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Sinflation - Canibus



     
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Sinflation Lyrics


Today, tomorrow, six months, next year
They have always held the keys to your fears
Fast-forward decades later, blood, sweat, and tears
Are shed to the creator but it was all made-up
Generation after generation, tell me what changes
History keeps repeating itself for agesHe was driving a Tesla model S playing loud music
He drove into an EMP storm and got electrocuted
Trust fund lawyers were recruited, lawsuits were instituted
'The electric car killed him', prove it!
Quantum evolution quantum conducive
Quantum revolution, rap music, quantum electrocution
Transformed him into a mutant, infrared eyesight lucid
Sharpen the picture, fine-tune it or lose it
God's gift, optic oculus rift, look around your environment
But keep your composure, now what do you think?
I think it's all gone to shit, these problems can't be fixed
I think the only solution is reset
They say comply or die, regroup on your side

Or mine and stop making excuses about why
Keep an eye on the micro but notice the macro
The bottom line is our slave masters are assholes
Today, tomorrow, six months, next year
They have always held the keys to your fears
Fast-forward decades later, blood, sweat, and tears
Are shed to the creator but it was all made-up
It ain't today, tomorrow, six months, or next year
They enjoy playing off of all our fears
Fast-forward decades later, blood, sweat, and tears
Are shed to the creator, we don't worship no paperPreach
The higher the peak, the lower we are forced to dig deep
The best outcome is always out of reach
Do you agree to disagree about hope? 'Course you don't
Believe everything they see, you'll never see through the smoke
You say you know the ledge, that's just a theoretical edge
To make the world a better place you need more than a pledge
Trust no one, even yourself
And this includes the person giving, receiving or needing some help
But you sold them your soul and they stretched out your donut hole
You only know what you were told, not what you behold
The collapse is simultaneously triggered
Now you know what it feels like to be a statistic
Poor sons of bitches ain't allowed to make decisions
We're middle-class midgets living off of Third World figures
They say the economy's grown
But if you look there's more vacant homes than homeless people living on the road
Today, tomorrow, six months, next year
They have always held the keys to your fears
Fast-forward decades later, blood, sweat, and tears
Are shed to the creator but it was all made-up
It ain't today, tomorrow, six months, or next year
They enjoy playing off of all our fears
Fast-forward decades later, blood, sweat, and tears
Are shed to the creator, we don't worship no paperYou stop getting chances when you stop taking them
So just follow your orders, never question who's making them
'Let us hold hands, let us pray with him', excuse me, what's your name again?
'Okay, we'll have another round of Jameson
Drink up, rejoice, let's pretend we always have a choice
'Cause we sure as hell never had a voice'
The day of reckoning, your last will and testament
Text-messaging emergency services still testing pings
Black Swan psychologists could've been worse, they could've been communists
Objection sustained, McCarthyism, counselor
A complete monopoly, this is proper hip-hop verbosity
Show you how it be and how it look to me
They build, destroy, recycle, that's how they get it done
Vocal percussions, no interruptions, perfection
Soundproof coffins, the haunted eavesdrop too often
It's always me and the Lord when I'm talking
Taking long walks on winter beaches, falling
With splinters and blisters and the sound of whispering torment
The guillotines are sharpening, their background music is ominous
Laying there naked dying from insomnia
Hungry 'cause they're starving us, gun sentries, hall monitors
Droning and daunting, my dear long-armed darlings
We are death-marching, ritual, sinister, barefoot prisoners
Dig a hole so POWs can shit in it
Prisoners during peacetime, peaceful and primitive
We never could understand, what the fuck is a derivative?
Admit it: we were all deceived with such relative ease
Only because we dared to dream
They stole control with a single act of multiple hacks
They were literal, visceral, non-physical attacks
City-wide but then the chaos metastasized to the countryside
We cried, our Bill of Rights were nullified
So miserable, so sad, I don't ever think I've felt this bad
Feelings are emotions, emotions are scams
Wealth intimidates poor people more than violence
So they hide it, I've been on both sides of the fence
The common man changed to behave as a slave
Reading Elliott waves in a daze on a Forex page
When Braveheart was brought to King's Court he was shackled in chains
I heard him say, 'that was an unwinnable game'

Enjoy the lyrics !!!
Born Germaine Williams in 1974 in Jamaica, Canibus moved to the United States with his mother at a young age. Because his mother's career required constant relocation, the family moved frequently and the soon-to-be rapper found solace within himself. His rhetorical abilities blossomed later, once hip-hop became the guiding force in his life. He began rhyming and in the mid-'90s joined a group called T.H.E.M. (The Heralds of Extreme Metaphors.)

This group consisted also of his partner Webb. Following a fallout with his partner, Canibus pursued a solo career and began infiltrating the mix-tape circuit. By 1997, he had approached the brink of the major-label rap game, guesting regularly on high-profile releases: He contributed to "Uni-4-orm," an inclusion on the Rhyme & Reason soundtrack also featuring Heltah Skeltah and Rass Kass; "Love, Peace & Nappiness," an inclusion on the Lost Boyz's Love, Peace & Nappiness also featuring Redman and A+; "Making a Name for Ourselves," an inclusion on Common's One Day It'll All Make Sense; the non-album remix of Wyclef Jean's "Gone Till November."

And most famously, "4, 3, 2, 1," an inclusion on LL Cool J's Phenomenon also featuring Redman, DMX, and Method Man.

Of the several guest appearances, "4, 3, 2, 1" certainly meant the most, as it brought together many of New York's preeminent hardcore rappers and thus ushered Canibus into that same elite class. At the same time, however, Canibus lashed out shortly afterward with the Mike Tyson-featuring "Second Round K.O.," where he rhymed, "So I'ma let the world know the truth, you don't want me to shine/You studied my rhyme, then you laid your vocals after mine."

In fact, the entirety of the song directed barbed rhymes at LL: "You walk around showin' off your body cause it sells/Plus to avoid the fact that you ain't got skills/Mad at me 'cause I kick that sh*t real niggaz feel/While 99 percent of your fans wear high heels," and so on. Shortly thereafter, LL sought his revenge, releasing "The Ripper Strikes Back" on the Survival of the Illest soundtrack (1998) and thus channeling even more attention toward Canibus.

From the track's chorus ("Can-I-bus? Yes you can!") to practically every line of the verses ("You soft as a newborn baby takin' a nap/Make my dick hard with that bitch-ass track/Where you at? smokin' in some one-room flat/Suckin' on Clef's dick hopin' to come back"), LL unleashed a fury of insults and threats. The media, of course, elevated the battle to grand heights, as even MTV gave the story headlines. In the aftermath of 2Pac's and Biggie's deaths, such confrontations fascinated the rap community, and Canibus certainly capitalized on his newfound publicity.

As for his debut full-length, Can-i-bus (1998), though, the response was sobering. Critics expressed little support, and sales quickly dropped as listeners also felt genuinely disappointed. Executive produced by Wyclef, the album suffered on many levels, both production-wise and rhetorically as well (critics targeting Canibus' delivery more than his lyrics or themes). The momentum that "Second Round K.O." had generated simmered almost immediately, and it didn't help that LL's "Ripper Strikes Back" found substantial acceptance at the time as well.

In the two years following the release of Can-i-bus, the rapper maintained an extremely low profile, much in contrast to the regular guest appearances he had made leading up to his debut. As a result, when he finally did return with his follow-up album, 2000 B.C. (2000), few noticed, it came and went generally unheard, and Canibus returned to the underground after parting ways with Universal. He continued to record albums and release them on the independent circuit (including 2002's Mic Club, 2003's Rip the Jacker, and 2005's Mind Control); furthermore, he retained a small base of fans as well, yet his days as the next-big-thing had clearly come and gone, as they similarly had for so many other talented rappers.

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Canibus