BLUE TIGER Is Officially Out, So Watch As I Slash My Own Windpipe With A Caledfwlch Explaining The Lore To You

... The second? Third? blog entry

Written by Dj Chud through 7.7.25, 4:58 AM to 7.9.25 3:03 AM

Song Of The Right now... OBVIOUSLY A SONG OFF MY FUCKING ALBUM A DOY!!

Pic of me holding some truly exquisite compact discs of the album that will be for sale alongside other merchandise for BLUE TIGER and earlier releases I made this year this fall


BLUE TIGER, known to some as an album, known to me as my son I had painfully marinating in my balls for 6 months and finally labor-jaculated on the Fourth Of July, is officially out and, as I write this, has been out for 3 days. Don't know how to really properly introduce this long overdue blog post that I finally had the courage to write after almost 10 months since the first one, but this post aims to kinda explain some of the backstories behind the writing for some tracks, explain the EXTREMELY grueling and painful yet self-inflicted production for the album, and kinda just be an open book regarding it for those interested

I recorded an audio commentary that's going to do what I'm doing in this piece of writing, but it was so embarassingly unfunny and 100% improvised and the mixing was horrible and I couldn't bare to edit it all in Vegas that I'm just going to burn it to a CDr and throw it in some people's order for the merch just so it'll be away from me. I just hope they don't rip it or something but no one is technology literate anymore anyway and haven't been for quite some time so it doesn't matter

CAN YOU GET TO IT!!!!!!!!

Nigga damn okay :/ fuck you

Scan of conceputal CIMD'S ComaVisions CD. Had to go back to the drawing board regarding packaging it in a Ziploc bag since I think it will break... have to decide what to do that's gimmicky and dumb but also safe

Okay. It starts with.... Cash Is My Domain. or CashDomainPornoCultShop. Or CashDomainPigFuckAfghanBoys. CashDomainCopSnuffingRobberMurderPsychopathZombieKillers, CashDomainWaterSports, CashDomainFreeCarLocustTwinnem... really it depends on who you ask around the Lonestar state. It tends to vary since it's a relay project... or something.

WHATEVER.

It's Feburary 2025, and I'm trying to beat the absolute dread and depression of the later Winter months when Christmas is over and you have to drearily go back to regular scheduled programming with hardly no time to play with the trinkets you got, which probably explains why I was so bummed considering I kept having to swallow down Precalc (which I ended up failing so it was just a waste of my time) arithmetic boner pills that just killed the mood for me whenever I got home and realized WAIT I CAN'T PLAY I HAVE TO DO HOMEWORK!! That's not really important as to what I'm talking about, I was just super sour and down in the dumps basically. And by then my obsession-with-an-immense-task-in-music-production monster of the month had ceased; that being the period where I stayed with my friend and band member Africa5 and worked on our aforementioned album Comavisions at his crib almost my entire Winter break. After taking the Greyhound back to San Antonio, I mastered the entire album in one day after school and posted it online on Vallies day. Boom. Just like that. It's done. It's over. All our work, all those sleepless nights hooked on caffeine breaking guitar strings and slowly killing our interfaces. Now...

I'M FUCKING BORED AND NEED SOME DOME AND WEED AND MONEY ASAP AT MY HOUSE IN MY HANDS NOW NOW NOW!!!

or something equivalent to that... something that makes me feel alive again as I just felt so depersonalized and empty; like a husk of myself. That's when I thought about something.

I'm dropping all of these albums under side projects despite the fact I don't have a single studio album under DJ Chud!!!

All I had at the time were three mixtapes, (which, to be clear, I consider albums but by trapped-in-locker music dweeb standards they're mixtapes because I said they are in the title) and I've been making music under DJ Chud for almost 2 years now. How come I don't have a debut album to me? I know some people prefer to wait until they make it and they can work in a big studio with all types of speakers they can rest in bass inside of, but that just couldn't be me... If I really want this I should just hop to it.

Now, I'm not going to sit here and pretend like this was some groundbreaking revelation, like I just sat in a lawn chair outside of the Twin Towers before it became dust before my eyes type of "DUUUUUDDDEEEE HOW DID I NOT THINK ABOUT IT LIKE THAT!!! WWOWOWOWOWOWWWWEEEE" ridiculous coming-of-senses nonsense, but it did finally give me an actual thing to start working towards and an overall incentive to start working hard again after feeling like an absolute shell post-Christmas. And that's when I finally started to lock in on something that actually excited me again, a prospect I saw coming later down the line but got sick of waiting for.

I guess we should start off with the baby steps.

BLUE TIGER initially began production on 2/17/25, just a few days after releasing Comavisions. I remember this date exactly not because of the (second) project file I did the ENTIRE album in's metadata saying so, but because that was singlehandly the worst day of my life in music production SO FAR (but I doubt anything will come closer.)

You see, I had 2 tracks (besides the intro) originally written for BLUE TIGER in the first ever original project file for it that ended up being cut from the team due to me feeling like I can't recreate it and recapture the same energy it had. I consider that sort of music I create a spur of the moment greatness that varies, a lightning in a bottle type of thing where I have to do it immediately in that exact way that can't be replicated again. I'd even say they built more of an atmosphere I was going for than a lot of the material that ended up on the final cut IN JUST TWO TRACKS that I endlessly tried to recreate... but guess what happened to that project file.

Genuinely, I don't know how she (the project file) got away. I can't muster up a thought in my fucking burning think-pan that can articulately reason why this happened beyond my computer doing a fucky wucky and corrupting my shit. I tried endless backups in FL's native backup folder. ALL corrupted too. EVERY. SINGLE. ONE. I actually have no idea, I have to reiterate this, how it all fucked up, but it did. I spent a whole week trying my hardest to revive the project file, but I guess Image-Line signed it's DNR papers on it's behalf or my computer, like stated above (it really said this btw) is just the worst thing ever and hates my guts so it will intentionally fuck up just to mess with me? I DON'T FUCKING KNOW!!!!!!!! And chances are I never will know until I'm on my deathbed 10 years from now.

This experience made me so ruthlessly angry that I almost considered quitting work on BLUE TIGER entirely. I just felt super nihilistic regarding the life of the project, and had immense fear and anxiety that it would just corrupt again and I'd be right back to the drawing board... that's until I realized this feeling was temporary and the only cure wasn't pills to force down that'd probably keep me thinking the same way, but Digits by Young Thug, specifically this line:

These lines are very important to me on a very philosophical level despite how pretentious and J Cole that sounds. Most (being nerd drones) would probably write this off as another boastful Trap bar, but literally my entire philosophy and outlook on fear and consternation can absolutely be amounted to this. Why not take risks? Your life will pursue no matter what you do, living or not, why not go for it? Why not try something new? Your life will progress no matter what happens, whatever happens to you is not the end. This track spoke to me and answered pretty much every question I had as to why I should continue to keep working on this album. Without it, it would've just been another idea shot dead in the water I had. This is why I am forever grateful for Young Thug's music and believe a tremendous chunk of it has more soul, smarts and charm than a lot of other artists you see, especially these days.

(hence why everyone in this short bus of a scene copies him)

I'd like to think it's very clear that I'm not only just heavily influenced by SEX, but that he also saved my life when I was very young with the entirety of his I Came From Nothing 2 tape, which I consider to be THE BEST mixtape of ALL TIME. I even wrote about it how much it saved me when he was in prison and I planned on sending it to him long ago, but fortunately he was out by the time I was going to.

The piece I wrote. It's very long so if you'd like to read click the image

I'd bet bottom dollar that Nine Vicious hasn't even heard a second of this tape, let alone 1017 Thug nor Black Portland, but discussion regarding that chomo is for later

Anyways

I took about a week break from working on the album and got back to it. Am I bummed some of my greatest music got deleted out of seemingly nowhere? Yeah, but that's life, ya win some ya lose some. Sure, the tracks I made past that build a great atmosphere, just coulda been better had those two been included. Just gotta rebuild and prosper. I guess I should start breaking down some of the tracks now and each of their meanings, but before I do allat allow me to go on just one more tiny tangent.

Where the hits were made

Like I said before, the entire album wasn't made in individual tracks or sessions, but in ONE big project file filled to the brim with shit. I probably documented this well enough on Twitter and Instagram, but me doing this has most likely increased the chances of my copy of FL deteriorating slowly over time, and I feel like every time I make something in there now that the album is done I'm one beat away from absolutely cooking it.

The production for BLUE TIGER was very love-hate to be blunt. I am well aware I could've just done all of these tracks separate instead of all-in-one, but man... I had more fun than bad, don't worry, but when it was bad... it was BAD. Early into the production, I don't know if it was the fact I was using so many instances of Serato Sample to the point my CPU was hanging on by a thread and had the horsepower of one that just got shot because it had a broken leg (which I had to eventually scrap for SliceX anyway otherwise my project just wouldn't have playback at all), or simply because I just had too much shit loaded into it already, but I couldn't load in MIDI files (which I find very convenient since I can transform the chords of a song I'm sampling into MIDI and load it into my VST of choice and kinda tangle with them and add additional melodies) which really killed my workflow. I ended up having to open another instance of FL every time I wanted to load in a MIDI file and having to convert the MIDI files into a score acceptable by FL.

Another problem I had was the fact that whenever I wanted to test-render a portion of a song to hear what it sounds like in HQ if the playback was faulty as balls or wanted to post a snippet, when I went back into the project file I would ALWAYS have to restart FL because certain shortcuts on my keyboard wouldn't work after rendering (Such as CTRL+S which is literally to save.) Not to mention the fact that I couldn't even close FL by pressing the exit button and had to use Task Manager every time I wanted to... not for the faint of heart, I'll tell ya what!

But that's besides the point

Let's talk about the chunes now.

So, you may be wondering a combination of things before even hitting play on the album, one of those thoughts might be "Why the fuck are there so many interludes? Are they trying to tell a story? Did you just want to bloat your album with ambience noise sound collage pieces? Are you fucking stupid?"

Well, to all of those questions I can only give a resounding yes. I did come into this album with the intention of bloating it with as many great ideas as possible since I felt like they'd all better build the atmosphere and happy-sad-angry gloom surrounding and backing the album. The sound is meant to be kinda hot and cold if that makes sense, so I tried using cool, smooth pads and synths and keyboard action and what have you, alongside horrifically infernal piercing noises and samples to kinda mesh it together and create an absolute freakshow, nightmare soundscape. This spur of ideas to make absolute brick-walled ambience in parts with a sly partner in crime being fuck-ass kicking amp nonsense that serves to dick down your ears as hard as possible and knock your lights out but still contain itself came from a mixture of music inspirations varying in genre.

I got the idea to make it into parts after listening to the album Luv(sic) Hexalogy by Nujabes (RIP) and Shing02, noticing that despite being different tracks, they all had the same name but in different parts. All of the tracks, sounding different from one another, hold one theme in common, however: love. So, I took this premise into consideration when making the interludes, or pieces if you go to an art school. I named all the interludes Blue Tiger(ₓ) (x), the x's being a number in a bottom to top order of tracks and a reference to something in the past I've made, something in the past I've listened to that I believe has influence in what I make or an inner monologue I had when writing the lyrics for this album. I also made sure to keep a motif in each track that would, at least to me, keep them tight-knit and similar to one another and cohesive despite being wildly different for each interlude: the streams of emotion. More on this later.

I was also inspired to include so many instrumental tracks by, with qualm, DeVon Hendryx/JPEGMAFIA, particularly his album THE GHOST~POP TAPE, alongside Dreamcast Summer Songs, both of which you've probably already heard. I do have reluctance to admit this due to how controversial this guy is nowadays (coming from me of all people) and I actually kinda hated TGPT first few listens but something clicked after a while. Maybe it was the lush sound, maybe it was a part of the troubling and grinding background of the record I relate to with my own art, not really sure but it definitely helped with inspiring the building of this album's sound.

Finally, I was inspired by mid-school noise duo The Skaters and James Ferraro's, who was a member of the band, solo project Lamborghini Crystal. Don't really know what to say about this one, I'm just big into noise music and I had an odd fascination with this specific Lamb-Crystal live performance where James brandishes and plays... some fucking musical thingamajigger he crafted. Seriously... what is it? I don't know! I think it's like a steel drum microphone combo but I cant be sure. Either way, that and their actual recorded music are patches of noise I really wanted to simulate and recreate in these interludes. So. That's why they're there...

10 days before I was born... funny.

OKAY LETS ACTUALLY TALK ABOUT THE MUSIC NOW SORRY SORRY SORRY SORRY!!!!

STarting off with the intro Blue Tiger ⌠I See It Too⌡... Um Not much to say Just kinda crazy noises. I sampled Intro by the Noise Rock band Coughs and Smile-san's Room from the video game Yume 2kki. Also that noisy kinda like SHH BSHH HSSHhh thing that you kinda hear was created with this VST called therapy. It's pretty tight but can break alot and straight up won't open sometimes. That sound was created to mimic a tiger breathing heavily... just thought it'd be cool. The title is a reference to this meh EP I made a while back... that's kinda it I mean how do you write about a 47 second track LOL tell meeeeeee!!!

Next on the chopping block is Blue Tiger². This one is a bit misleading and I figured I should address here before anyone starts to notice. When I began working on BT, I kinda aimed for it to have a Jazz Rap/Boom Bap sound. I was getting bored of the same Epic Collage Indietronica shit that I've been making, so at the time when I wrote this song I thought the solution would be to just do a whole different sound rather than expand on those two which I later did in this album instead of pursuing the sound I was coming into this album in mind with. This was also around the time that (it's still going by the way) I was getting into Wonky/Post-Dubstep/Akai MPC Scene stuff... think of like YAYAYI and James Blake and whomever. I really wanted to do that sound too, so I did... If one were to listen to maybe the first two tracks, they'd assume it was a Boom Bap record all throughout, just mashed with Cloud Rap or something... but even I got bored of that sound and just decided to... Look idk. Truth is I'll never escape my vices and the back of my mind telling me to clash it with the shit I try to escape. I could make a whole jazz song right now right here immediately and there will be an angel AND devil on my shoulder teamed up against me to tell me to include fucking amen breaks and Gabber kicks pitched tighter and higher than the hookers at the San Antonio Sporting District or something. I didn't bother to try and fight it and that's why there is a bit of a sound inconsistency throughout this, it also doesn't help that I consider myself very eclectic and wanting to try new styles. I will give myself credit, I did try to keep this sound throughout by sampling a few Jazz songs here and there that felt like it was lacking it's presence, but...

OKAY WHATEVER The lyrics. This whole album is definitely me as my most "lyrical". When I made It's The Serve The Mixtape and Something's Wrong The Mixtape, I thought my whole gimmick from then would be sorta like a rap game Brian Chippendale, since my vocals on those two albums were literally just me freestyling and/or screaming into my mic with an amp filter on with hardly any focus on lyrics with the intention of making you pay attention to the production and to prove a value I have that vocals are just another instrument and it's NOT important nor necessary to hear what they're saying in order to make a good song. I still stand by these axioms to a degree today, but I kinda realized that despite how unique and new that style of rapping I was doing was, it really wouldn't get me far had I just rapped and taken it seriously. I was really hesistant to at the time because I feel like everyone and their mother and grandma has Bandlab Premium APKs on their phones these days and want to rap and the market feels too oversaturated to ever make it with rapping and it's not very new, but I knew my sound needed a change. The mic babbling had gone stale, and by the time I picked up a want in change of my sound, I noticed I had a pretty good pengame. This is around the time I released the AfricanC.H.U.D EP, another collaborative EP I did with my homie, like with most of my EPs that I don't spend all month promoting, that was forgotten but my most lyrical at that point despite it being pretty amateur and not as detailed as it went on to be. I think this is due to me still holding back what I really wanted to say in my lyrics to come off a certain way and present myself as cool and cooky to people, but I just think that wasn't being me and I was lying to myself. Lyrically, I got better the more I just kept dropping with new and improved writing, and I feel like my most nymphomaniac and vulgar release (that being Tell All Your Friends EP) was a stepping stone towards the peak of my songwriting, which I think is BT.

Sound-wise, I think it's a pretty swell start and more of an intro than the actual intro itself. Kinda tells you what the album's all about... The sampled dialogue at the start is from Yu-Gi-Oh! Abridged. I honestly forgot what Jazz sample I used, but I know I did sample 7 Eleven by Bladee. Yes, I sampled Bladee. I actually will try to keep it vague with some of the meaning of the lyrics in these songs such as this one since I do want you to use your noggin and interpret what I'm saying and make of it what you will, not like you really have to use it much since it's pretty cut and dry and not very abstract; some of it can dive into that criteria though.

I'm going to explain this bar since it not only has an incosistency but because I don't think anyone knows or remembers a part of it, like it just came and went since the scumbag I'm talking about then went on to fake having cancer, but yes I am 100% and quite obviously talking about washed-up-circus-clown-for-DJ-Keemstar Boogie2988. What I mean when I said "like Boogie when he became a right winger, But even those fuck niggas didn't want that food clinger,"[sic] isn't just his debilitating inclination to Kirby inhale every single crumb in front of him; that's just part of it. It's this too:

Literally no video game like this exists and even the right I'd bet can admit that despite how stuck up the ass they are, yet he was sooooo obviously trying to panhandle to them with the most bottom of the barrel ridiculous White Genocide talking points that don't even exist purely to save his dying career which was absolutely in the toilet before faking cancer and even THEY didn't want this hippo. Go to the original tweet, all sides banded together just to ridicule this sack of shit. It also doesn't help that after getting rightful backlash from everyone who isn't 3 IQ points away from being a floor tile, he tried to say it was ragebait. I think that was the biggest failure at grifting possibly ever and everyone just forgot about that which is crazy to me.

Now, the inconsistency in this bar comes from when I said "You could say the same for his 20 something girlfriend,When she left his 50 year old ass when his clout deserted," because at the time of writing that it seemed like they were done after his girlfriend, who was like 3 when Boogie made his channel at age 30 finally grew sense and dumped him. Well, today as I write this, I'm seeing that this chick, I guess, just has no self respect (I mean, this was obvious when she still stayed with him after faking cancer) and proposed to him. I have no words for this and do not wish to go into detail further about this and whatever you're thinking I definitely am too

Next up is Get Off The Internet², a sequel to Get Off The Internet. The Soundcloud and Bandcamp cover for the song is this, and you might be wondering why...

This is the exact type of person I am talking about in this song.

Where do I begin... Do you notice how this "MUSIC REVIEW" isn't talking about the music at all? Do you see how this "MUSIC REVIEW" is just pitiful gossipping and acting pseudo-intellectual about artists they don't know nor will ever meet? Do you see how they're typing in a holier than thou attitude and acting super smug as if they're above anyone in this "MUSIC REVIEW" despite looking like this in real life?

I might be going crazy but you have to have your head so far up your ass you can see your hair thinning when you begin to start penetrating your own stomach acid as you progress through it's walls to even have the gall to QUESTION why this diary entry review got taken down. It's almost like treating a site where you review music, NOT THE ARTIST, like an assumptive complaint box will get your review taken down because you're just spewing out your personal grievances with them and not sticking to the fucking point of the site. RATE. YOUR. MUSIC. Even a baby could understand such a simple premise.

Trust me on this, there's nothing more to hate about the internet than power-tripping moderators, ESPECIALLY unpaid ones who get no reward from messing with you other than the fueling of their worthless, fragile egos that have the sturdiness of a toothpick, which is absolutely no doubt applicable to the moderators on that site; this is even more abundant when you realize those people are older than 13 despite the way they act and moderate, meaning they must be severly emasculated at their office job off the net. This is all true, but I can't help but side with them on this one when you're not even talking about the damn music and are so deluded enough and think you know literally everything about anything not because you actually research or have any world knowledge but because your hugbox of other slow-in-the-minds that you only bond with because you listen to the same music and nothing else told you you're right biasedly and refuse to hold you accountable.

Now, granted, this is from about a year ago and they already had their ass handed to them on a clean, silver platter with a whole orgy's worth of people saying basically what I said. Maybe they've changed and learned since this but I honestly couldn't care less about them beyond this writing, their inclusion in my cover art and their tweet and face in this writing. I've only included them in such to pose an example of this type of person I'm detailing in my song because there are a plentiful amount of chopped shit-talking music cocks that fit the criteria this same person meets, and if I had to go into crucial detail about every single one I've seen on the net we'd be here forever.

That's all I have to say regarding this track's songwriting. The Le Tigre sample is pretty obvious, sampling their track with the same name. The Kawaii Goons diss is quite obvious in meaning and why I said it if you go on any of their profiles for more than 3 seconds but if you must know why I dissed them refer to this image.

Blue Tiger³ ⌠Listening With My Eyes⌡. This one was pretty fun to record. Africa5 did most of the noise you can hear in the back of this track and some sampling of IDM songs from obscure Tigerbeat6 comps (what he told me) that even I don't recognize while I did the synth-work and a wee bit of noise using VCV Rack and my amp. I also sung with as many psych effects as I could but mixed them real quiet with a ginormous cut in EQ and automated to have it raise constantly in Hz just for the sake of microtextures going on in the back. If you found any of that cool you're a virgin and also that's not a word but I'm sure you know what I mean... Oh and I sampled this too I guess

Beautiful Day I think I might've fucked the mix for on this track when I was mastering the entire album. You can listen to the single version and album version and compare the two to decide for yourself but I think I made the bass too beefy personally. All that aside, this samples Crunkcore artist Dot Dot Curve's Beautiful Day. I was like 3 when this song came out originally in 2010, so obviously I wasn't even old enough to be there for the crumbling bits of Crunkcore there was left but I think appreciating the music from that time through sampling it and sharing the tracks around though it's from a long period ago helps it stay alive and fresh. This is the same sediment I have when sampling music older than me or I'm older than but wasn't old enough to experience... BREE BREE!!

Ummm... yeah man!! I honestly have no clue what to say about this track's lyrics. I'm trying to do a Genius level lyrical breakdown but don't hold me to that standard strictly otherwise I'm going to disappoint you.

I do kinda regret the Elon bar not because I don't dislike him but because I think dissing Elon Musk in songs these days is kinda cliche since EVERYONE rightfully so hates that cock-masticating emerald pilfering twat and writes so in their music. I'm 100% for attacking him in art, doing what I call multimedia tomato flinging but it just seems like low hanging fruit a smidge. Though, I think this is the hipster in me not wanting to do something anymore since everyone else is doing it since I still think it was crucially necessary to say, I would not go back and change it, and even though I feel like it's a wee bit corny I think I did a better job at calling him out and had more substance to my critiques than some art school swindler ever will with their fake deep Hamilton tier songwriting about him that is intentionally vague about what he has done instead of being upfront about it in favor of being pathetically abstract (I.E Penelope Scott.)

I guess I coulda removed the chopped shit statue of liberty bar but it was funny! This record is intended to be very funny too................................ so

NO!!!

CATTY is next up and I actually think this is the worst track on the entire album. NO BULLSHIT!! If you hate this fucking song I do not blame you at all, I'm on your side! So much wrong with this song! I feel like it goes on for way too long than needed, even after cutting it down a wee bit because the OG track before editing was almost 9 MINUTES LONG, but even 6 is too generous. I think the beat and lyrics aren't the worst ever here, the beat sampling still goin by CRIM3S, Last Friday Night by Katy Perry, and She Will by Drake and Lil Wayne, but my vocals are definitely the weakest on this whole thing. I tried to do my average BEBETUNE$-esque Alt R&B autotune crooning on the bridge (I think? I'm not the best at songwriting structure) but it was just SOOOO hard to master and mix that and my rapping in the final cut all at once and everything just felt like it was clashing together in this song. Maybe I'd ought to come around to it if I look at it through a different lens and not ones that have the absolute burden that was producing it, but today's not one of those days.

Excusing how I feel personally about the song, I will admit that CATTY is about a real person, an old flame I had when I was 15 that I astronomically fumbled so bad I had to take notes on how not to screw up like that again ever in my life, and I think writing this song was a part of it. I mean, I'm young... a nigga will make mistakes here and there and like I said earlier: the resultant of the consequences of your actions will sometimes be a huge soul-crushing L you can never exactly go back and make a win. Ya win ya lose... still, I guess it's sorta therapeutic to become sentimental and reminisce about past actions so I can become better, treating it like lessons. I dunno. I don't try to dwell on my past too much because there's an unbelievable amount of shit I have done that I deeply regret and want to forget and not hold as baggage for the rest of my life but there's periods where I gotta and I guess I was going through that when I wrote the song. It is what it is. I will say, though, it is a nice transition into the next song, that being This Could Be Us, since both this song and that song hold the same theme.

Let's talk about the cover art I chose for the single version first because it may go deeper than some might think. There's actually a sort of mystique to this artwork. Obviously, I didn't draw this but I used to see this image in variations of deep fried and quality very immensely long ago, maybe 2013-2016 on sites like Insta and Facebook... despite being aware of this drawing for a whole decade and then some, I still don't know who drew this! It's crazy how I don't know the artist or what this piece means despite seeing it so many times but in those internet discussions I'd see this image used when they were basically discussing situations regarding cheating and whatnot, hence why I made it the cover art for a song that discusses cheating and breakup because I think that's what the piece is saying also. I can only assume because I don't know the artist! Seriously! Wallahi, I tried to find the original artist by reverse searching until the cows came home and just left with nothing. I guess it just appeared? Despite it's mystery that is yet to be solved, I'm shocked all the platforms I posted the song to with that cover allowed it, but I'm not complaining... I think this may take the cake as the most unbridled, disturbing and angry work I've ever seen, I love it and I feel like it perfectly encapsulates the vibe of my version of Rae Sremmurd's song.

Oh, yeah. I should probably mention that I did not write this song, and this is indeed a cover of Rae Sremmurd's This Could Be Us, a song that I feel like compared to their other tracks that went big in the late 2010's is pretty obscure despite how awesome of a song it is and how much of a culture shift it was at the time. It's the origin of the phrase "This could be us, but you're playin'", alongside the hashtag for it, and both of those pieces of terminology used to be EVERYWHERE, but when I saw it posted I doubt they knew it was from this song. Nowadays, you don't really hear about this song much nor Rae Sremmurd at all, but both them and this song have a special place in my heart since I practically grew up with their music since it was blasted on the radio way back when, so I figured I owe it to them to cover this beautiful song and add an ominous twist to it... so I did. I really hope they come back, they did so much for the earlier days of Trap and no one talks about it which bums me out...

I sampled Ke$ha's Your Love Is My Drug and I think YAYAYI's \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\. I also sampled Initial D at the end. This one, compared to the rest of the tracks, was actually the easiest and fastest I've recorded a track, getting it done in just 3 days compared to the average length it'd take me to make a track on here I wrote myself which was a week at least and a month at most. I figured it was because I had to go super hard considering it was a cover out of pure appreciation. I didn't really want it to fall flat on it's face... I dunno... the vocals are pretty aggressive for what I consider to be an Alternative R&B song, but ya know that's just passion. Bad to some but those who see the heart and soul in it ignore the quality and I think that's a good mindset to have in determining bad or good music.

Blue Tiger⁴「Am I Supposed To Change?」's title is based on a nagging inner monologue I had when I was writing lyrics for this album, and it's one I had constantly while writing lyrics for every track I did write lyrics for. Am I Supposed To Change? Is it just me? Is everything just fine and I'm the problem and I don't want to hold myself accountable and admit I have flaws? Should I be less pessimistic?

The answer I later came to realize to all of those questions is NO.

Yes, I have flaws. Tremendous amounts of them, most of which I address in the album. I'm not a perfect person and I literally never will be, no one will. But to think I should just comply with the current state of things and try to be chipper when what's surrounding me is miserable and not criticized and we're all just doing that is no word but inane to me and I refuse to go along with it. I also don't get how anyone who isn't as mad as I am about this scene, the world we live in right now and what's going on anymore can just sit there docile doing nothing to help make progress and change. It's just ridiculous to me. If I'm a killjoy for doing that, so be it but I'm going to call it out how I see it forever. I'm on the same timing as this motherfucker if that is the case and I refuse to apologize for it

OK let me chill I'm not like this. I'm pretty friendly once you get to kno me..

This track samples and chops and screws Love At First Sight by nickasaur, along with Dean Blunt & Inga Copeland's Venice Driveway. I also sampled this James Ferraro live performance that had this creepy ass TTS Spoken Word bit at the start of the video. I then sampled Dean Blunt again, this time his track Demon which I also sampled in the next song This Whole Fucking Scene Is Growing Tired... And So Am I... oh hey, the song I really wanted to talk about most!

Before I begin speaking on this track, let me transcribe the spoken word bit in the intro for you so you can begin to understand where I'm coming from:

(I’m in immense disappointment and disbelief that this scene has fallen so far from grace that we’re willing to allow ephebophilic future entries on the registry feel welcome all because they make “good” music. I understand separating art from artist to a degree, but I’ve become so convinced that we’ll allow any pred into what we have going on in this sphere that if Luka Magnotta were freed and immediately hopped on Bandlab and rapped on Jerk and Rage beats you fucking dumb, bottom-feeding cattle-grass-fed cunts would defend him and allow his career to flourish despite being a danger until the fucking cows came home.)

With that out the way I'd like to begin by discussing Nine Vicious who I will be referring to as Nonce Vicious (Nonce for short) when applicable as I mentioned him in the song. In case you didn't know by now, which you definitely do, he is 100% FACTUALLY a chomo and groomer and has admitted to the allegations that were levied against him such as talking with 16 year olds while being 19-20 two times in the same fucking song (so, sorry to the slowpokes that like this guys horse shit, your flimsy "art vs artist" excuse doesn't work here). His "PR team" that he pays probably a penny and a frog's foot are dicksucking Twitter underground promo pages ran by high school freshmen who have absolutely ZERO interest in the scene nor it's artists or their work and are only there to capitalize by repeating the same points everyone in this sphere has or to ragebait, rising to the top through just that and collecting deep pockets from the buffoonish swine of Nonce's kind that actually spend their hard earned money on Twitter promo only for their gimmicky below-average career to stay dead in the water since they, much like these pages, add absolutely nothing to the zeitgeist and if they all disappeared today nothing would change.

This same assembly of meat-gobbling nitwits will defend this scumbag by pointing out age gaps that are still unacceptable and don't prove his innocence at all, completely ignoring the maturity differences and also the fact that Nonce even says in the texts that he knows he shouldn't be talking with these minors but still continued to do so, along with stating he would wait until one of the girls were 18 so he can pursue her legally.

This pleb is absolute human garbage and nothing about this scene fails to infuriate me as much as knowing that out of what seems to be pedo-apologizing blissful ignorance we're allowing this cocksucker to just mosey around scott-free, play shows and continue to have a platform and release garbage parody music which he can use at any time to be a danger to others. I am deeply irate that almost everyone memory-holed this when he got signed to YSL and released his horrible debut album which he literally admits to partaking in these disturbing actions on. I wholeheartedly believe this fuck doesn't deserve to have a single soapbox to stand or perform on in this scene and it should be stripped away from him if anyone in this sphere actually had a single bit of sense. The same people that platform this jerkoff are the same people whining that the underground is declining and how much it sucks not realizing that they're the problem and if they just stopped dicksucking for even a second we might actually see some improvement... but nah just let this pastiche Epsteinite slide even though he adds absolutely nothing new with his work (if you can even call it "his" "work") to the disposition that holds so many unique artists that don't even get a fucking candle shined on them in favor of douchebags like him that leech off of everyone and everything and disgorges the fluids they've consumed for the dull and slow-witted hogs to gluttonously chow down from their Soundcloud troughs. This scene is a fucking circus.

With that said, there's other people I brought up in this song that I need to address but I had to ensure I mention that fuckstick first before anything. Next on the chopping block is phreshboyswag. I honestly don't actually have a HUGE issue with phreshboy like I do with that guy and I did do visual work for a show he did in 2023 BELIEVE IT OR NOT, I just kinda said what I said in this line to be a bit provocative and edgy oh boohoo I've said worse on this same record. This doesn't mean he can be exempt from his vices, however, as PBS is a huge scammer and is still scamming people for feats to this very day. He is yet to do a feature for someone who copped one from him in 2023, which was absurd when I heard it because in the time frame from 2023 to 2025, he was at his peak and fell off and is still trying to make a half-assed attempt at a comeback with his worst singles yet but STILL can't make time to just record a feature, even a shitty one, for that guy. What's even worse is that someone was so devoted enough to even offer to send him clothes free of charge and he STILL jugged them. If anything, this is just taking the love and support your fans show you for granted and your own selfish pleasure and it's just super sad to see yet I hardly hear anyone call him out for scamming which doesn't really sit well with me. People used to have their careers tarnished for doing even one of the deplorable acts these guys do nowadays on the daily and get a slap on the wrist at most for. What happened to holding these guys actually accountable and putting their reputation in jeoparody if they didn't quit with this scummy behavior?

As for OK, like I said in the same lyric, he isn't a bad producer but after executively producing Bad Ass F*cking Kid by Nettspend, you kinda notice that he has a problem with variation in his beats when they're grouped together and they quickly become repetitive. After hearing tracks after tracks produced all by him in one album it grows stale after a period, this being part of the problems with Nettspend's album that then went on to amplify entirely on Osamason's album Jumpout.

And finally, 2hollis...I mean, c'mon. Do I really have to say anything? I don't. It's pretty obvious what I think of him and why just listening to a nanosecond of his music... get out of my ear with that

Blue Tiger⁵「ॐ」and I don't really know how to start this one off. I guess I should address the (ॐ) in the title... right now I'm kind of doing a personal study into the philosophy of Buddhism and some of it's teachings, trying to incorporate it's practices into my life while being Baptist which has been difficult. I don't really know what you'd call this sort of thing, I know Christianity and Buddhism have their own separate beliefs conflicting with one another and don't fully align, but I think it's nice to sort of research the doctrine of other religions and find value in them, and I happen to find Buddhism's very grounding and thoughtful. I mentioned this earlier but will reiterate that I made the interludes on this album with one theme for each that keeps them cohesive, again, the streams of emotion. From what I've picked up from reading and studying this specific creed by Thanissaro Bhikkhu, which contradicts a belief I had prior, you actually don't need to tackle all links and forms of suffering as excessive or overwhelming as they may be in your life all at once, but instead choosing to intervene at the very moment you are feeling suffering and attempting to stop it right in it's tracks before it expands into something deeper is the key to putting a halt in what feels like endless and impossible. If you do just that, it can shift the whole pattern of suffering and wittle it down until it's hardly a problem. I do also believe that suffering, contradictingly, can build even further faith or character, though, as that is something I believe God uses to strengthen you and is part of his plan to heal you and help you grow better in the long run. This is what makes this sort of thing so challenging for me, making me constantly wonder if I'm too accepting of suffering without questioning it or if I'm bringing it onto myself... this nagging, undecisive stream of consciousness, which I do believe I found a fulfilling answer to through producing these tracks, is what I wanted to describe in the sound of these interludes, hence why they're noisy, chaotic, and soothing all at once. It's meant to represent how I feel with these internal strifes.

Religious discourse aside, this track samples Gimisum Family's What Yo Hood Like? and Durga's Stuart Manroel Manhole, specifically the tail end of the track. I also sampled a call I had with this scamming organization that's supposedly meant to stop assaults on police officers... yea I think you know how that went if you didn't listen. The melodic part of the song that comes in later as the track progresses (underneath all the chopping and screwing and glitching action of the samples) was me, and I assure you on this, messing around in an emulated online version of Mario Paint Music Composer placing down random notes literally everywhere before exporting it and paulstretching it and slapping a wee bit of tape delay on it to be longer and building in ambience.

And finally you got the closer at the end of all things, The Laughing Man (You Can Call Me Poison). I sampled so many things in this fucking song... you know how Phil Spector has his own sound design recipe called the Wall Of Sound? Well, I consider this song (and a lot of the songs in my discography and on this album unintentionally dipping it's toes into this approach before I even came up with a term to call this style of production) to be my own take on that which I consider the Wall Of Sample, a Sound Collage inspired technique where you basically do what the name would imply. Create a polyphonic brickwall of collected samples all ranging from sounds to songs to noise, all varying in genre and tempo and audibility but keeping one thing coherent so it doesn't sound like too much of a complete pressure cooker of recorded pieces: all samples must be in the same key as the song.

I'm going off memory regarding the samples used because I'd rather glue a toothpick under my toenail and slam it into brick wall over and over and over than open the project file for BT again to see them all, plus I used so many samples I kinda forgot a good chunk of them, so this might not be exactly accurate as I'm just naming whatever comes to my head while writing that I'm pretty sure I used. I sampled Poison! by The Weathermen, Is This Real? by Wipers, Get Silly by DJ Tameli, portions of new jersey house sound vol. 1 by Hype Williams, Seventeen by Ladytron, portions of Fireworks by BEAT!BEAT!BEAT!, Altered Ending by ANIMA, and i haven't seen added faces by Oh Boy! Oh Boy! Commander. I also sampled drums from Jerk Beat #1 by SourPatchKidssENT, TurnUp by MistroBeatz, Trippy Turn up by Chicago Black, and (Free) Burn One. Kcamp/speaker knockerz/PnB Rock/ Type Beat by J_ Steelo, alongside drums I programmed myself.

The reason why the track is so long is because I literally wanted to execute as many eclectic ideas as possible in it and make it absurdly progressive and shifting in change as the song goes on that I feel like I didn't do well or at all in the tracks before it, alongside new ideas from the music I was bumping at the time, that being genres such as Bop, Hardstyle & Rawphoric, EBM, Electro, and Footwork & Juke, so I tried to clash all of it into one song. It was also to test the patience of my listeners... but that's a whole story for another day. I also wrote this track to make the album feel like a full circle in closing by discussing similar points that had been talked about earlier in the album like Blue Tiger², along with sampling Smile-san's Room again but more distorted to continue the same atmosphere. Don't know if you get how I mean, but that's the best way I can put it...

And that my friends was the background and lore behind BLUE TIGER. I really have no clue how to give a conclusion to allat reading besides saying something cheesy like how this album was a huge learning experience for me in making tunes and probably the angriest I've ever been with music yet most fun I've had recording music in a very, VERY long time. I'd like to take this moment to really thank the real heads with all of my heart, that being every single one of my fans, my friends and my family for sharing this album I've worked overwhelmingly hard on around the block on the release day for it and showing love and support as I did what I consider exceptional work on it, that being simply liking snippets or even looking at my page. It's an intense blessing in my eyes to have such a platform and web of legends on the net and in my personal life that I can share my artwork with any time and I wouldn't give it up for the entire world. Most do not get this opportunity and I will not take this for granted nor aim to let you guys down. I love you all very much and I think this album is a stepping stone to something much greater later down the line which I am extremely excited for!

MORE music is on the way very soon, don't tell anyone this but I actually recorded a few songs during the wait until I released BT and will be releasing them as singles shortly after I let this album settle in a bit. So, stay tuned for that and continue keeping it OG and remember to

GO HARD EVERY SINGLE DAY AND EVERY SECOND OF LIFE.

I will now use the rest of this blogpost to host all the promo images and videos and/or images and videos I took or made during production here, so scroll down if you want to see. (Flashing Imagery Warning)

Love you all. Romans 12:2. Peace.

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