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"Lithonia" by Childish Gambino is a moody, introspective track from his 2024 album *Atavista*, named after a small city in Georgia—perhaps a nod to Donald Glover’s formative years in the Atlanta area. The song leans into haunting, layered production and cryptic lyricism, reflecting on themes of nostalgia, escape, and personal reinvention. While Gambino is no stranger to bending genres, "Lithonia" carries a certain woozy, late-night melancholy that feels like a cousin to his *Because the Internet* era. Though not overtly sampled from another artist, the track certainly draws on the ethereal sonic textures he's explored in past works. As with much of Gambino’s music, the brilliance lies in its ambiguity—fans are left piecing together its connections to his larger artistic narrative. Is Lithonia a literal place or a metaphor for something deeper? With Glover, the answer is usually: both.
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can you feel the light inside?can you feel that fire? (can you feel it? can you feel it? Oh)oh, fire (can you feel it? can you feel it? ooh, oh) firecan you feel the light (inside) inside?can you feel that fire? (can you feel it?)oh, fire (fire), fire (ooh)
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Islands from the first time we saw
we could wait for this moment, like rocks on the shore
we can never be closer somehow
for the moments that lasts, is this moment now
(CHORUS)
When the nights's on fire will you keep the Candlelight Burning
Hold on to your hearts desire
When you see one bird into the wind another one's turning
And the two can fly much higher
We are Islands but never too far, we are Islands
And I need your light tonight, and I need your light tonight,
We are Islands but never too far, we are Islands
And I need your light tonight, and I need your light tonight
Islands never been to before and we climb so high
to where the wild birds soar, there's a new path that
we found just today I was lost in the forest and you
showed me the way
(Repeat chorus)
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"DBZ" by Your Old Droog is a lyrical flex wrapped in anime nostalgia, name-dropping *Dragon Ball Z* while delivering his signature sharp wordplay over a hazy, boom-bap beat. Droog, known for his intricate rhyme schemes and low-key mystique (remember when the internet thought he was secretly Nas?), often weaves pop culture into his raps, and here, he channels the battle-hardened grind of a Saiyan warrior. While the exact inspiration behind the track isn’t explicitly documented, it fits seamlessly into his larger discography of cerebral yet streetwise bars. If anything, "DBZ" is a testament to Droog’s ability to smash together high-brow lyricism with childhood obsessions—proving that rap nerds and anime heads share more DNA than they might think.
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"No One Noticed" by The Marías is a dreamy, melancholic track that encapsulates the band's signature blend of hazy vocals, sultry instrumentation, and introspective lyricism. While the band hasn’t explicitly detailed the song’s meaning, it carries a mournful sense of being overlooked or fading into the background—perhaps a meditation on lost love, personal struggles, or the fleeting nature of connection. The Marías are known for their cinematic, almost hypnotic sound, often channeling elements of jazz, psychedelia, and indie pop. Lead singer María Zardoya’s airy vocals float effortlessly over the track, giving it an almost ghostly quality. While "No One Noticed" doesn’t sample or cover another song, it feels like it could have existed in some parallel universe’s 1960s French film soundtrack—moody, mysterious, and effortlessly cool.
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Try and stop me
Try and save me
I want to fall...
Try and crush me
Take me, teach me
I want to fall
I want to fall
I want to fall...
I want to fall
I want to fall
I want to fall...
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DOECHII's track **"CATFISH"** is a sharp, playful banger that delves into the duality of online personas versus reality—essentially calling out the phonies who present one image on the internet but don’t measure up in real life. Known for her chameleonic style and fearless confidence, Doechii uses the song to flex her lyrical dexterity while keeping things fun and braggadocious. While there’s no direct sample at play, the track’s bouncy, bass-heavy production and catchy flow owe a debt to Southern rap’s influence, a signature vibe in much of her work. Doechii, often dubbed the "Swamp Princess" for her eclectic aesthetic, has been making waves as one of the most dynamic rising stars in hip-hop, and "CATFISH" is another example of why she refuses to be put in a box—online or off.
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Finally, I'm letting go of all my downer thoughts
In no time there'll be one less sad robot
Looking for a chance to be something more than just metal
Now I'm going part time with a film projectionist
And she's the vinyl queen from the surfer dream
She likes the beach boys more than radio metal
And she's so good
But she's no good for me
Oh, Miss Delaney
Whats the matter?
You waited by the window
(You waited by the window)
I waited by the door
Oh, Miss Delaney
Wheres your boyfriend?
He isn't up in heaven
So why treat him like he's dead?
Like he's...
It's not that everyday
Everyday is comming up with the green grass
But the times pass
When I think of you whenever I'm at dinner
Finally, I've found someone to duel this lonely sea
I don't spend my nights searching for earthquakes
Oh, it's biblical how fucked my sleep can be
But she won't sleep with me
Oh, Miss Delaney
Whats the matter?
You waited by the window
Waited by the window
I waited by the door
Oh, Miss Delaney
Wheres your boyfriend?
No, he isn't up in heaven
So why treat him like he's dead?
Like he's dead, like he's dead
From here you can't find everything
Erin, I would never lie to you
Oh, Miss Delaney, Miss Delaney
Whatcha sad for?
Well, you waited by the window
And I was kicking down your door
Oh, Miss Delaney
Wheres your boyfriend? Wheres your boyfriend?
He isn't up in heaven
So why treat him like he's dead?
Oh, Miss Delaney
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"Zero Sum" by The Smile is a haunting, cinematic closer to their 2024 album *Wall of Eyes*, drenched in melancholic strings and Thom Yorke’s signature existential lament. While Yorke is notoriously cryptic about song meanings, the title itself nods to game theory—suggesting a world where one person’s gain is another’s loss, a fitting theme for his usual meditations on power, corruption, and societal decay. The track unfurls like a slow-motion reckoning, with Johnny Greenwood’s orchestral arrangements adding a ghostly beauty reminiscent of his film scores. Interestingly, some fans have drawn parallels between the song’s mood and Yorke’s *Suspiria* soundtrack, and honestly, you can almost imagine Tilda Swinton eerily gliding through a dimly lit corridor to it. If this is The Smile’s version of a grand finale, it’s the kind that leaves you staring at the credits, pondering the meaning of existence.
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"Modesto" by Pedro the Lion is a somber, introspective track off *Phoenix* (2019), an album steeped in David Bazan’s nostalgia for his childhood and adolescent years. The song reflects on the bittersweet experience of touring—particularly the sense of emotional dislocation that can come when a city like Modesto is just another dot on the map. Bazan is a master of turning mundane moments into existential reflections, and here, he captures the loneliness and yearning that often accompany life on the road. Fun fact: Pedro the Lion originally disbanded in 2006, with Bazan continuing as a solo artist before resurrecting the moniker in 2017. If there's one thing he does better than writing heartbreaking songs, it’s making you feel like you lived them yourself.
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Lights go out and I can't be saved
Tides that I tried to swim against
You've put me down upon my knees
Oh I beg, I beg and plead, singing
Come out of things unsaid
Shoot an apple off my head
And a trouble that can't be named
A tiger's waiting to be tamed, singing
You are
You are
Confusion never stops
Closing walls and ticking clocks, gonna
Come back and take you home
I could not stop that you now know, singing
Come out upon my seas
Cursed missed opportunities
Am I a part of the cure
Or am I part of the disease, singing
You are, you are
You are, you are
You are, you are
And nothing else compares
Oh, oh no nothing else compares
And nothing else compares
You are
You are
Home, home where I wanted to go
Home, home where I wanted to go
Home, home where I wanted to go
Home, home where I wanted to go
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"Bored" by Waxahatchee is a standout track from *Tigers Blood*, Katie Crutchfield’s 2024 album that leans even further into her love of classic Americana and Laurel Canyon-style introspection. A jangly, almost deceptively peppy song, “Bored” is laced with lyrical ennui—it's a simmering meditation on dissatisfaction and emotional stagnation. Crutchfield has spoken about the album reflecting a sense of contentment and self-assurance, but “Bored” feels like the moment where even stability can start to feel like a rut. Sonically, it has a breezy, Tom Petty-esque swagger (not surprising, given she enlisted MJ Lenderman and Brad Cook to help craft the record’s warm, rootsy vibe). With her signature mix of plainspoken poetry and melody, Crutchfield turns mundane restlessness into something quietly anthemic—proof that even boredom, in the right hands, can sound beautiful.
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"Before" by Wye Oak is a shimmering exploration of memory and identity, wrapped in the band’s signature blend of dream-pop and indie rock. The song, from their 2020 EP *No Horizon*, finds Jenn Wasner reflecting on the way our past selves shape who we become—sometimes hauntingly, sometimes beautifully. Fueled by Wasner’s ethereal vocals and Andy Stack’s dexterous production, "Before" moves with a hypnotic urgency, like a dream you’re trying to remember before it slips away. Wye Oak has long thrived in that space between melancholy and catharsis, and this track is no exception. While it may not have been widely covered, its lush soundscapes make it an evocative and deeply personal experience for listeners—a little sonic time capsule waiting to be cracked open.
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"Mary Boone" by Vampire Weekend is a sleek and enigmatic track from their 2024 album *Only God Was Above Us*, named after the legendary New York art dealer who helped define the downtown scene of the '80s. Ezra Koenig crafts a song that feels like a late-night wander through a fading Andy Warhol polaroid—opulent, chaotic, and tinged with existential dread. While the track isn’t a straightforward biography, it invokes Boone’s high-flying rise and dramatic fall (she served time for tax fraud in 2019) as a lens for exploring themes of ambition, decadence, and inevitable comedowns. Musically, it’s Vampire Weekend at their most brooding, with haunting piano lines and a sense of spectral nostalgia hovering over the whole track. If there's a lesson here, it might be that every scene has its heyday—and its reckoning.
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"Bells and Whistles" by Bright Eyes is a charmingly off-kilter entry in Conor Oberst’s vast songbook, blending his signature existential musings with an almost playful delivery. While Oberst hasn’t given a deep dive into the song’s precise meaning, it revels in his classic themes of disillusionment, self-awareness, and the absurdity of modern life—though with a wink rather than a full existential meltdown. Musically, the track features jaunty instrumentation that contrasts with its introspective lyrics, a move Oberst has perfected over the years. While it’s not a cover or built on a prominent sample, longtime Bright Eyes fans will appreciate how it echoes some of his early work while still feeling fresh. Think of it as Oberst doing what he does best: finding beauty in the mess, with just the right amount of theatrical flair.
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What's this hell? What's this pen? Put me in the hole with the rest of the men? Who you going to call at the station? "I need matrimony" said the captain to his pony: listening for motors (from the ditch then)... oh water in the town water in the sound - water takes the valleys and it puts them in the ground: oh no not again!
Water by the trees water in the station (wherein the identification documents float from room to room): water from (and was birthed in) the birdland closed conservation. (said the shepherd) What's this hell? The earth does bend? Drown with the hunted and the hunter in his pen: la la I knew this man at the station (before the trucks disappeared) I need matrimony said the Cossack to his pony la la: listening for motors oh.. to party on the ground to puke on the ground to call your former mystic and you tell him he is found: not again!
You were born last and forced to breathe (but not to) drown with the hunter in the coarse brown sleeve: not again! Oh running from the polis you were passing in the forest and condition myself to believe in operating forests: you better think about woodcutters and the burning of the station la la I hear the motors and I hear the matrons and I hear the (groaning of) the Polis with the blessed birdland patron (a sort of Patroclus of the ages) I know myself I know myself I was cut from evil fabric but my nurse knows better health: you better think about woodcutters and lights on: lights on!
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Sure! *C'mon* (Single Version) by Panic! At The Disco is a fascinating collaboration with indie rock darlings *fun.*, blending Brendon Urie’s theatrical vocals with Nate Ruess’s anthemic style. Released in 2011 as a one-off single, the song feels like a sonic tug-of-war between Panic!’s baroque pop dramatics and *fun.*’s grandiose indie energy—yet somehow, it works beautifully. Lyrically, it seems to grapple with frustration and longing, evoking that bittersweet push-and-pull of chasing something just out of reach (fitting for two ambitious bands at the time). While it's not a cover or sample, it’s a hidden gem that showcases what could've been if these two acts had teamed up more often—a tantalizing "what if" scenario in the alt-pop universe.
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“Visions” by Norah Jones strikes a beautiful balance between dreamy introspection and a sense of longing. The song reflects her poetic exploration of love and connection, drawing inspiration from her feelings of vulnerability and hope. Notably, “Visions” features a lush arrangement that combines elements of jazz and folk, showcasing Jones’ hallmark smokiness in her voice.
As for trivia, it encapsulates Jones’s creative growth, being one of the standout tracks from her 2016 album, **“Day Breaks.”** Interestingly, it doesn’t sample or cover another song directly but is rooted in jazz traditions—an homage to that rich vein of music history she often draws from. So, in many ways, it's a reflection of her artistic evolvement while still staying true to her roots.
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"Good Luck, Babe!" by Chappell Roan is a shimmering, theatrical breakup anthem that drips with both heartache and a knowing smirk. The song explores the lingering grip of a past relationship, with Roan seemingly addressing an ex who insists they’ve moved on—though she’s not buying it. With its soaring, emotionally raw delivery, the track has drawn comparisons to Lana Del Rey’s melancholic storytelling, though Roan injects it with her signature campy drama. Fun fact: She’s often referred to as “the future pop princess of drag,” a title well-earned given her over-the-top aesthetics and infectious showmanship. “Good Luck, Babe!” feels like the indie-pop lovechild of Fleetwood Mac’s “Silver Springs” and a neon-lit fever dream, proving that Roan isn’t just here to play—she’s here to rule.
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“High Note [Feat. Stax Music Academy]” by Valerie June is a radiant expression of positivity and resilience, grappling with the complexities of facing societal struggles through the lens of upliftment. The inspiration behind the song highlights June’s deep-rooted appreciation for community and collaboration, prominent in the involvement of the Stax Music Academy, which further captures the essence of soul music’s past and Numative optimistic spirit. Notably, the track is interwoven with elements that echo Valerie June's distinctive blend of folk, blues, and soul, illuminating the song's resonating message about staying aligned with one’s voice amidst chaos. Also, the Denver production essentially engulfs the powerful heritage linked with the legendary Stax Records, inspiring a reverence for musical story-telling. As she quips with grace, "weight matched delight," lifted center-stage—and who doesn't love a bit of lyrical play?
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Lola Young’s song *Fuck* is a raw, soul-baring lament about the emotional chaos of a deteriorating relationship, where love and frustration tangle into one messy, expletive-laden confession. Released in 2021, the track showcases Young’s signature blend of neo-soul and singer-songwriter vulnerability, dripping with the kind of unfiltered honesty that makes you feel like you’ve just read a private diary entry. Her raspy vocals and stripped-down production amplify the song’s intimacy, making every lyric hit a little harder. While *Fuck* isn’t built on any major samples or covers, it does carry shades of classic confessional songwriting, reminiscent of artists like Amy Winehouse or even Jorja Smith. Fun fact: despite its NSFW title, the song found a wide audience, proving once again that raw emotion (and a well-placed expletive) resonates beyond radio-friendliness.
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There is no insanity, rather a super sanity
More suited for life at the end of the 20th century
Where everything is art
And everything is trying to express it
Where everything is art
And everything is trying to communicate it...
All intelligent beings sleep the dreaming of dreams
And they've all come up to meet met tonight
Although while in the morning, all their wonder and their
Glory was turned ugly and quite simple
Like a venue when you're loading in gear
Sexuality, eroticism in asexual persuasions
Man or woman, makes no difference in the outcome
No fashion, no tolerance for stupidity or ignorance
..."adidas" or "the arch deluxe"...
And time is now an object
Oh my fucking god...
Oh I'm fucking god...
And I'll dream this into becoming real
And until such time that you can prove me otherwise
I will continue with my agnostic travels
Until I've found a place that dreams with me...
...a place that feeds on my routine
All I want is my mommy...
All I want is my mommy...
All I want is my mommy...
All I want is my mommy...
This is the night that it all changes
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"Here in the Pitch" by Jessica Pratt showcases her distinctive lofi folk style, with deeply haunting vocals that filter through dreamy, ethereal soundscapes. Lyrically, the song explores themes of introspection and the passage of time, often leaving listeners to ponder their own experiences and connections. This track embodies Pratt's personal journey in the music scene, arising from a pair of collaborators and moments that resonate with anyone who's ever grappled with their identity in turbulent times. Notable trivia includes her use of unique recording techniques that evoke an organic, speaker-infused ambiance—the essence of DIY artistry. Although "Here in the Pitch" comprehensively presents her singular voice, so far as I'm aware, it does not sample or cover any other song directly—capturing instead the vast range within her original thought.
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"Like That" by Future, Metro Boomin, and Kendrick Lamar is more than just a banger—it’s a full-on rap battlefield. Dropping as part of *We Don’t Trust You*, the track made waves for Lamar’s not-so-subtle shots at Drake and J. Cole, reigniting long-simmering tensions in hip-hop’s upper echelon. Over Metro’s eerie, hard-hitting production, Kendrick’s verse steals the show, sparking heated debates and adding another chapter to rap’s rich history of lyrical warfare. The song samples Three 6 Mafia’s *We Do It*—a nod to the Memphis legends who laid the groundwork for today’s dark, bass-heavy sound. Whether you’re here for the beef or just the bouncy production, *Like That* is proof that hip-hop’s competitive spirit is alive and well.
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“All in Good Time” by Iron & Wine reflects a profound meditation on the dualities of life, evoking feelings of nostalgia, patience, and introspection. Samuel Beam, the artistic heart behind Iron & Wine, captures these themes beautifully through soft melodies and tender lyrics, which are often inspired by his mythical approach to storytelling and vivid imagery. This particular track emanates the rich influence of guitar-driven folk, filled with compelling orchestral arrangements that illustrate the passing of time yet with an uplifting refrain encouraging us to embrace it leisurely. Interestingly, the song cleverly pares down complexity to celebrate moments that make ordinary life remarkable. And while it's an original composition, Beam’s ability to evoke emotions often invites Flutie fans to hear glimpses of traditional styles reminiscent of past musical gems. So, it’s clearly several nuggets in one poetic and compelling auditory sorbet!
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If you had the time to lose,
An open mind and time to choose,
Would you care to take a look,
Or can you read me like a book?
Time is always on my side,
Time is always on my side.
Can I tempt you, come with me,
Be Devil may care, fulfill your dream,
If I said I'd take you there,
Would you go, would you be scared?
Time is always on my side,
Time is always on my side.
Don't be afraid, you're safe with me,
Safe as any soul can be ... honestly,
Just let yourself go.
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time ... oh oh
Like a wolf in sheep's clothing,
You try to hide your deepest sins,
Of all the things that you've done wrong,
And I know where you belong.
Time is always on my side,
Time is always on my side.
Make you an offer you can't refuse,
You've only got your soul to lose...
Eternally...Just let yourself go!
Caught somewhere in time
Caught somewhere in time
Caught now in two minds!
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Kendrick Lamar’s *Euphoria* is a blistering, multilayered lyrical assault, widely interpreted as a response to Drake amid their ongoing rap feud in 2024. The track showcases Kendrick’s signature blend of sharp storytelling and surgical dissection, employing a slow-building, almost meditative production that ironically contrasts its lethal lyrical intent. One fascinating detail is how Kendrick leans into poetic and theatrical elements, turning what could’ve been a standard diss track into an intricate psychological dismantling. Fans have pointed out that Lamar’s delivery here recalls the haunting, deliberate pacing of his *To Pimp a Butterfly* era—less about brute force and more about getting in your head and staying there. While *Euphoria* doesn’t heavily rely on samples, its hypnotic beat sets a moody stage for Kendrick’s clinical deconstruction of his opponent, proving once again that when it comes to rap beefs, he fights on a different intellectual plane.
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"Hashtag" by Gillian Welch is a captivating exploration of modern life and the pervasive nature of digital communication. Drawing inspiration from the concepts of social media and the interconnected yet often isolating experience it brings, Welch's lyrics invite listeners to ponder the relationship between authenticity and curated online identities. Notably, the song adopts a playful barn-like sound reminiscent of classic Americana while cleverly addressing storytelling, a hallmark of Welch’s work. Interestingly, it eschews any traditional sampling, instead creating pent-up energy reminiscent of Southern Gothic, rooted firmly in contemporary issues without overshadowing the timeless themes of realization and nostalgia present throughout Welch's catalog. To me, it’s a sharp but observant commentary on our era, blended with Welch's signature warmth and nuance—the kind of track where you find yourself nodding along rather seriously despite the lighthearted critique of our hashtag-stamped lives.
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*"Not Like Us"* by Kendrick Lamar is more than just a diss track—it’s a cultural event. Released in the heat of his 2024 feud with Drake, the song serves as a West Coast victory lap, brimming with sharp lyrical jabs and a beat (produced by Mustard) that feels like a throwback to classic L.A. hip-hop. Kendrick doesn't just attack Drake; he practically evicts him from hip-hop’s cultural capital, painting him as an outsider who can never truly belong. The track flips a playful-yet-menacing sample of an old-school West Coast bounce, reinforcing Kendrick’s claim to the throne. Notably, its infectious energy made it a rare diss record that doubled as a club anthem—a move reminiscent of Tupac’s *Hit ‘Em Up*, but with a beat designed for BBQs and dance floors. Ultimately, *Not Like Us* wasn't just a lyrical flex; it was Kendrick planting a flag, reminding everyone that the culture belongs to those who live it, not just those who participate in it.
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