arreda, arreda, arreda! (Vem)

Invade, invade
Aqui é malakagem
Invade, invade
É som dе aparelhagem
Tremе na rota, só as cocota
Treme na rota, só as cocota

Invade, invade
Aqui é malakagem
Invade, invade
É som de aparelhagem
Treme na rota, só as cocota
Treme na rota, só as cocota

Um, dois, três:
Arreda, arreda, arreda, arreda! (Vem)

Agacha, agacha
Aqui é bumbo e caixa
Agacha, agacha
Aqui é bumbo e caixa
Fica no chão, só no gravezão
Fica no chão, só no gravezão

E treme e treme
Aqui é só o creme
E treme e treme
Aqui é só o creme
E sobe e sobe, aqui é só quem pode
Explode, explode, aqui é som do Norte!

Treme, treme
Ahaaai!
Tá-tá-tá-tá
Tá-tá-tá tudo!
Vem Viviane Batidão!
Vem Leona Vingativa!
Vem Gaby Amarantos!

Arreda, arreda
Arreda, arreda
Abre a roda, tecnobrega é foda
Abre a roda, tecnobrega é foda

Invade, invade
Invade, invade
Treme na rota, só as cocota
Treme na rota, só as cocota

Agacha, agacha
Agacha, agacha
Fica no chão, só no gravezão
Fica no chão, só no gravezão

E treme e treme
E treme e treme
E sobe e sobe, aqui é só quem pode
Explode, explode, aqui é som do Norte!

É nóis, é nóis!


Ah les salauds! Chantent à la gloire
De la victoire du Père fouettard
Ah les salauds! Chantent à la gloire
De la victoire d'la Mère facho
On l'a vu venir même d'un seul œil
L'enfant maudit du Père Cyclope
En s'écriant: "Vivement dimanche!"
Tournons les pages du livre, le Petit livre blanc
Y'a trop d'Arabes dans mon pays
Trop d'musulmans, trop d'pratiquants
Pas assez d'blancs, de bons chrétiens
Pour ramasser nos petites poubelles
On aime le vin, le saucisson
Les vraies valeurs de la nation
Que l'on marine dans la potion
Pour faire pâlir l'Islam, pour faire pâlir l'Islam
Les bonnes recettes du pot au feu
Que l'on cuisine dans notre histoire
Même la Saint-Barth et la Shoah
N'ont pas rendus ces gens moins sombres
Qu'on les opprime, qu'on les enferme
Dans leurs ghettos comme dans leurs camps
Voilà ce que pensent nos dirigeants
Jusqu'à ce que mort s'en suive, jusqu'à ce que mort s'en suive
Ah les salauds! Chantent à la gloire
De la victoire du Père fouettard
Ah les salauds! Chantent à la gloire
De la victoire d'la Mère facho
Que l'on libère nos langues de putes
Qui donnent la voix aux "députains"
A ces ministres qui chantent en chœur
Les pires chansons du Front, les pires chansons du Front
A ces penseurs par intérim
Qui crèvent l'écran à coups de haine
Et qui nous vendent à coups de peur
Tout le bonheur d'un père fasciste
Je veux vous dire comme je vous aime
Je vous châtie de tout mon cœur
En espérant qu'un jour prochain
Vous vivrez comme des chiens, vous vivrez comme des chiens
J'ai trop d'amour pour ce pays
Pour le lâcher entre vos mains
Tout entaché d'une âme impure
Je grave ces mots dans vos sillons
Allez chanter vos vieilles rengaines
Vous esclaffer de vos slogans
Vous endormir sur vos prières
Pour que demain soit pire, pour que demain soit pire

Ah les salauds! Chantent à la gloire
De la victoire du Père fouettard
Ah les salauds! Chantent à la gloire
De la victoire d'la Mère facho
Mais où sont-ils nos bien-pensants
Pour bâillonner la Femme sans tête
Vos grands penseurs de l'Elysée
Ne sont pas dignes de France, ne sont pas dignes de France
Je dirai tout ce que j'ai sur le cœur
Et peu m'importe ce que ça me coûtera
La liberté en ligne de mire
Sera mon seul chemin de croix
Je vous salue bande de salauds
Vous et vos pères les faux-dévots
Les fous de guerres et les fachos
Et vous les bons aryens, et vous les bons aryens
Ah les salauds! Chantent à la gloire
De la victoire du Père fouettard
Ah les salauds! Chantent à la gloire
De la victoire d'la Mère facho
Je vous salue bande de salauds
Vous et vos pères les faux-dévots
Les fous de guerres et les fachos
Et vous les bons aryens

Lyrics express discontent and critique of political and social issues, invoking themes of identity and belonging within a national context.

Vocals are delivered with a dynamic and expressive style, capturing the essence of social critique, with a passionate tone that enforces the critical message.

The song follows a clear narrative arc, starting with an engaging intro, leading into verses that build intensity, culminating in a rallying chorus that emphasizes collective frustration. The structure allows for passionate expressions reflected in both vocal delivery and instrumental dynamics.

A confrontational and satirical anthem that critiques societal issues and political leadership, merging biting lyrics with strong vocal delivery and rhythmic instrumentation. The song reflects a strong sense of national identity laced with outrage, challenging political correctness and questioning the status quo.

French spoken-word verses over a steady, mid-tempo pop groove

prominent acoustic guitar strumming forms the rhythmic backbone

minimalistic, punchy drum kit with a tight snare and crisp hi-hat

subtle synth layers add depth without overwhelming the acoustic elements

background vocals occasionally reinforce key phrases

lyrical delivery is rhythmic and conversational, carrying a socially conscious message

brief instrumental fills from electric bass and light percussive effects

overall tone is assertive yet melodic, balancing seriousness with catchy hooks.


Ur oljerökens sotmoln kom ett nytt alternativ
Nära nog en perpeetum mobile, ett mänsklighetens kliv
Planen var initialt i grunden väldigt klok
Oberoende ifrån fossila bränslens ok

Frihet för var individ var vad det skulle bli
Elektrisk kraft förädlad ur magnetenergi
Framtiden var ljus och tankekraftens källa god
Men det dröjde inte länge innan drivmedlet blev blod

Neodymium
Neodymium
Neodymium

Det blev en problematisk tid för skendemokratin
När ingen längre frågade om priset för bensin
Ty krav på annektering följde varje ny doktrin
Som skrevs för att förkunna framtidsekonomin

Neodymium
Neodymium
Neodymium

Blott i Österns gruvor bröts den ädlaste metall
Magnetens svala hjärta och framtidens kall
Tillgång kontra efterfrågan styr marknadens pris
Och lyckas allt som oftast resultera i en kris

Neodymium
Neodymium
Neodymium

Tillgång kontra efterfrågan styr marknadens pris
Och lyckas allt som oftast resultera i en kris

Neodymium
Neodymium

Neodämmerung


[Verse 1: male vocals; melodic; smooth; guitar; keyboard; searching; longing vibe; Smooth male vocals accompanied by gentle guitar and keyboard, creating a searching atmosphere.]
Busco una mirada, un punt de llum
Busco els teus ulls, els teus ulls
Sé que estàs per aquí, que estàs a prop
Però ara t’amagues

[Pre-Chorus: male vocals; reflective; emotive; keyboard; percussion; reflective and introspective mood; Reflective vocal style, building anticipation with soft percussion and melody that encourages a deeper emotional connection.]
Voldries ser ocell, ballar com balla el vent
Fugir com ho fa el temps
I ara que et tinc aquí, veig com la teva mirada...

[Chorus: male vocals; catchy; rhythmic; guitar; drums; bass; joyful; danceable energy; Catchy and rhythmic male vocals with an upbeat instrumental backing, making it inviting for listeners to join in.]
Ara ve, ara se’n va
Ooooh, oh, oh, oh, oooh...
Ara ve, ara se’n va
Ooooh, oh, oh, oh, oooh
La teva mirada
Ara ve ara se’n va!

[Verse 2: male vocals; melodic; smooth; guitar; keyboard; searching; uncertain vibe; Melodic male vocals continue the search theme, supported by gentle guitar and keyboard, enhancing the reflective mood.]
Busco entre la gent, busco els teus ulls
Et busco a tu
Però sota els teus peus la terra es mou
Vols enlairar-te

[Pre-Chorus: male vocals; reflective; emotive; keyboard; percussion; reflective and introspective mood; Emotive vocals rise, with increased rhythmic engagement, intertwining with light percussion.]
Voldries ser ocell, ballar com balla el vent
Fugir com ho fa el temps
I ara que et tinc aquí, veig com la teva mirada...

[Chorus: male vocals; catchy; rhythmic; guitar; drums; bass; joyful; danceable energy; Male vocals reach a higher emotional plateau with vibrant instrumental backing, resulting in a euphoric blend.]
Ara ve, ara se’n va
Ooooh, oh, oh, oh, oooh...
Ara ve, ara se’n va
Ooooh, oh, oh, oh, oooh
La teva mirada
Ara ve ara se’n va!

[Instrumental]

[Pre-Chorus: male vocals; reflective; emotive; keyboard; percussion; reflective and introspective mood; Repeat of the introspective build-up, maintaining the reflective theme through smooth vocals.]
Ohhhh
I ara que et tinc aquí, veig com la teva mirada

[Chorus: male vocals; catchy; rhythmic; guitar; drums; bass; joyful; danceable energy; Energetic repetition of the theme, ensuring a captivating engagement with the audience.]
Ara ve, ara se’n va
Ooooh, oh, oh, oh, oooh...
Ara ve, ara se’n va
Ooooh, oh, oh, oh, oooh
La teva mirada
Ara ve ara se’n va!

[Bridge: male vocals; dynamic; emphatic; drums; percussion; intense; emphatic delivery; Dynamic vocal emphasis with strong instrumental backing, creating an intense moment highlighting the song's heartbeat.]
Sota la terra es mou, (ara ve, ara se’n va)
Sota la terra es mou, (crema!)
Sota la terra es mou, (ara ve, ara se’n va)
Sota la terra es mou, (un món en flames)

[Outro: instrumental; instrumental; reflective instrumental; Instrumental section that fades gracefully, giving space for reflection.]

[Instrumental]

The song maintains a danceable tempo, progressing through smooth transitions from reflective verses to energetic choruses. The use of instrumentals elegantly transitions between sections, with bridges that emphasize emotional peaks.

The vocals feature smooth melodic lines that carry an emotive quality throughout the piece. The male vocalist delivers nuanced performances, varying from reflective to joyfully engaging expressions.

The lyrics express themes of searching and longing, filled with vivid imagery that resonates with listeners on a deeper level.

An uplifting tune characterized by vibrant rhythms and melodic instrumentation. The song captures the essence of searching and longing, seamlessly blending different styles to create a dynamic listening experience. Its instrumentation is richly layered, combining elements of pop and reggae with a modern twist, making it ideal for danceable moments. The overall mood is reflective yet joyful, inviting listeners to explore personal sentiments through its sound.


[Intro: male vocal; laid-back; rhythmic; electronic beats; subtle synths; casual; urban vibe; A laid-back entry featuring rhythmic vocalizations, setting the tone with a hint of attitude.]
B-L-A-C-K M, les gros yeux
Laisse-moi faire, pousse-toi
Laisse-laisse-moi faire, pousse-toi
Laisse, laisse, laisse-moi faire
Hmmm, hmmm, hmmm

[Refrain: male vocal; strong; catchy hook; synth-heavy backing; rhythmic beats; catchy; infectious; Strong, assertive vocals with a catchy melodic hook, reinforced by energetic drumbeats and synths.]
Ils veulent nos codes et nos gimmicks, oh
Le Wati B, c'est no limit, oh
Ils veulent représenter ma ville, oh
Mais ils savent qui contrôle Bériz, oh
J'marche seul, j'suis ailleurs
Ailleurs, loin de tout game
J'marche seul, ailleurs
Ailleurs, comme les Saiyan

[Pont 1: male vocal; assertive; flowing; electronic beats; minimal instrumentation; dark; reflective mood; Assertive vocals navigate through a minimalist soundscape, portraying a sense of confidence.]
J'avance dans l'noir
Mes gros yeuz' en guise de phares, j'ai pas d'frein

[Couplet 1: male vocal; aggressive; narrative-driven; strong drum beat; bass synth; layered sounds; confrontational; assertive; Aggressive and dynamic vocal delivery, establishing a narrative with a compelling rhythm and backing.]
Hello le game, comment allez-vous depuis "Wati House" ?
Quoi !? C'est le Big Black M que tu compares à cet enfoiré de Mickey Mouse
Click, click, bang #WesleySnipes, laisse, la famille, vas-y, laisse-les s'lèb'
De toutes façons, poto, le monde est spéc', je veux juste qu'on me paye, moi, et en espèces
Mayday, venez m'aider, je ne veux pas de vos ladies, j'vous l'ai dit
Je veux des fafs à la mairie, c'est pénible, la que-ban' ne fait pas crédits, j'suis pas crédible
Mon équipe, elle est critiquée, si tu la pousses à bout, tu peux te faire liquider
Sors de ta bulle, ce n'est pas mitigé, c'flow que t'entends, ça fait plus de dix piges
Black kickeur, oh, les MCs, vous me fatiguez
J'regrette l'époque où Lefa kickait et toi, on ne sait toujours pas qui t'es
Ça kick comme c'n'est pas permis, si tu négliges, on te termine
Oui, Black Shady n'est qu'une vermine, oui, je suis ton père, et je te fle-gi'

[Refrain: male vocal; strong; catchy hook; synth-heavy backing; rhythmic beats; catchy; infectious; Powerful vocal repetition captures the listener's attention, persistently driven by a strong musical foundation.]
Ils veulent nos codes et nos gimmicks, oh
Le Wati B, c'est no limit, oh
Ils veulent représenter ma ville, oh
Mais ils savent qui contrôle Bériz, oh
J'marche seul, j'suis ailleurs
Ailleurs, loin de tout game
J'marche seul, ailleurs
Ailleurs, comme les Saiyan

[Pont 1: male vocal; assertive; flowing; electronic beats; minimal instrumentation; dark; reflective mood; Maintaining an assertive tone, the minimalistic arrangement supports the confident vocal flow.]
J'avance dans l'noir
Mes gros yeuz' en guise de phares, j'ai pas d'frein

[Couplet 2: male vocal; confident; storytelling approach; layered sounds; pronounced bassline; rhythmic patterns; self-aware; braggadocious; A confident and assertive storytelling approach delivered over a pronounced bassline and driving beats.]
Ce n'est pas le premier single, non, c'est juste une pression, pression
Allô, les puristes de merde, le Black M ne veut pas de vos impressions
Ouais, j'ai le seum, je mélange tout, même l'ingé' son peut s'en manger une
La vérité sort de la bouche des alcooliques, ne venez pas me voir quand j'ai bu
Qui est dans le tur-fu' ? Oui, dis moi, qui est dans le tur-fu' ?
Les MCs te diront plus tard qu'à cause de moi leur passé fut dur
Moi, mon rap, c'est pas la ue-r', mais la ue-r', elle aime mon rap
J'ai l'antidote contre l'Alzheimer, oui, ma musique, elle est mémorable
Dans ma tête, j'suis pas solo, dites à tout le monde qu'il m'unfollow
Ou juste à Beyonce qu'elle me follow, j'sais que vous en redemanderez encore
Wesh, le game, c'est comment ? On s'ennuie ça fait un moment
Tout le monde prétend avoir du talent, voilà pourquoi Big Black, il est paro

[Refrain: male vocal; strong; catchy hook; synth-heavy backing; rhythmic beats; catchy; infectious; Engaging and infectious vocal melody returns, captivating the audience with its power.]
Ils veulent nos codes et nos gimmicks, oh
Le Wati B, c'est no limit, oh
Ils veulent représenter ma ville, oh
Mais ils savent qui contrôle Bériz, oh
J'marche seul, j'suis ailleurs
Ailleurs, loin de tout game
J'marche seul, ailleurs
Ailleurs, comme les Saiyan

[Pont 2: male vocal; repetitive; chant-like; electronic backing; repetitive synths; lively; chant-like atmosphere; A chant-like section builds collective energy, emphasizing the vocal presence with repetitive phrases.]
Tout le monde dit : "Black", "Black !"
Tout le monde dit : "Black", "Black !"
Tout le monde dit : "Black"
Ah, j'ai dit : "Tout le monde dit : "Black", "Black !"
Tout le monde voit Black, Black
Tout le monde voit Black, Black
Tout le monde voit Black, Black
Hein, j'ai dit : "Tout le monde voit Black"
Les yeux plus gros que le monde
Wati B, c'est no limit, oh
Wati B, c'est no limit, oh
Wati B, c'est no limit, oh
À suivre...

[Refrain: male vocal; strong; catchy hook; synth-heavy backing; rhythmic beats; catchy; infectious; The song closes with a powerful reiteration of the catchy hook, concluding on a strong note.]
Ils veulent nos codes et nos gimmicks, oh
Le Wati B, c'est no limit, oh
Ils veulent représenter ma ville, oh
Mais ils savent qui contrôle Bériz, oh
J'marche seul, j'suis ailleurs
Ailleurs, loin de tout game
J'marche seul, ailleurs
Ailleurs, comme les Saiyan

The vocals are characterized by strong, rhythmic delivery showcasing confidence and lyrical dexterity, maintaining a blend of storytelling and assertiveness throughout the track.

The song begins with a rhythmic introduction that gradually evolves into strong, impactful verses. The dynamic flow keeps listeners engaged, moving seamlessly from introspective moments to energetic choruses and back, concluding with a powerful reiteration of the themes explored.

The lyrics present themes of individuality, resilience, and commentary on the music industry and urban culture, providing a snapshot of life and the artist's perspective.

This track presents a powerful blend of assertive vocals and impactful beats. The driving rhythm, complemented by electronic sounds, creates a vibrant atmosphere that captures the essence of urban life and individuality. Lyrically, it embraces themes of personal resilience and defiance, while the dynamic delivery enhances its compelling nature.


Navidad, es Navidad
Toda la Tierra se alegra
Y se entristece la mar
Marinero, ¿a dónde vas?
Deja tus redes y reza
Mira la estrella pasar

Marinero, marinero
Haz en tu barca un altar
Marinero, marinero
Porque llegó Navidad

Marinero, marinero
Haz en tu barca un altar
Marinero, marinero
Porque llegó Navidad

Noches blancas de hospital
Dejad el llanto esta noche
Que el niño está por llegar
Caminante sin hogar
Ven a mi casa esta noche
Que mañana Dios dirá

Caminante, caminante
Deja tu alforja llenar
Caminante, caminante
Porque llegó Navidad

Caminante, caminante
Deja tu alforja llenar
Caminante, caminante
Porque llegó Navidad

Ven, soldado, vuelve ya
Para curar tus heridas
Para prestarte la paz
Navidad, es Navidad
Toda la Tierra se alegra
Y se entristece la mar

Tú que escuchas mi mensaje
Haz en tu casa un altar
Deja el odio y ven conmigo
Porque llegó Navidad

Tú que escuchas mi mensaje
Haz en tu casa un altar
Deja el odio y ven conmigo
Porque llegó Navidad

Y en la misa del Gallo los coros desgarran sus cuerdas
Y extasiada ante el Cristo que nace
Una madre reza por el hijo que fuera de casa sentirá tristeza
Y los ojos del hijo esa noche, llorarán con ella (tú que escuchas mi mensaje)
Haz en tu casa un altar
Deja el odio y ven conmigo
Porque llegó Navidad


[Intro: male vocal; commanding; assertive; heavy bass; minimalist drum beat; stark; energetic vibe; establishes mood; The track opens with assertive vocals, setting a confident and commanding tone, accompanied by a minimal but heavy bass line.]
Han, ekip

[Refrain: male vocal; powerful delivery; catchy; strong beats; electronic synth backdrop; catchy; repetitive; draws listeners in; The refrain features strong vocal delivery with an infectious rhythm, supported by a powerful electronic synth backdrop that enhances its catchiness.]
Chen Zen, Majster (ekip), faut des grosses sommes comme des pasteurs (pow)
J'fume des OG, j'fume des masters, fuck des diplômes, j'ai mes masters (han)

[Couplet 1: male vocal; aggressive tone; lyrical flow; rhythmic drums; deep bass; synth sounds; rapid-fire delivery; engaging and confrontational; Engaging rap verses with aggressive tones, layered over rhythmic beats and deep bass, creating a confrontational atmosphere.]
Impose NRM en tirant, chaque 16, j'prends dix rangs, fuck Donald comme en Iran (hein)
J'bois pas d'Alizé, jeune nègre avisé, pharaon noir comme à Gizeh (pow)
Ekip (skrt), j'ai les onion et les URL (haha)
Au mic, j'ai les techniques des négros des URL (pow, pow)
New York Cité, capuche pointu comme un membre du Klan (KK-K)
Ekip à vie, négro j'peux mourir pour n'importe quel membre du clan (ekip)
Soldat sans grade, toutes les prods repartent sans crâne
(Ah, ekip, ekip, ekip) Brûle la cali par cent grammes
Maudits, ils veulent nous bloquer ok, Chen Zen sur la prod comme au hockey (skrt)
Ils ont plus d’âme, ils l'ont troquée (han) mal fons grave vif comme si j'étais coké, ekip

[Refrain: male vocal; powerful delivery; catchy; strong beats; electronic synth backdrop; catchy; repetitive; draws listeners in; The refrain features strong vocal delivery with an infectious rhythm, supported by a powerful electronic synth backdrop that enhances its catchiness.]
Chen Zen, Majster (pow), faut des grosses sommes comme des pasteurs (cash)
J'fume des OG, j'fume des masters (loud), fuck des diplômes, j'ai mes masters  (ha)
Chen Zen, Majster (han), faut des grosses sommes comme des pasteurs (pow)
J'fume des OG, j'fume des masters, fuck des diplômes, j'ai mes masters
Chen Zen, Majster (ekip), faut des grosses sommes comme des pasteurs (cash, cash)
J'fume des OG, j'fume des masters (loud), fuck des diplômes, j'ai mes masters (han)
Chen Zen, Majster (pow, pow), faut des grosses sommes comme des pasteurs (cash, cash, yeah)
J'fume des OG, j'fume des masters (han), fuck des diplômes, j'ai mes masters

[Couplet 2: male vocal; intense; confident; impactful beats; prominent bass lines; powerful; emphasizes lyrical narrative; Intense and confident vocal performance, complemented by impactful beats that accentuate the lyrical weight.]
J'vais honorer mon BEP électrotechnique, nigga
J'vais t'mettre trois coups de taser
J'veux reconstruire l'Afrique, pas égorger Bassem
Touche pas à nos femmes si t'es masseur
Ou si t'aimes ma sœur
J'regarde pas les films de boules avec des femmes noires dedans
T'as pas l'droit de te branler sur ta sœur, nigga
Yeah, yeah, yeah
J'suis trop chaud, c'est indécent
Montez le son, le sang
J'serai plus haut que Lomepal et tous les fils de papa qui s'ront connu dans deux ans avec ou sans la pendaison

[Refrain: male vocal; powerful delivery; catchy; strong beats; electronic synth backdrop; catchy; repetitive; draws listeners in; The refrain features strong vocal delivery with an infectious rhythm, supported by a powerful electronic synth backdrop that enhances its catchiness.]
Chen Zen, Majster (pow), faut des grosses sommes comme des pasteurs (cash)
J'fume des OG, j'fume des masters (loud), fuck des diplômes, j'ai mes masters (ha)
Chen Zen, Majster (han), faut des grosses sommes comme des pasteurs (pow)
J'fume des OG, j'fume des masters, fuck des diplômes, j'ai mes masters
Chen Zen, Majster (ekip), faut des grosses sommes comme des pasteurs (cash, cash)
J'fume des OG, j'fume des masters (loud), fuck des diplômes, j'ai mes masters (han)
Chen Zen, Majster (pow, pow), faut des grosses sommes comme des pasteurs (cash, cash)
J'fume des OG, j'fume des masters, fuck des diplômes, j'ai mes masters (han)

[Outro: male vocal; assertive; impactful; dynamic beats; synth accents; strong finish; impactful delivery; leaves a mark; A strong conclusion to the track, with assertive vocals and dynamic beats, leaving a lasting impression with its impactful lines.]
J'suis l'obscurité en pleins phares (soudé comme le logo Audi)
À chaque punchline, j'perds un fan (s/o Alpha, que des danseurs de logobi)
Si la vérité blesse, c'est pas une bouche que j'ai c'est un shlass (soudé comme le logo Audi)
C'est un shlass, c'est un shlass, quelle punchline (s/o Alpha, que des danseurs de logobi)
J'vais pas t'faire un dessin on va t'écraser tu vas faire que-tchi
Quoi ?
Essaie seulement
J'veux une femme en mode saint pas une femme avec des djinns
Beaucoup de feuj me prennent, haha, pour un musulman

Beginning with a commanding introduction, the song builds momentum through repetitive refrains, leading into rapid-fire verses that maintain high energy. The production remains consistent in its aggressive tone, contributing to a cohesive structure that emphasizes the assertive messaging.

The track embodies a confrontational and defiant spirit, characterized by aggressive beats and powerful vocal performances. The production features heavy bass lines combined with rhythmic elements that propel the verses forward. The lyrical content includes social commentary, touching upon themes of success and struggle, resonating powerfully with listeners.

The vocals are powerful and engaging, with a mix of rhythmic flow and lyrical intensity that draws the audience into the narrative.

The lyrics deliver a hard-hitting social message, addressing themes of ambition, identity, and resilience within a modern urban context.

Dark, brooding trap and UK drill production, deep 808 sub-bass, skittering hi-hats, crisp snare hits, menacing synth textures, ominous pads, heavy use of rhythmic electronic elements, sparse melodic content, aggressive French rap verses from two male vocalists (duet), flow switches between rapid-fire and laid-back, cryptic and coded lyrics with frequent allusions to political issues, street life, crime, and underworld references, cold and nocturnal atmosphere, vocal performances marked by a tense, boastful, and sometimes icy delivery, subtle background adlibs and sound effects to heighten tension, no overt melodic hooks, maintains a sombre and anxious tone throughout, no notable chart positions or major awards.


[Strofa 1: male vocals; soft and contemplative; piano; subtle string arrangement; reflective mood; Soft, contemplative male vocals introduced alongside a gentle piano melody, creating an introspective atmosphere.]
Ne, nisam ti rekao sve
Jednostavno nisam imao snage za to
Ne, nisam ti rekao da
Da je nekad ovo mirno more bilo nemirno

[Prijelaz: male vocals; emotionally charged; soft percussion; emotional build-up; The vocals become more emotionally charged, enhancing the sense of longing and conflict.]
Al' neke se noći naprosto dogode
Neke te oči do smrti pogode

[Strofa 2: male vocals; introspective and reflective; guitar; gentle piano; introspective and contemplative; The introspective and reflective male vocals continue, complemented by gentle guitar and piano, deepening the emotional narrative.]
Ne, nisam ti priznao da
Da sam ponekad i sam poželio da odem na dvor
Ali sam ostao, ona ista osoba
Kakva sam želio da budem kad budem izlazio

[Prijelaz: male vocals; emotionally charged; soft percussion; emotional build-up; The emotional intensity increases as the vocals express vulnerability and strength.]
Al' neka se vrata preteško otvore
Neke se riječi još teže izgovore

[Pred-Refren: male vocals; revealing tone; piano; light strings; anticipation and revelation; The vocals take on a revealing tone, supported by a light string arrangement, building anticipation.]
Otkriću ti tajnu, koju sam skrivô
Danima što s'ja u pjesku živom
Otkriću ti tajnu, šta se klanja
Kad se čovjek umori

[Refren: male vocals; powerful and emotive; full instrumentation; including strings and percussion; climactic and heartfelt; Powerful and emotive male vocals soar above a full instrumental arrangement, including strings and percussion, delivering the heartfelt message.]
Otkriću ti tajnu, koju sam skrivô
Godinama što su ostale u pjesku živom
Otkriću ti tajnu, šta se klanja
Kad se ljudi umore od bježanja

[Strofa 3: male vocals; expressive and strong; guitar; soft piano melody; expressive and somber; The expressive and strong male vocals convey a sense of struggle, backed by a soft guitar and piano melody.]
Ne, nisam ti priznao nju
Taj pust led ledeni pojas pod opsadom
Ni to da se, ljudi sumnjom zaraze
O, Bože, jednako lako kao i prehladom

[Prijelaz: male vocals; emotionally charged; soft percussion; emotional build-up; The emotional charge in the vocals rises once more, intensifying the narrative.]
Al' neke se noći naprosto dogode
Neke te oči do smrti pogode

[Pred-Refren: male vocals; revealing tone; piano; light strings; anticipation and revelation; A revealing tone in the male vocals returns, as the instrumentation sets a hopeful tone.]
Otkriću ti tajnu, koju sam skrivô
Danima što s'ja u pjesku živom
Otkriću ti tajnu, šta se klanja
Kad se čovjek umori

[Refren: male vocals; powerful and emotive; full instrumentation; including strings and percussion; climactic and heartfelt; The climactic moments are characterized by powerful and emotive male vocals over a rich and dynamic instrumental backdrop.]
Otkriću ti tajnu, koju sam skrivô
Godinama što su ostale u pjesku živom
Otkriću ti tajnu, šta se klanja
Kad se ljudi umore od bježanja
Otkriću ti tajnu, koju sam skrivô
Godinama što su ostale u pjesku živom
Otkriću ti tajnu, šta se klanja
Kad se ljudi umore od bježanja
Otkriću ti tajnu, koju sam skrivô
Godinama što su ostale u pjesku živom
Otkriću ti tajnu

A melodic and emotional song that resonates deeply with listeners. The gentle piano and strings create a reflective atmosphere, while strong, soulful male vocals deliver an emotive narrative about love, struggles, and truth.

Beginning with gentle melodies and soft vocal introspection, the song gradually builds in intensity, with powerful choruses and rich instrumentation that culminates in a deeply emotive experience.

The lyrics convey deep introspection, revealing layers of emotion and the complexities of relationships.

The smooth and emotive male vocals throughout provide a consistent emotional depth, inviting listeners into the narrative.

Melodic pop with a distinct Balkan influence, acoustic guitar and gentle electric guitar textures, steady mid-tempo drum beat, bass guitar grounding the harmony, subtle string section layering warmth, expressive accordion phrases weaving through the arrangement, heartfelt male vocal line prominent and emotive, soft background synthesizers for atmospheric depth, occasional hand percussion accents, rich melodic hooks and storytelling lyricism

a tender, polished production shaped by regional pop sensibility.


Já te dei o ar de minha graça
O meu sorriso, luar na ilha
Balancei o chão da tua praça
Senti teu lume, farol de milha

Emanei uma energia
No seu jardim em flor
Vou me perder de amor
Vou me perder de amor

Derramei minha alegria
Pra todo mundo ver
A cara do prazer, a cara do prazer
Já te dei o mel da minha casca
O meu abrigo, a minha fama
Balancei o ar nas minhas asas
Segui seu rumo, atua chama

Te vi solta no ar
Te vi solta no ar
Te vi solta no ar sem parar


[Estrofa 1]
Encuentra espacio en la mesa
Enseña tus habilidades sociales
Inclina tu cabeza, aquí son devotos
Pero tú y yo somos pioneros
Hacemos nuestras propias reglas
Nuestro propio espacio, aquí no hay prejuicios
Déjalos vender lo que estén vendiendo
Aquí no hay compradores
Así que reúne a todos los rebeldes ahora
Despertaremos la rebelión y cantaremos en voz alta
No nos importa lo que digan, de ningún modo
Y dejaremos las sillas libres
Para los que nos dicen que no nos podemos sentar ahí
Estamos bien nosotros solos
[Pre-estribillo]
Así que sí, trajimos nuestro tambor y así es como bailamos
Sin errores, hacemos nuestras pausas, si no te gusta nuestro 808
Entonces déjanos en paz porque no necesitamos tus políticas
No tenemos disculpas por ser...

[Estribillo]
Encuéntrame donde están las cosas salvajes
Oh, Dios, estaremos bien
No nos molestes, sí
Encuéntrame donde están las cosas salvajes
Oh, Dios, estaremos bien
No nos molestes, sí
Encuéntrame donde están las cosas salvajes

[Estrofa 2]
Perdí el equilibrio encima de estas cáscaras de huevo
Me dijiste que pisara, yo prefiero ser una salvaje, en su lugar
No quiero pasar el tiempo entre la multitud
Los niños guay no son guay para mí
No son más guay que nosotros

[Pre-estribillo]
Así que sí, trajimos nuestro tambor y así es como bailamos
Sin errores, hacemos nuestras pausas, si no te gusta nuestro 808
Entonces déjanos en paz porque no necesitamos tus políticas
No tenemos disculpas por ser...

[Estribillo]
Encuéntrame donde están las cosas salvajes
Oh, Dios, estaremos bien
No nos molestes, sí
Encuéntrame donde están las cosas salvajes
Oh, Dios, estaremos bien
No nos molestes, sí

[Puente]
Nosotros nos tallaremos nuestro sitio en el tiempo y el espacio
Recorreremos el camino o lo haremos nosotros mismos, di "hey, hey, hey"
Descubre que eres genial, no escondas tu cara
Y déjala brillar, brillar, brillar, brillar, brillar, brillar

[Pre-estribillo]
Así que sí, trajimos nuestro tambor y así es como bailamos
Sin errores, hacemos nuestras pausas, si no te gusta nuestro 808
Entonces déjanos en paz porque no necesitamos tus políticas
No tenemos disculpas por ser...

[Estribillo]
Encuéntrame donde están las cosas salvajes
Oh, Dios, estaremos bien
No nos molestes, sí
Encuéntrame donde están las cosas salvajes
Oh, Dios, estaremos bien
No nos molestes, sí
Encuéntrame donde están las cosas salvajes


Eu não sou boa influência pra você
Ando distraído entre as nuvens
Coleciono botecos sombrios
Você nunca vai fugir comigo
Madrugada pra beira da praia
Dizes com quem andas
E eu digo que não és da minha laia

Eu não sou boa influência pra você
Nunca rezo antes de dormir
Sempre vou dormir depois das quatro
Você nunca vai sair comigo
Pelas tardes pra almoçar pastéis de vento
Eu não faço planos, traço versos
Me apresso em passos lentos
Não vou ser eu
Quem vai mudar teu jeito de tentar viver
Tão certinha, direitinha
Sem defeitos
Não vou ser eu
Quem vai fazer você descer do salto
Pra te olhar do alto
Em pernas-de-pau de palhaço
Me ergo

Eu não sou boa influência pra você
Ando distraído entre as nuvens
Coleciono botecos sombrios
Você nunca vai fugir comigo
Madrugada pra beira da praia
Dizes com quem andas
E eu digo que não és da minha laia

Eu não sou boa influência pra você
Nunca rezo antes de dormir
Sempre vou dormir depois das quatro
Você nunca vai sair comigo
Pelas tardes pra almoçar pastéis de vento
Eu não faço planos, traço versos
Me apresso em passos lentos

Não vou ser eu
Quem vai mudar teu jeito de tentar viver
Tão certinha, direitinha
Sem defeitos
Não vou ser eu
Quem vai fazer você descer do salto
Pra te olhar do alto
Em pernas-de-pau de palhaço
Me ergo

Eu não sou boa influência pra você
Eu não sou boa influência pra você
Eu não sou boa influência pra você
Eu não sou boa influência pra você
Eu não sou boa influência pra você

The vocals are soft and emotive, creating a sense of intimacy while sharing personal reflections.

The lyrics delve into themes of relationships and personal identity, exploring the idea of influence and individuality.

The song begins with a gentle introduction, steadily building in emotional depth as it progresses. Each verse unfolds a narrative, while the chorus reinforces the reflective theme with its repeated affirmations. The overall structure allows for gradual development, leading to a soft conclusion.

An introspective piece that blends gentle melodies with reflective storytelling. The song captures the essence of self-awareness and personal choices in a poetic manner. The instrumentation is minimalistic, allowing the emotive vocal performance to take center stage. The repetitive phrases in the chorus contribute to its emotional weight, helping to convey a sense of melancholy.


[Intro: male vocals; smooth; inviting; synth; soft backing instruments; smooth; inviting; flirty; Engaging male vocals set the tone with a smooth delivery, complemented by soft synths that create an inviting atmosphere.]
Yo sé lo que quieres tú de mí, de mí
Y yo de ti

[Verso 1: male vocals; melodic; flirtatious; guitar; light percussion; romantic; engaging; playful; The vocalist uses a melodic and flirtatious tone, blending with light guitar and percussion that maintain a romantic vibe.]
No sé si me conoces
Nada más te he visto a ti una vez
Ese día fue que me enteré
Eh-ih
Que eres perfecta
Me gustas de los ojos hasta los pies
Es que ya yo sé que eres familiar

[Pre-Coro: male vocals; confident; playful; synth; drum machine; confident; enticing; The energy shifts slightly; confident vocals express playful intent while being supported by a rhythmic synth backdrop.]
'Cause I know that this ain't love
It's just in between us
Give it to you right
Do whatever you like
Trust me
Ay, yo no sé si esto es amor
Que se quede entre tú y yo
Ven dale, back it up
Que you know what's up, girl

[Coro: male vocals; catchy; engaging; full band; rhythmic backing; catchy; memorable; A catchy chorus emerges, where the vocals become more engaging, drawing in listeners with rhythmic energy and full band backing.]
Yo sé lo que quieres tú de mí, de mí
Y yo de ti, yeah, yeah
Yo sé lo que quieres tú de mí, de mí
Y yo de ti
Y yo de ti, baby, oh

[Verso 2: male vocals; inviting; sensual; synth; bass line prominent; upbeat; sensual; The tone remains inviting and sensual, as the male vocals weave through a deeper bass line and synths, creating an upbeat atmosphere.]
Take you in the morning
We can do it over again
I don't want this moment to end, oh no
So, baby, no compare'
Ven, echa pa'cá ven y dale
Ay, me tiene mal cómo lo hace'
Uh, cómo lo hace'

[Pre-Coro: male vocals; confident; playful; synth; drum machine; confident; inviting; A return to confidence in the vocals, maintaining playful energy with the same synth and drum machine backdrop.]
'Cause I know that this ain't love
It's just in between us
Give it to you right
Do whatever you like
Trust me
Ay, yo no sé si esto es amor
Que se quede entre tú y yo
Ven dale, back it up
Que you know what's up, girl

[Coro: male vocals; catchy; engaging; full band; rhythmic backing; catchy; memorable; Once again, the chorus captivates with its catchiness and memorable melody, supported by rich instrumental backing.]
Yo sé lo que quieres tú de mí, de mí
Y yo de ti, yeah, yeah
Yo sé lo que quieres tú de mí, de mí
Y yo de ti
Y yo de ti, baby, oh

[Verso 3: male vocals; storytelling; intimate; synth; guitar; stronger percussion; storytelling; intimate; Intimate storytelling takes place, highlighted by stronger instrumentation that draws attention to the personal nature of the lyrics.]
Yo sé que está escuchando mis canciones
Yo sé que quieres que te lleve a todos mis performance
Lo sé, no hay que decir más
Cuando llego me pide más, yeah
Ella me quiere y no me conoce
Y cuando la llamo pa' janguiar mira lo bonita que se pone
Lo sé, no hay que decir, decir, cuando llego me dice

[Coro: male vocals; catchy; engaging; full band; rhythmic backing; catchy; memorable; Catchy and engaging, the chorus brings back the energetic vibe, maintaining its appeal with full instrumental support.]
Yo sé lo que quieres tú de mí, de mí
Y yo de ti, yeah, yeah
Yo sé lo que quieres tú de mí, de mí
Y yo de ti
Y yo de ti, baby

[Outro: male vocals; playful; concluding; synth; fading out; playful; concluding; The song concludes with playful male vocals, fading gently with synthesizers and rhythmic elements, leaving a lasting impression.]
Yo sé lo que quieres tú de mí, de mí
¿Que quiénes somos? CNCO
Y yo de ti, yeah, yeah
Yo sé lo que quieres tú de mí, de mí
Mí, de mí, mí, de mí
Y yo de ti

The lyrics reflect romantic intentions and playful interactions, portraying the excitement of newfound attraction and the thrill of flirtation.

The song radiates a vibrant and youthful energy, perfectly blending romantic themes with an upbeat reggaeton-pop sound. It's an engaging track that inspires listeners to join in on the fun filled with flirtation and playful banter. The instrumentation, reflecting a mix of synths and rhythmic beats, creates a danceable atmosphere that captures the essence of modern Latin pop music.

Beginning with inviting synths and light instrumentation, the song builds in energy through each verse and thoroughly engages in the choruses. There is a smooth flow between the intimate verses and catchy choruses, maintaining high energy throughout, leading to a charming conclusion.

The male vocals throughout are smooth and melodious, interspersed with harmonious elements that add depth and richness to the listening experience.


Asumida la derrota, asumida a la derrota mayor
Una cosa lleva a otra, asumida a la derrota mayor
Elijo lugar para cenar, botella de vino para empezar
Se que decirlo es tan sencillo, pero cuando
Asumida la derrota est, asumida la derrota mayor
Yo quisiera metaforizarla asumida la derrota mayor
Y no paro de hablar, buscando aparentar
Que no muero de nervios
Y ya estoy pensando que voy a acercarme
En cualquier momento, que lo que est pasando es el amor
Dime que lo sientes igual que yo
Yo s que no estoy loco!
Es el amor sigue la corriente y juguemos hoy
A descubrir la primavera en el interior
De tu habitacion.. Te invito
Haba roto corazones y esperado ese que nunca lleg
Pero cuando apareciste as, esa rutina para mi termin
Y cupido acert -para variar-
Con la segueta de oro atraves todas las barreras
Que haba erigido por el miedo al amor
Miedo que sin mas desapareci
Yo se que no estoy loco!
Es el amor sigue la corriente y juguemos hoy
A descubrirnos los secretos mas ntimos
Hasta el mas nfimo rincn ser
Una esquina del cielo
Esto es el amor dime que lo sientes igual que yo
Es el amor sigue la corriente y juguemos hoy
Esto es el amor dime que lo sientes igual que yo
Es el amor sigue la corriente y juguemos hoy
Vamonos a Roma. o vamos a Paris
Perdmonos en Tokio o besemonos en Berln
A Rio de Janeiro, Londres o Madrid
Vamos a Santiago
O quedmonos sin salir
Siempre aquí

The lyrics express a romantic narrative, inviting connections through love and travel, filled with imagery of various cities.

A heartfelt tune that combines intricate melodies with a romantic essence, encapsulating the beauty of love and travel. The instrumentation blends acoustic and electric elements, setting an inviting and reflective mood throughout the track. Vocals carry a smooth and expressive quality, enhancing the emotional depth of the song. The theme revolves around love, exploring intimate moments and romantic escapades to various cities, evoking nostalgia and warmth. It creates a sense of adventure and exploration that resonates deeply with listeners.

The vocals are smooth and expressive, bringing forth a dynamic range that enhances the heartfelt message of the song.

The song begins with a gentle acoustic guitar, establishing a reflective base before building into richer textures with strings and percussion. The choruses burst forth with joy and celebration, providing a contrast to the more introspective verses. The bridge heightens emotional intensity, ultimately leading back to a comforting conclusion, ensuring a successful musical arc that captivates the listener from start to finish.


パレードがやって来る 夜を叩き起こして
リクエストは君だよね?
言わなくても分かるんだ Yes, sir

365枚目の「失望」行きのチケット、キャンセル
憂鬱と衝動は
スイッチひとつで Upside down

目を閉じたオフィスタワー 大行列のタクシーも
君がタクトを振れば
さあ、Parade on, parade on, parade
踊りだす

All up to you you, all up to you you
今世界をかき鳴らそうよ
It's up to you you いつだって You you
ほらすべては君のミュージック
妄想パレード Welcome

誰だってブッ壊して 逃げ出したい日もあるじゃない
あいつより遠回り?
結果オーライって笑えばいいじゃん

街のざわめきだって、そうさ世界はブルーズ
生き物よ集まれ
ほら、parade on, parade on, parade
動きだす

All up to you you, all up to you you
行き交う言葉だって Sound of love
It's up to you you いつだって You you
このすべてが君のミュージック
妄想パレード Welcome

All up to you you, all up to you you
足音も叫びも Sound of love
It's up to you you いつだって You you
Everybody かき鳴らせ Rockestra

All up to you you, all up to you you
今世界をかき鳴らそうよ
It's up to you you いつだって You you
今すべてが君のミュージック
Everybody 君こそミュージック

You you, you you

You you, you you

All up to you you, you you

You you, you you

パレードがやって来る 夜を叩き起こして
リクエストは君だよね?

言わなくても分かるんだ Yes, sir

365枚目の「失望」行きのチケット、キャンセル

目を閉じたオフィスタワー 大行列のタクシーも

ほらすべては君のミュージック
妄想パレード Welcome

誰だってブッ壊して 逃げ出したい日もあるじゃない
あいつより遠回り?

結果オーライって笑えばいいじゃん

街のざわめきだって、そうさ世界はブルーズ

このすべてが君のミュージック
妄想パレード Welcome


[Intro: male vocal; spoken-word style; energetic introduction; synths; upbeat electronic; vibrant; inviting; High-energy introduction with a spoken-word style that sets a lively tone.]
(Ladies and gentlemen, please welcome, B to the O
Ha Ha Ha Ha, Yeah Let's Go)

[Couplet 1: male vocals; expressive; conversational tone; drum machine; bass; subtle synth; playful; youthful expression; Expressive male vocals deliver a conversational tone, accompanied by driving synth and bass elements that create an engaging rhythm.]
La vie m'a toujours effrayé avec ses règles et son sérieux
On est tellement fatigués qu'a 20 ans on a l'air vieux
On garde une âme de môme sauf que contrairement à vous
On se fout du regard de l'autre, on avance en meute comme des loups

Habitués au bruit on n'communique que dans la nuit
Vous nous voyez tromper l'ennui à huit complètement cuits
On créé quand on rigole et pour nos soirées on se ruine
Elle se fini souvent à l'heure exacte où se lève la brume
Il n'y a pas une fille de la bande à qui j'ai pas dis "je t'aime"
Le taux d'alcoolémie élevé me permet de leur lire mes poèmes
On se fout de vos règles car on ne les suit pas
C'est beau de dire qu'on est tous égaux mais ça ne suffit pas

[Refrain: male vocals; catchy and playful; punchy drums; bass; catchy synths; carefree; rebellious spirit; Catchy and playful male vocals contrast with the upbeat electronic production, providing a sing-along feel.]
I don't wanna know what's a life we have fine
I don't give a sh*t 'cause I'm under the sun
I don't understand why people wanna slept tease
You won't see me cry 'cause we're just kool kids

[Couplet 2: male vocals; relaxed delivery; positive vibe; electronic beat; synth pads; uplifting; Relaxed male vocals maintain a positive vibe, while a pulsing electronic beat creates an inviting atmosphere.]
La vie nous vexe donc les tej vite dans la vitesse
Grand V pour planter le livreur, toutes les sensations de l'ivresse
C'est le moment propice pour délirer et délivrer un message positif sans s'auto-dénigrer
Les lumières s'éteignent, on reste toujours allumés
S'allonger sur de l'herbe à regarder la Lune mais les gens ne pensent qu'a bosser
Ils n'ont plus le temps donc on a décidé d'se lâcher le temps d'une chanson

[Refrain: male vocals; catchy and playful; punchy drums; bass; catchy synths; carefree; rebellious spirit; The catchy male vocals return, reinforcing the carefree spirit of the song with infectious energy.]
I don't wanna know what's a life we have fine
I don't give a sh*t 'cause I'm under the sun
I don't understand why people wanna slept tease
You won't see me cry 'cause we're just kool kids ('cause we're just kool kids)

[Couplet 3: male vocals; passionate and assertive; driving beat; layered synth elements; energetic; reflective tone; Passionate and assertive male vocals accompanied by a driving beat convey a sense of urgency while addressing the complexities of youth.]
Arrogants si on nous parle mal, on s'offusque les gens -en ai marre-
On fatigue nos proche en étant crus dans nos propos à l'égard du monde extérieur
Êtes-vous sérieux ?
Un langage soutenu serait pour nous bien trop périlleux
Son fil envieux
Cette période où la vie à juste besoin d'être simple pour nous émerveiller
Apprendre à vivre avec son temps
Attendre les autres, c'est être autant humain que solidaire car la poursuivre c'est aussi dur qu'attendre

[Refrain: male vocals; catchy and playful; punchy drums; bass; catchy synths; carefree; rebellious spirit; The familiarity of the catchy vocals re-emerges, reinforcing the overarching theme of youthful rebellion and freedom.]
I don't wanna know what's a life we have fine
I don't give a sh*t 'cause I'm under the sun
I don't understand why people wanna slept tease
You won't see me cry 'cause we're just kool kids

[Outro: male vocal; expressive; celebratory tone; electronic elements; fade out; celebratory conclusion; An expressive conclusion with layered electronic elements that showcase the song's vibrant energy as it fades out.]
B to the, O to the S, to the T, and E
You won't see me cry 'cause we're just kool kids (Yeah)

A vibrant, upbeat track that embodies the spirit of youth and rebellion. The combination of catchy melodies, playful lyrics, and energetic beats creates a carefree atmosphere that's perfect for letting loose. The song's production features lively synths, driving electronic bass, and rhythmic drum machines that keep listeners engaged and moving. The lyrics explore themes of freedom and youthful exuberance, inviting listeners to join in the fun. Overall, it captures a sense of living in the moment and embracing life without care.

The lyrics highlight the carefree nature of youth, with messages of rebellion, friendship, and living in the moment.

The vocals blend laid-back and expressive styles, featuring a mix of conversational and catchy elements that engage the listener throughout the track.

The song begins with an energetic introduction, establishing a lively vibe that carries through the playful verses and anthemic choruses. Each section builds on the previous themes, contributing to a cohesive narrative about youth's carefree spirit. The song's progression is smooth, seamlessly transitioning between engaging vocal lines and dynamic electronic instrumentation.


[Songtext zu „Mach so“ ft. Ghanaian Stallion]

[Intro]
Dicka, haha, hehe
Wer hätte je gedacht?
Ich nicht, ich nicht
Guck doch einfach mal, guck doch einfach
(Guck mal, wo wir sind, Bruder)

[Hook]
Wer hätte je gedacht, Bro
Früher ging nix, heute geht es ab, yo
Sie sagten, „Das wird nie was“, ich sag', „Achso“
Zieh' an ihn'n vorbei, check den Tacho, ha
Alle sagen, mach nicht, doch ich mach' so, ha
Scheine in die Kasse, kein Inkasso, ha
Pineapple Kush, Blue Gelato, ha
Frauenstimm'n für die Atmo
[Part 1]
Keine Perspektivе, doch wir schaffen das
Alle heulеn rum, doch wir lassen das
Sich zufrieden geben, nie, was 'n das?
Ich bin nur zufrieden mit dem, was ich mach'
Alle wollen mitreden, lass, ich mach'
Es war lange still, doch jetzt mach' ich Krach
Höre kein'n Hate, hör nur quack-quack-quack
Ich schnapp' nicht ein, ich schnappe zu – zappzarapp

[Bridge]
Früher immer Reis mit Sardinen
Das Leben schmeckt jetzt süß, Baby, Eis und Pralin'n
Es war lange dunkel, doch der Schein ist erschien'n
Ich grinde viel, keine Zeit, nimm Termin, ey
Heute alles bio, früher instant
Gebe ein'n aus, weil wir in sind
L für Lektion'n, immer Win-Win
War 'n weiter Weg, aber sind drin, ey

[Hook]
Wer hätte je gedacht, Bro
Früher ging nix, heute geht es ab, yo
Sie sagten, „Das wird nie was“, ich sag', „Achso“
Zieh' an ihn'n vorbei, check den Tacho, ha
Alle sagen, mach nicht, doch ich mach' so, ha
Scheine in die Kasse, kein Inkasso, ha
Pineapple Kush, Blue Gelato, ha
Frauenstimm'n für die Atmo

[Part 2]
Ich hab' lang gebraucht dafür
Kopf gefickt von all den Zweifeln
Wiese weggeraucht dafür
Mama brauchte Frieden, ich war auch dafür
Ich hatte ein'n Traum, keiner hat daran geglaubt
Ganz früher Zahnspange, Brille, ein Steve Urkel wie ich aussah, früher
Viel Potenzial, aber machte wenig draus dafür
Ich war so getrieben, ja, ich war ständig aus der Tür
Das hier ist ein Marathon, viele sind nicht gebaut dafür, ne, ey
No Business wie Showbusiness, man muss es erleben
Entertain'n, entertain'n, alle wollen etwas sehen
Dauernd fly sein und dabei für etwas stehen
Immer Hundert geben plus die extra Zehn

[Bridge]
Highlife, Dicka, High Five
Zwei Jennys, eine Henny mit – Nightlife
Haters in den Comments hab'n kein Life
Komm' in dein'n Club und ich zerreiß' live, ha

[Hook]
Wer hätte je gedacht, Bro
Früher ging nix, heute geht es ab, yo
Sie sagten, „Das wird nie was“, ich sag', „Achso“
Zieh' an ihn'n vorbei, check den Tacho, ha
Alle sagen, mach nicht, doch ich mach' so, ha
Scheine in die Kasse, kein Inkasso, ha
Pineapple Kush, Blue Gelato, ha
Frauenstimm'n für die Atmo

[Outro]
Lass, ich mach'
Zieh' an ihn'n vorbei, check den Tacho