[introduction: instrumental, no vocals] [Transition: instrumental pickup, rising momentum, no vocals] [Verse: dense syllables, rapid cadence, clipped consonants, internal rhymes, tight subdivisions, abrupt pauses] (rapid-fire spoken-rap → one syllable per beat unit → narrow pitch range → short notes → clipped endings → brief breath gaps → hard consonants) This aint no playtime, puttin all yall dolls, in perfect rows. In houses on mountains, shrouded by windows, yall hoes be peeping in. Get another box, to try to, fit me into your situation, I aint addin into ya equation, beggin for a reaction, i move to subtraction and divide you through castration [Transition: accelerating rhythm, rising tension, no vocals] [Pre-Chorus: compressed cadence, dense syllables, clipped endings, breath-controlled] (faster phrasing → compressed unstressed syllables → narrow pitch → short vowels → hard consonants → brief breaths → no elongated notes) Stole ya heart, ripped right outta ya chest. I aint really impressed, by the exploitative incest yall perpetrate-in in. [Transition: rapid pickup, compressed rhythm, hard accents, no vocals] [Chorus: rapid phrasing, syncopation, staccato attack, repeated hooks, sharp accents] (staccato rapid-fire → tight syllable placement → short notes → hard attacks → repeated cadence → half-time accents → abrupt phrase endings) wriggle in the shit bitch. Im a witch that gonna be hex-in ya ass. Ya aint gonna last much past midnight. Tickery trickery tock Incels round the clock Talkin on some waifu shit While they taken in some caulk [Transition: abrupt reduction, half-time pulse, no vocals] [Post-Chorus: half-time phrasing, sparse words, clipped bursts, sudden double-time] (low clipped phrases → short notes → isolated accents → sudden double-time → narrow pitch → hard endings) So mote it be, mother fucker. I'll show ya somethin, ya cant see. ya outta luck, burnin ya down to the bone, get the fuck on. Find some, super, special, safe space, ya can call home. Kill it. [Transition: instrumental flourish, rhythmic surge, no vocals] [Verse: extreme syllable density, rapid-fire cadence, internal rhymes, compressed breaths] (maximum syllable density → machine-gun consonants → minimal sustain → micro-breaths → rapid internal rhymes → abrupt cadence shifts) Get inside the mouse trap, cool, cozy, and deformed. Synchronicity of mediocrity meant to be a mockery. Looking for the kinda king while yall stuck chasin ya tail. Without fail, gettin cooked, it aint fair, but i dont give a fuck, I'll take ya ass medium rare. [Transition: accelerating subdivision, rising pressure, no vocals] [Pre-Chorus: escalating speed, dense phrasing, clipped endings, rhythmic tension] (accelerating syllables → compressed diction → narrow pitch → minimal vowel sustain → hard consonants → short breaths) Mummified rhymes, gettin written, so i can write em off in record time. Accusatory, masturbatory, fappin in ya fantastical purgatory. Dreamin n scheming about me, when I'm doin shit, bitin my lip, on the mount of my man, you just couldn't n wouldn't believe. [Transition: instrumental cut, rapid pickup, peak tension, no vocals] [Instrumental: strictly instrumental, no vocals, no vocalizations, no ad-libs, no spoken words] [Transition: sharp rhythmic re-entry, immediate impact, no vocals] [Chorus: fast phrasing, syncopated delivery, dense syllables, emphatic accents] (rapid-fire articulation → rigid syllable timing → clipped vowels → short notes → syncopated accents → repeated cadence → no melodic ornamentation) Candles curlin' down now Wax-in philosophic My intentions are diabolic, for each and everyone Without the apprehension of the distended, ambitions The conditions n suspicions are about to be terminal. [Transition: abrupt reduction, sparse rhythmic fragments, no vocals] [Instrumental: staccato accents, rhythmic fragmentation, escalating intensity, strictly no vocals] [Transition: accelerating rhythm, increasing subdivision, no vocals] [Build: increasing syllable density, compressed breaths, rapid-fire climax] (controlled rapid-fire → faster → denser → shorter breaths → minimal pauses → near-continuous articulation → hard final accents) A bit of this a bit of that, Stuffed inside a designer bag for the body Leave it all to rot and its about what ya got. [Transition: sustained acceleration, maximum tension, no vocals] [Final Chorus: maximum vocal density, rapid phrasing, cadence shifts, emphatic repetition] (maximum rapid-fire → compressed syllables → abrupt cadence shifts → short bursts → half-time accents → narrow pitch → hard consonants → decisive endings) Tappin' out the dismount, Post coital clarity gives me premonitions, With vivid renditions, of how I can come, back again. Raised from the dead in my head, piss-en all yall off. Till ya seein red. [Transition: abrupt deceleration, sparse instrumental tail, no vocals] [Outro: fragmented phrases, irregular cadence, progressively sparse]
