With so many years of experience and an unbelievable amount of skill that no one

else has ever seemed to remotely match (not in an arrogant way but rather in my
way), I asked myself a question which was very simple but very controversial; w
hat does it take to compose the best rap album of all time? I told myself after
that thought that whatever it took would be less than what it would take to make
my next album. I regret that now, a lot. Then again, on the positive note, that
is exactly what I ended up doing. It is none other than a modern musical miracle
that I was able to carry out and complete the creation of Sweet Static Stories
entirely by myself.
Sweet Static Stories Original Intro Speech
Where and what stage someone resides in life as fate, or symmetry, can never be
answered by anyone other than the place and stage beholder. However, at some poi
nt, you will make a mistake, whether anonymous or blatant, and true to your wish
es or thoughts, you believe that it cannot be fixed, so you think. However, thin
gs change, and you are in control of these changes. Just count count on one thing
to fix another. Even though you can only proceed, you can still count backwards
and change your mistakes to what is, remaining, solely positive. In the end, thi
ngs always work out for you, and will continue to. For every bad, there shall ex
ist something good. Would if I told you this has already been proven? Indeed it
has been portrayed, right here, in the Sweet Static Story I will speak of. How?
That I shall not speak of; manifest your job to discover and conjure. Imagine th
at each song is not a story in itself, but a sweet of a story; if the sweets dwe
lled in properly, they tell something that is far beyond music & far beyond huma
n. Every question an entity could ever ask upon myself has been answered in one
of these sweets yet the answer lays under the words and instrumentation an album wh
ere the answer lies in the intellectual ability of the listener to discover the
answer by putting these sweets in the correct places. That is Sweet Static Stories
. Start by fixing five.
Sweet Static Stories Original Storyboard, Before Writing and Composure Began
I once pondered; every song has an end and will not last forever; every story ha
s a beginning and an end. While thinking about the matter, I began to imagine tha
t this concept, of all things possessing a beginning and an end, could be void o
r omitted, all along. The key to creating something everlasting, however, was th
e reason to which nothing became of the thought. Almost 10 years after this thou
ght first arose, some strange spark of magic occurred on March 8th, 2012 I was p
ersonally asked if I possessed the capability to tell a story in a song. Thinkin
g that question was nothing more than an overcurious insult, I answered, of cours
e, and strolled away; straight on my path I walked, while without warning, the en
tire thought of voiding a beginning and an end suddenly existed at the back of m
y mind only that this time, I knew how to do it. It was then that I divulged the
coming across of a ruin in my mind centered around love. Being that the same ex
act feeling has happened before every album of musical art I have ever produced,
I knew that inevitably and unstoppably, I was about to spend over a year of my
life, maybe two years, turning this into an album.
From the very beginning of the creation of Sweet Static Stories, I had one very
practical and real goal in mind, one that I would eventually carry out. I waltze
d into S.S.S. with the attitude that with the help of five of the most talented
hip-hop instrumentalists in the world, I m going to the limit. This attitude did exa
ctly what I intended it to do which was in est. build one of the greatest rap al
bums, on every single level, that a mind could build. It was simple; make the al
bum perfect lyrics, vocals, instrumentation, music theory, greater meaning, struct
ure, organization, subliminal messages and correlations, diversity, theme, moral
, and of course technical merit. Instead of writing just plain old songs, I was g
oing to bring music to science writing musically and incorporating science into
the creation. A quarrel of thought into every tiny thing unfolded; What vocal ele
ment emphasizes every aspect of this line? What musical note portrays the meanin
g of this lyric? What balance of literary elements focus someone to this line wh
ile portraying the last line subliminally while still incorporating the theme? D
oes this sample change the music theory (in literal terms) here, or should it re
main the same? Soon the strong approach to the creation of S.S.S. led to many asp

ects upon the manner I previously operated in to become reconsidered in a way. I r

ealized that if something meant a better outcome, then just do it; if I needed t
o use some recording trickery to make some impossible vocal display become possi
ble, do it; if I need to put real instruments into an instrumental, I d do it and
if moral needed to come face-to-face with music, then that s what would happen anyth
ing to make the outcome more powerful.
The name Sweet Static Stories had been attached to the conception of an endless
story in my mind for years before that spark of magic fired up with its sublimin
al meaning and all. After the work began, the theme of fixing your mistakes was
conjured and the idea of a puzzle relying on the intellectual ability of the lis
tener came about. A plan was laid out withholding 25 songs capable of interactin
g between one another. The number five repetition of the number five was part of t
his plan. A puzzle became the idea to void this beginning and end theory of all
things; the listener must piece it together to realize the moral statement incor
porated into the entire concept. Each track needed to be for a purpose or reply
to an inspiration, yet remain a piece of this interactive puzzle. To create this
outcome, the planning of the entire album would need to be completely different
than the planning of any other piece of music. Like all of my previous work, a
creation plan was devised and a systematic way of lyrical writing catering speci
fically to S.S.S. was created. The speech was crafted as a reference for every i
nspiration as they were hunted down with force and attacked to reveal hidden son
gs the world could produce. Consistency and documentation became an obsession wi
th literally every part of the album that was written to paper. Not one tiny thi
ng in any part of S.S.S. was going to simply happen on the spot, not even one ti
ny sound. Every single lyric, sound, note, sample, or technical aid was going to
be planned and prepared deliberately.
As in every piece of musical work I have created since establishment of myself y
ears and years ago, the instrumentation comes first-hand immediately after devis
ing a song, followed by manifesting, then writing. This was not going to change.
There was one particular person who has repeatedly done extraordinary things wi
th hip-hop instrumentals who has had my back all along: Sourze. In my opinion, h
e is one of the most talented hip-hop instrumentalists in the world, and that s wh
y I silently work with him. After the concepts and meanings of every song that w
ould be included in the story were devised, with the help of some of Sourze s prev
ious work and new work in addition to the work of four of his affiliates, the in
strumental work began. The use of over 40 real instruments was the result. Sever
al of Sourze s previous instrumental songs were performed with real instruments an
d used in response to every song as well as new instrumentals made. Edits were m
ade to every instrumental throughout songwriting with samples added or removed,
harmonies changed, or more real instruments being added to enable portrayal of a
song s meaning through not only the lyrics, but of course its instrumental partne
r as well.
Writing a song in response to an inspiration felt like writing a will as hundred
s of subliminal messages, meanings, correlations, references, and statements wer
e first memorized before they hit paper, along with unbelievable amounts of liter
ary and poetic elements on top of amazing lyrical structure and the fact that al
most everything was in formal writing. Since I was very young, I have been capab
le of manifesting lyrics to the point where a verse would already be complete be
fore it hit paper, yet a visual copy was still a requirement to rehearse or disp
lay it vocally. The reason has always remained unclear to me. Writing any part o
f S.S.S. was not viewed as writing lyrics to a verse, chorus, or even anything i
n lyrical form; rather, it was viewed as writing a musical composure. Writing in
this manner of viewpoint resulted in far better outcomes than writing a rap. The
nonstop, relentless barrage of vocals from the very beginning to the end of ever
y song, and the variation from very deep, powerful pieces of music to some very
traditional hip-hop are among the results of this writing concept. Of course, ev
ery song would have the independent aspect of its purpose as a song standing alo
ne while at the same time, the entire concept of the album would be included in
every way possible. In other words, this is rap in the form of pure music. All a
long, this really was setting up the stage for an album that would be absolutely

perfection in its sense of lyrical depiction.

Oh God, rehearsal when a song is rehearsed to death before it is recorded, the ou
tcome is always far better. Tiny things arise during rehearsal that could mean t
he difference between good and amazing and the vocal pattern comes naturally jus
t like speaking. At this point, about 90 percent of all lyrics for S.S.S. could
be recollected by a visual cue and rehearsal of small parts did take place many
times before the official rehearsal began. Nevertheless over 100 pages of lyrics
needed to be memorized perfectly. To make the task even more daunting, recordin
g layouts and plans in addition to vocal cues would need to be memorized as well
. Rehearsal of S.S.S. came with a price tag of vocalizing through every single p
art of every song over 1,000 times if you count during recording. In the midst I
just told myself, anything to make it better. Rehearsal of each song went all the
way until its recording session.
The final point in the creation of Sweet Static Stories was recording which, oth
er than Here s to Our Stars which began February 12th, 2013, officially began Augu
st 23rd, 2013. Conveniently I happen to be a professional and well extremely rep
udiated sound engineer in the first place on a positive note. The manner the rec
ording was going to be performed developed in the first few months of creating S
.S.S. Of course, like every other aspect of S.S.S. production quality needed to
be phenomenal not only because technical merit is still an aspect of the album t
hat needed to be extraordinary, but also because after all, it s what you actually
listen to. I wanted no aspect of S.S.S. to be compromised in any way due to pro
duction quality. Having access to the beautiful studio of DB recordz and being o
ne of the absolute best young sound engineers the world has to offer, specifical
ly specializing in vocal production, I set out to make the sound of perfection.
Ideas began to develop situated around production techniques that would make the
album unique. The instrumentation was all 100% mastered on its separate tracks,
then finalized with EQ referencing a pink noise for perfect equalization; propr
ietary shaping of stems was already one unique aspect that had been pioneered on
the instrumental work of S.S.S. After many weeks of thinking about how recordin
g would be done, all while working on the album s creation, the huge final qualiti
es arose; all sounds effects will be completely separate vocal rerecords; a ster
eo riff would be separate rerecords panned and there would not be one single voc
al sample that was repeated (sampled) twice; delays would be separate rerecords,
reverb would be a separate rerecord using a reverb chamber for reverb, and ster
eo backing would be equalized complementary to the center track and run continuo
usly. The session layout was planned and written out beautifully and that plan w
as one studio session each weekend for however many hours, not jumping into more
than one song at a time and keeping everything in order, back to back, while mi
xing took place in the 6 days of the week that weren t recording and time that cli
ents weren t in the studio. The entire album would be WELL comped too and not just
the master comp, everything. Doing this created massive track counts. In fact,
the first song recorded (after the recording concept was fully adopted) long bef
ore anything, the finale of the album, the remix of my high school s theme song He
re s to Our Stars, smashed the record highest track count in history for a hip-hop
song at 124 tracks upon mixdown, and was mixed a second time in the main midst
of production because it wasn t good enough the first time making a waste of the f
irst 3 weeks mixing it. The next song recorded was 2,116 Kilo-Bits Per Second, t
he history of mixing storyline song, the chorus of which was the only part of th
e album recorded on reel to reel 128 tracks of it! The mixdown was then set up ov
er the period of two weeks and performed on August 16th, 2013 with no more than
my hands turning pan knobs for automation. A month and a half later, the 8th son
g on S.S.S. and the 7th song to be recorded Mines topped the label s track count recor
d yet again at over 160 tracks before comping. Two months later, Psychopath, wit
h all of its layered up and varying vocals, topped it yet again, at over 190 tra
cks prior to comping. Two weeks later, Pacifism Will Never Exist not only topped
it again, but smashed it, at 250 tracks prior to comping. Finally at the start
of 2014 near the end of the recording road, Soldier s Anthem reached the highest m
ixdown I have ever done in my 12-year history as a sound engineer at 315 tracks
prior to comping. The recording schedule went pretty much according to plan with

mixing being done about 50% of the time each non recording day yielded for abou
t half of the recording season. In the meantime, other clients could come into t
he studio as well and vocal practice for S.S.S. went on. After recording was abo
ut half way done though, mixing was FAR behind recording sadly and extra studio
sessions (usually a few more small ones each week) yielded more takes in the dra
gged out time. On February 17th 2014, recording was done. Mixing was done an ent
ire 5 months later on August 22nd, and involved a full month-long delay over a n
ew pair of $2,000 mixing and mastering headphones giving a window to remake and
finish the artwork, this, revise the intro story, and layout the jewel case inse
rts early.
The end of the trail of unforgettable stories portrayed in Sweet Static Stories
does exist. The end result depends on how intelligent you, the listener, are. If
you discover the meaning of Sweet Static Stories, you are a genius: if you can
figure out the real answer to the puzzle and piece it together, you will officia
lly understand how anything can remain static. To begin, you must know this: Siv
e, Six, Seven, Fix Five~ With that simple statement, you can discover the meanin
g of Sweet Static Stories.
A Brief History of DE~Rail
In 2002, while in a second grade special ed class (of course it was special ed),
DE~Rail pulled a piece of paper out of his desk, and wanted to write a rap. Thu
s he did. That, is how it all began. ... Now, thousands of pieces of paper, hund
reds and hundreds of pen ink wells, tens of thousands of freestyles over 7 and a
half years of street rap experience, at least 10 mixtapes, a couple dozen singl
es, and 4 albums later, here he is. An adventure of violent freestyle battles, i
nsane raps, songwriting, and esophagus ripping has gone by since then too much to
list. He was dubbed "DPTFM" which stood for 'Darryl Pioch the Freestyle Master'
in 2002 at the start of his career. In 2011, a vote among school was cast which
voted yes to change the name to DE~Rail. When he's on a track, he's NOT on the r
ails and believe it like hell. Belief in not thinking on the track that others m
ay think on is the real meaning of the name which is the main reason for his uni
queness. In 2009, he conceived the idea of a record label capable of doing anyth
ing. A massive pile of work was needed to complete such a task. However, in the
midst of 2010, after a whole album had already been done, he founded DB recordz.
In that time, he had a very strong interest in Sourze, a hip-hop instrumentalis
t from Germany. From the album Back 2, Square 1 on out, Sourze and his affiliate
s would be the primary instrumentation on every release to date. In all, every s
ingle album DE~Rail has made, Passion Within Violence (2009), Back 2, Square 1 (
2010), TPN (2011), and Two Mornings After (2012), have all been completely diffe
rent with purpose and concept & every release from here on out will remain a who
le new untouched idea which is the key to be the best; be unique. All of this ca
me from a simple thought many years ago; I wanted to write a rap. Sincerely, DE~
Rail.

Song Facts and Info

All Songs were Recorded Courtesy of DB recordz Professional Recording, Mixing, E
diting, and Mastering of Wasco, Illinois. Copyright 2013. All Rights Reserved. R
ecorded, Edited, Mixed, and Compilation Mastered by Darryl Andrew Pioch with Wor
ld-Class Assistance from Jason Walsh of Farview Recording. All Instrumentation P
roduced by Sourze, Sadik, Jace, Nishadem, and Frame the Best Hip-Hop Instrumentati
on the World Has to Offer.
1.
A Good Way to Start a Story
To begin something as completely insane as Sweet Static Stories, something that
would introduce everything in one downright unforgettable song was a requirement
and would fill one of the 25 spots in the Sweet Static Stories puzzle. I set ou

t writing a song that would be one thing: insane. Ironically, A Good Way to Star
t a Story was the seventh song written for Sweet Static Stories rather than the
first like one would expect. Incorporated into the verses was everything that th
e album has to offer from very subliminally depicted lines to outright blatancy
with every type of poetic element that could remotely be used in any verse on to
p of several types of structure and metronome relationships, things that most rap
pers wouldn t even consider in their lives, to give some preview of what the next 2
4 songs have to offer. The intro and chorus kick off the meaning of the Sweet St
atic Stories and puzzle moral in ways that the listener must unveil. On the inst
rumental side, the only instrument that is in fact not real throughout the entir
e instrumental is the drum roll; everything else the choir, the synth, which is ac
tually a mouth harp, and the violins is all real instrumentation. The intro of A G
ood Way to Start a Story, being that it s the album s intro, not just the song intro
, was revised several times and lines from the verses were revised as well. A Go
od Way to Start a Story just so happens to be one of the fastest raps of all tim
e, superseding the currently listed world record considerably. Written in Decemb
er of 2013. Instrumentation: 2012 instrumental kickoff from Sadik. This is a goo
d way to start a story.
2.
Second-Hand
Originally called The Last Survivors, Second-Hand replaced the smoking song Seco
nd-Hand as the second track on the album and is the only song that was brought i
nto the album from a different song project. Originally, it stood as the 9th rel
ease on The Anything s Possible Project and was released prior to the album release.
I just make monopolies and four by four are quotes meaning that I and a few select
individuals are among the last standing real rap artists in the industry and it s
because of ourselves; we make monopolies the destruction of everyone else, even
though the reason I quit street rap after 10,000+ battles is because I stopped b
elieving in that idea I just explained. During my early history, I was violently
engaged in street rap winning some 9,700+ consecutive battles (with the help of
our own referee who we didn t allow to become biased in any way (hopefully) and a
ll of that hell is what inspired this song. Nishadem sat down in early 2012 to c
ompose the instrumental with the help of Sourze s divine skills on the keys and th
e instrumental song, The Last Survivors, now stands as the final song on Nishade
m s Venom Infection instrumental LP. The song was mixed two separate times and was r
ecorded partially with a different microphone than the rest of the album being t
hat it was originally for The Anything s Possible Project. It was in fact the very l
ast song written for the album or written that is on the album foe that matter. I
nstrumentation: The Last Survivors from Nishadem. I just make monopolies.
3.
No You. Wrong
Time and time again, someone will ask; are you sure? How do you know? Why? What
explanation or answer might they be looking for? To begin Sweet Static Stories,
there needed to be a recap of Two Mornings After and No You. Wrong was going to
fill that void. No You. Wrong was the very first song written for Sweet Static S
tories. The beautiful track No You. Wrong completely recaps my previous album Tw
o Mornings After bringing it into Sweet Static Stories with the discussion of wh
at happened to start Two Mornings After (the first verse) and what happened to e
nd it (the second verse) while the chorus brings in the Sweet Static Stories con
cept that you must discover. Since Two Mornings After was almost finished before
I started writing No You. Wrong, the concept of Two Mornings After, Everything
in Time Dies and the victor of your own defeat through choice, had to be carried
through to Sweet Static Stories. The you in the song refers to the person who ins
pired Two Mornings After and dominates throughout both verses. The intro was lat
er added like in many songs on Sweet Static Stories and brought out the entire s
ong much better. The massive internal and end rhyme scheme at the beginning was
the result of No You. Wrong originally intending to be the first song on Sweet S
tatic Stories. Written in October of 2012. Instrumentation: Remember from Sourze
. These hid songs.
4.

Something I Want

That big choice of should I go for her? Something I Want is designed to make you t
hink about it and to motivate, but discourage at the same time, all with the Swe
et Static Stories theme. I always liked being single until slightly before begin
ning Sweet Static Stories but to keep my attitude the way it was, not the way it
was going, this was my last resort and that was why Something I Want was writte
n. Of course, which of the two options does the title mean? Figure it out. The c
horuses, intro, and outro were revised and added later in the scene. I loved reh
earsing this song (for the obvious of reasons) whenever it was time to and I nev
er stopped early. The verse slowly shifts from direct diction to subliminal dict
ion representing the topic of Sweet Static Stories as it goes on. I quickly disc
overed that writing that way was extremely (and put an emphasis on extremely) di
fficult to do taking several days to subliminally write forty-eight lines. Most
of the verse was completely memorized immediately after it was written because o
f the irritated mood I was in when I wrote it, ironically. The entire instrument
al song, What You Want in Life, by Jace is composed completely of samples which
is his divine composition skill at hard at work. Written in December of 2012. In
strumentation: What You Want in Life from Jace BZ. Life free, a grieving.
5.
Sive
For almost literally forever, I ve wanted to somehow make a song that represented
an error or mistake while still maintaining the song aspect of it. Making such a
song was held back for two years and it was held back for two years until Sweet
Static Stories came along and brought it to life. I as well as anyone have made
mistakes and to put them into an unchanging story would be one hell of a lyrica
l accomplishment. This would mean I would need to portray making mistakes withou
t changing anything or actually discussing them in the two verses of Sive. I did
n t want a deeply subliminal song either making this task even harder. I came up w
ith an idea, in fact, to make portrayal of mistakes without actually making them
possible and that is: make two verses which are complementary to each other. On
e would discuss the mistakes subliminally while the other discussed the solution
s metaphorically. Overall, that would enable my use of my own diction choices. S
imple. Over the period of many days, Sive was written and several revisions were
made over the course of time from when the song was finished until rehearsal wa
s finished. Among these was a complete revision of the intro and outro and revis
ing some of the choral lyrics. Lack of breath during verses in rehearsal require
d layering every 2 lines upon production as originally planned. Written in Decem
ber of 2012. Instrumentation: The Invasion from Frame. Sive, six, seven, fix fiv
e.
6.
Static
Every time you make a decision, how do you know you made the right decision? You
never saw the other outcome. That is the exact concept that went through my min
d as I was writing Static; I didn t exactly understand why because it s not quite (n
ot quite) the point of the song. I wanted to leave a topic unchanged rather than
discussed and thought upon but the question was: how the hell could someone do
that in a song? Just outskirt the topic of the song the whole time or even make
it so that no one would ever get the point of the song? That wasn t me. I ended up
proving the point of the song you can leave something unchanged through constantly
conveying back and fourth between changing a given topic to leaving a given topi
c (how the lyrics point to things) untouched. The idea of Static was focused pri
marily on the question of: what if everyone was the same; would everything be stat
ic? Many topics were discussed in Static which all related directly to the portra
yal of Sweet Static Stories. Listen to the song very carefully and you ll see what
I mean. It s absolutely genius actually. If everyone was perfect and everyone was
genius then would the world be conceded and defeated by this? Nishadem s most wellknown instrumental song, No Stalker Alive, was the beautiful composure Static wa
s written with. The interludes were changed many times before finalized and rehe
arsed again and again to find that perfect metronome. Nothing interfered with wr
iting Static either; during writing, life was all about it. Written in November
of 2012. Instrumentation: famous composition No Stalker Alive from Nishadem. Ala

s this is static.
7.
Stories
Believe it or not, my great grandmother inspired Stories. It was the third song
written for Sweet Static Stories and the first signature song. To create the son
g, I wanted something that told a story, then told a bigger story, then painted
the big picture with that subliminally through the entire song, sort of as if st
ories were compiled right n top of stories which, when put together, created a l
arger story as a whole. Each verse was to feature small partitions of stories th
at were integrated in such a way as to make a bigger picture. The first verse be
gins with the key of the song once upon a time . Imagine every four lines start with
once upon a time and you ll see the smaller comp stories taking place while meanwhi
le on the bigger picture, the main story, the story of my career, displays itsel
f. The chorus was written in the Sweet Static Stories theme in addition to its l
ast line retorts back to the old tales my grandmother would tell I m tellin stories to
you. The chorus chord was thought out many times over again and was stuck in my
head for days and days on end before I finally decided which route to take it al
ong. By the way: listen to how amazing the first verse is; I don t know how the fu
ck I do that. Seriously, the way everything connects (EVERYTHING) is utterly unb
elievable. The intro and interlude were written exactly as they appear in the so
ng with all of the panning and talking between the inspirer and I later down the
road and the ending climax chorus was manifested and written afterwards as well
. Stories was destined to be the seventh track on Sweet Static Stories; remember
that. Instrumentation: Bloodsportz from Sourze. Written in November of 2012. On
ce upon a time.
8.
Mines
I always love it when someone enacts stupidity or hated towards someone and it t
urns out to be a mistake they step on a mine. It can destroy them. I wanted to dir
ectly put this into music, with some subliminal situations and instances, and ma
ke some absolutely awesome track. Prepare for War, an instrumental composure fro
m Sourze which he performed in 2009, was a perfect way to get the anger of the s
ong across so that was a start. From there, I wanted three more things: a way to
explain it, a way to portray it without compromise, and an absolutely amazing so
ng like everything else on Sweet Static Stories until this point. Mines got its
name from the obvious mistake of stepping on one and the name is a literal way t
o say the meaning of the song in a single word. Each verse of Mines is a mirror
of itself; listen to them very carefully. The intro had been redone a few times
and the reverse edit of the instrumental initially sparked that conversation bet
ween a hater & me to take place. The fact that the chorus is all my voice and my
voice only is remarkable; I ll say it again; the entire choral vocal is solely me
just like everywhere on Sweet Static Stories except you should know where. Mines
was one of those songs that I wanted to make for years and years before Sweet S
tatic Stories came along and forced me to make it. The anger and hatred of Prepa
re for War from Sourze does the finishing touches of the product of Mines. The r
ecording session of Mines was an hour and a half of relaxing singing and then an
un-relaxing 5 and a half hours of relentless vocally demolishing nonstop hell th
at I was glad to have over with and I had a fun week mixing the 147 tracks that
it created. Written in November of 2012. Instrumentation: Prepare for War from S
ourze. Can you see the mines?
9.
Day 354
My one most hated mistake was something I enacted related to the album Two Morni
ngs After on January 13th, 2012. It was a Friday the 13th unfortunately. Without
unveiling the event, I wanted to make a song out of it. So I had Piano Flow Par
t 2 from Sourze and the need for the taking of a spot if the Sweet Static Storie
s puzzle. There was already the piece tying Two Mornings After to the album dire
ctly an even though Day 354 is related to TMA, it needed to fail to bring more o
f TMA into Sweet Static Stories. Day 354 brings Sweet Static Stories to life wit
h my own big mistake by conjuring up every alternative outcome and diversion to

it. Always remember to think of the one thing I didn t list in the song s totally si
ck lyrics. The intro was revised a few times like many of Sweet Static Stories so
ngs and the interludes were eventually added later down the road. The laugh hear
d throughout Sweet Static Stories was derived from Day 354 and called appropriat
ely the Day 354 laugh which is my own mind s teasing sound whenever something fuck
s up; remember that. The Day 354 laugh is rerecorded throughout the songs on Swe
et Static Stories to bring my mistakes into a song where appropriate. Day 354 ho
wever was where the entire concept of this sort of anger throughout Sweet Static
Stories originated from. The outro of Day 354 was also added later in the scene
; I m a demon rapping. Written in December of 2012. Instrumentation: Piano Flow Part
2 from Sourze. January 13th, 2012.
10.
Go for the Esophagus
DB recordz need for esophagus destruction created Go for the Esophagus and it nee
ded to be made because it caters to the Sweet Static Stories theme and fills up
an empty required puzzle piece in the space it creates. The first thing that I u
sed to do when I entered a rap battle (and I did not know this of course until 2
011) was immediately direct all force at the esophagus of the opponent either to
rip it or to rip it in addition to removing it. It s always the first thing we go
for when we re getting ready to record as well. Ripping esophagus is defined by D
B recordz as the production of an incredible rap verse or scheme. To rap about p
roducing an incredible rap verse or scheme would of course be what Go for the Es
ophagus would be about and that was what was done. Portrayal of the theme of Swe
et Static Stories is subliminally through wordplay and metaphors rather than dir
ect subliminal references like most of Sweet Static Stories. Many edits were mad
e throughout the rehearsal including several revisions of the intro. Another rea
son Go for the Esophagus was written is because for nearly eight years of my car
eer, the first eight, I performed street rap day in and day out helping inspire
this madness. That sick voice in the intro and choruses has not been changed in
any way other than rerecorded for stereo; that is my real vocal for that situati
on. Written in November of 2012. Instrumentation: 10,000 sub special seven from
Sadik. Ripping a little bit of esophagus into the individual segments.
11.
Bad Opens Good
I always would notice the pattern of a bad occurrence followed by a good occurre
nce. That was turned into a song for Sweet Static Stories when the song was insp
ired 100% by Sourze s instrumental song Good Loves Bad from The Sourze Codex 2. Th
e entire theme of the song relied solely on the instrumental s meaning at first. I
t was eventually reversed around thinking maybe, a good occurrence is the reward
for a bad one rather than a bad occurrence becoming the consequence for a good o
ne, hence Bad Opens Good rather than Good Loves Bad. Knowing that it wouldn t matte
r what order you interpreted that concept in, I set out to the reaches of my int
erpretation of the areas I could get to in order to sightsee the relationship be
tween these occurrences. Rather than spending all the time in the universe writi
ng the song, I spent all that time figuring out the relationships between bad an
d good and vice-versa. When it was written, it was the written do perfectly that
nothing had to be revised at all. The Sweet Static Stories theme was enacted in
to the scheme of the song and the only thing that was written after the final so
ng was the intro. Honestly, Bad Opens Good is a fucking awesome song inside and
out. Written in February of 2012. Instrumentation: Good Loves Bad from Sourze. C
an you hear the weatherman playing?
12.
Right to Life, Liberty, and Swag
People used to continually complain about my use of the word swag and even so, the
only reason that Right to Life, Liberty, and Swag was written is because it s ing
enious in addition to the fact that I had to take U.S. History. We seriously do
need a real law passed to stop hatred on people who act the way they do because
it s who they are just like we did for discrimination. I wrote the chorus like a p
olitical proposal or speech as you may be able to tell when you listen to this f
ucking awesome song. The verses of course connect straight to the Sweet Static S

tories theme in ways you must discover upon critical listening. There are a lot
of funny lines throughout Right to Life, Liberty, and Swag if you get the histor
y (yes, the history *italic*) like the line that includes so when drill team both
ers me which was revised about six times before rehearsal even began. Contributin
g to the creation of Right to Life, Liberty, and Swag was the fact that people w
ould always bitch at me for saying swag repetitiously and even I got tired of it b
ecause too many people would repeat it after me. I must thank them for the insan
ely awesome song though. At several points, the verse lyrics were revised and ch
anged including rewriting two full lines in the second verse. Instrumentation: O
ld Shaloin from Sadik. Written in November of 2012. The 28th amendment.
13.
Pacifism Will Never Exist
Learning about so much war and conflict since a very young age seems to be what
most children are all exposed to. It has always baffled me to why most people do
n t stop and think, just for a moment, that the entire concept of war is a waste o
f glamour and lives. The reason that most people see it as something to talk abo
ut or even endorse remains a mystery to me, which caused me to work as hard as p
ossible to break down people s mindset on war, how it happens, and what it means i
n ways far deeper than what you can see. With peace and the abstinence of war, I
wouldn t have needed to make Solders Anthem, on the other hand. Everything to port
ray the thinking behind war has been done in Pacifism Will Never Exist. Music th
eory in absolutely everything, vocals to represent the anger and thought, one of
the darkest pieces of hip-hop instrumentation ever made (made from all real ins
truments), and many lyrical concepts went into Pacifism Will Never Exist to brin
g the scariest song on Sweet Static Stories to life brilliantly. Three verses, e
ach with direct focus on the motivational aspect of belligerence is the main bod
y of the song s depiction with my oldest layout favorite of having a chorus at the
end. The parallel vocals during the third verse right before the chorus represe
nt a soldier nearing death and were written later in January of 2013. The soldie
r cannot speak, only think. Those 4 background lines were 4 of the hardest lines
to record on S.S.S. because vocally, I was pushed over the edge being that the
highest note was the absolute limit of my range. After several seconds, I ran ou
t of air. Vocals reached 147 decibels, the max SPL of the microphone used during
recording, and many takes were ruined because even with the pad engaged, the mi
crophone was clipping BADLY. The intro on Pacifism Will Never Exist was written
long after the main song body and voids a faint original intro. Though the intro
was not at all the limit of my range, again, many takes were ruined from clippi
ng the mic. To set a few topics, each verse was only spaced by an interlude last
ing a couple of seconds; each verse has a different viewpoint while the chorus r
uns the sum and that last beautiful line, so we die in defense of our wish, goes t
hrough. Written in December of 2012. Instrumentation: When the Sky Collapses fro
m Jace BZ & Sourze. Peace, only for a second.
14.
2,116 Kilo-Bits Per Second
An idea came about around December of 2012 when I was editing a song for someone
on the computer and I decided to break away and write some random bars about th
e thing I thought of quickest; logically, it was digital sound since that was wh
at I was working with the moment beforehand. The next thing I knew, I was one li
ne in and I realized that I could turn this into a song somehow. So I dropped ev
erything that I was doing and started thinking of ideas. The next day, I had a p
lan that evolved over the next few additional days into making a straight verse
that would act as the journey that a 24-bit audio sample goes through from when
it leaves the storage media to when it finishes being converted to an analog sig
nal. This would be one interesting (and never-before-done) rap and instead of ra
pping about the process of D/A conversion, which no one would understand, I deci
ded to make the overall mood off the song represent the process through the enti
re verse and use small references through the verse every 4 words 4 times oversampl
ing! Beginning all from being bored, 2,116 Kilo-Bits Per Second ended up becomin
g my favorite song of all time and became the most rehearsed song on Sweet Stati
c Stories, rehearsed over two-thousand times before production. Originally, it w

as going to be released the only single release from Sweet Static Stories other
than Here s to Our Stars but it was later determined that it would be treated the
same as every other puzzle piece. So the verse was written and more layout ideas
came up such as saying bit four times in the intro and four times in the chorus t
o play as routing errors when digital audio is edited in addition to sating bit si
xteen times in the body verse as well. Get it? It was planned all along like eve
ry song on Sweet Static Stories that 2,116 Kilo-Bits Per Second would use Golden
Age by Jace as instrumentation and coincidentally, the entire instrumental is c
omposed of samples (to corroborate with digital 24-bit samples) from vintage mov
ies, as in all of Jace s instrumentation. 2,116Kbps was the third recording sessio
n from S.S.S. and one of the most outrageous production sessions in my career hi
story involving about 6 hours of nonstop hell and a completely torn apart falset
to afterwards. The mixing of 2,116Kbps involved 132 tracks and features the larg
est single person choir display in history for the chorus; it s 106 voices, all la
yered up. Go right ahead and be obsessed with the song because you should be. Ev
entually, there will be an insane music video to go with it. Written in December
of 2012. Instrumentation: Golden Age from Jace BZ. But my rate was off a bit.
15.
A Fearless Person
With the confidence to say anything or do almost anything (almost anything, not
anything), someone once said I was a fearless person. On top of knowing someone
who completely fits the description in A Fearless Person with vibrant detail cau
sing A Fearless Person to become a song that had to be done, almost in a literal
manner. NP3 (Needless Point 3) from Sourze was the instrumental all along that
was destined to be the fearlessness for A Fearless Person. To set the song off,
after leaving Sourze s 2010 tag in tact since it s a classic, I get right into a two
verse, two chorus structure. I said fuck it when I wrote A Fearless Person and
used some similes which I don t normally use but the sound it made I thought was s
imply sick. The main goal was to simply represent a fearless mind with every det
ail of ignorance throughout A Fearless Person. Six lines into the second verse a
nd deliberately six lines in, there is a beautiful mirror that when said opposit
e directions means the same exact thing from first to third person; hate indeed y
ou know I m fearless\ hear this I know you indeed hate. That line took several hour
s to conjure stating my view on mind from first to third person simply. Incorpor
ated deliberately into the title are the initials A.P. That goes way back to TMA
. The person who inspired this song ought to know who they are so congrats. Writ
ten in November of 2012. Instrumentation: NP3 from Sourze. I m just fearless.
16.
Quarantine
Every damn time I am held back from anything whatsoever, I feel like I should ki
ll someone at least, if not something worse, and Sourze s instrumental song Quaran
tine always went through my head because the music theory in it is perfect to re
present quarantines. Directly from the instrumental song Quarantine is how the f
ull song Quarantine was brought to life just like in Bad Opens Good. I knew exac
tly what to conceive and write about; all I needed was a slight annoyance to get
me going. Coincidentally later that November day, I had an argument with someon
e over something they were doing incredibly stupid in a song and was in quaranti
ne. Right after that, in that mindset, I began writing. After writing the first
verse and second verse over the period of several days for a different perspecti
ve on the manner, I realized how great of a decision that was because vividly, I
mentally paint a quarantine in Quarantine. Sourze says that Quarantine is one o
f the best instrumentals he s ever made and the way I see it is no more amazing th
an every other instrumental he s ever made although I do admit the manipulation of
the low frequencies with many frequencies quickly narrowed down to one, giving
the feeling of getting held back and then released, is absolutely motherfucking
ingenious and using music in new intellectual ways (positively) is always someth
ing I love. Personally I think that Quarantine makes you want to jump up more th
an any other song on Sweet Static Stories in an angry way. Quarantine is a requir
ed part of the Sweet Static Stories puzzle, and it simply needed to be done. Int
ros and interludes were revised on two separate occasions. Written in November o

f 2012. Instrumentation: Quarantine from Sourze. It s in quarantine.

17.
One More Stop
Jealously should have never been invented. I founded my own label not only to he
lp myself, but to help others do whatever it takes to make their thoughts on mus
ic into a reality even if it meant help from someone as skilled as I am. I alway
s considered that to be their one last stop. With that, there was a piece that n
eeded a companion in Sweet Static Stories and it was going to be whatever amazin
g song that was made out of the discussion of those last stops. One More Stop wa
s turning out to be an epic storytelling song with more than just words to bring
it to life; the vibrant musical ethic and portrayal of One More Stop was shapin
g up to be one of my favorite songs from Sweet Static Stories. Day One from Sour
ze was actually the first instrumental piece that was modified from its original
form to write a song to it on Sweet Static Stories. One More Stop was written f
rom start to finish without any revisions because the true meaning was there all
along and the explanation it provides of how I want to bring everyone up the la
dder. We can lure haters in and strip them of their accolades is my favorite line
of the song I.E. it brings us up and brings the haters down figuratively and lite
rally. I just hope that everyone understand my viewpoint on the entire subject l
ine of One More Stop rather than doing precisely what I ask what not to do in th
e song. Written in January of 2013. Instrumentation: Day One from Sourze. Just o
ne more stop now.
18.
Standing in Boiling Water
Hatred doesn t really affect me as much as it s said to in Standing in Boiling Water
, but seriously, it s an amazing dramatized portrayal of it. The name Standing in
Boiling Water was derived from my near spillage of a boiling pot of water and a
friend saying, Standing in boiling water must suck.
Oh yes, I thought; it does suck d
oesn t it? He said that sounds like the name for a country song and I knew that I was
going to make some epic something out of it. So haters standing in boiling wate
r? No, I m standing in boiling water. Off that simple statement, I built this enti
re song. Choir Ruling from Sadik was perfect for Standing in Boiling Water and w
as crowned the instrumentation. In a week and a half, the entire song was writte
n and the hard work was over (other the horrifying recording session). No part o
f Standing in Boiling Water was revised after writing and rehearsal instantly be
gan. My favorite part of the song was the way it came together without deliberat
ely making it come together; yet it still ended up beautiful. The singing harmon
y used in the chorus was widely persevered through rehearsal until it was decide
d what exactly to do with it and I found exactly what scales to use. Written in
January of 2013. Instrumentation: 2012 s Choir Ruling from Sadik. The heat I m stand
ing in.
19.
Psychopath
I wanted one song on Sweet Static Stories that was nothing but a straight up rap
. Even though it would still need a chorus, set of lines, or a subliminal concep
t that filled the spot of one of the 25 puzzle pieces of Sweet Static Stories, I
knew I could still do it. Being that it would be so simple, it would also need
to break some record or do something extraordinary in order for it to classify i
n my books. While I was thinking about what to do, someone told me to simply rap
like a fucking psycho and I thought of Sourze s song from The Codex called, Psychede
lic. Well wait a minute what the hell just kill it. Okay so the instrumental was e
dited to the correct length and writing began in simple riffs of eight random ba
rs. What arose was portrayal of being a psycho
via the use of prior concepts of song
s to discuss, that are all genius, that make me look
psycho. *The following are all
unarguable facts that are all real and really did happen accidentally. It was f
unny in the first riff; I wrote come serious consonance and accidentally made th
e longest consonance streak in history. In riffs three through seven, I accident
ally wrote the longest repetitious rhyme scheme that has ever been written, span
ning thirty-seven lines. In the sixteen-line riff placed 8th in the track, the m
ost rhymes (making sense) that have ever been written over eight lines were writ

ten, again, accidentally. In riff ten, accidentally, the longest assonance strea
k in history was written. I couldn t believe that this all happened accidentally a
fter I was about to revise the entire song with these elements and I looked them
up so I knew what to beat, finding I had already done them. The interlude with
all the talking was written out and formatted to be recorded exactly as it appea
rs in the song before the chorus and the beginning was done the same way. The ch
orus was completely revised two separate times and is the point where the meanin
g of Sweet Static Stories is brought into play in Psychopath. The best part is t
hat after breaking all these records, I found out that if it wouldn t have been la
yered or punched in every two lines when recorded, it would have been the fastes
t that anyone has ever rapped one-hundred and six bars without stopping exceedin
g the listed world record which is listed at far less lines (it s New West by Rick
y Brown by the way). When you think logically avoiding all controversy, Psychopa
th is clearly one of the most amazing rap performances in history; that s when you
think logically, not stupidly, like a psycho. Production did NOT go as planned.
Originally, takes of the entire first partition of the verse (every other 2 lin
es starting at lines 1 and 2) and the second partition of the verse (every other
2 lines starting at lines 3 and 4) were going to be recorded straight through u
ntil enough takes were accumulated to comp main tracks, backing, delays, etc. Ho
wever, that did not work being that the vocals were too violent and fast. It was
recorded with 5 takes of every other 4 lines instead, resulting in a 205-track
recording and 2 and a half weeks of mixing. Only a total of 6 partial lines were
sped up due to the fact that vocalizing them would have been impossible. Writte
n in January of 2013. Instrumentation: Psycho from Sourze. You all know I m insane
.
20.
Sweet
From the very beginning of Sweet Static Stories, I knew that Sweet was going to
be one of the songs on the album along with Static, Sive, Stories, and Fixed (re
member that). The focus of Sweet is what it s like talking to a nice person; it s a
very interesting idea for a song and since it s part of the Sweet Static Stories p
lot, it needed to be one. Sweet was the last song written for Sweet Static Stori
es and it was deliberately written last due to its subliminal meaning. The verse
rides along the subliminal train like most of Sweet Static Stories and goes com
pletely solid all of the way through until the last word, music, some really direc
t and almost sarcastic diction. Include mood changes in the conversation; includ
e the feeling and place the conversation is taking place; include every element
to a conversation that a conversation would have. All of these thoughts went int
o writing Sweet. I wanted to create the elements that enabled the entire concept
of Sweet Static Stories to be possible with Sweet. Subliminal messages are in n
early every line of Sweet bringing together every part of Sweet Static Stories a
nd the puzzle piece Sweet resides in. Sweet was written so well that absolutely
nothing needed to be revised after the main song was crafted. Written in March o
f 2013. Instrumentation: Lifetime from Sourze. Oh, so sweet.
21.
Lies
Lies are like a knit-less tie, or leave with the lies built Lies. Originally, Lies w
as going to be written two years ago but it never got written until February of
2013 for Sweet Static Stories. It was a needed piece of the Sweet Static Stories
puzzle to begin with and the need to create such an amazing fucking song. Oscil
lating through subliminal and diction, the two verses alternate between pros and
cons while the chorus supports both sides of the story. The song was designed t
o represent the pros and cons of a lie and the outcomes of its utilization. Sadi
k s Rule-of-Thirds was destined for Lies being as incredible as it is as well as t
he fact that I would easily consider it a showpiece if Sadik s instrumentation-mak
ing career. The song, two years ago, was originally going to have a feature but
of course that would have never happened anyways. Lies was always supposed to ha
ve that direct hatred towards lies attitude and withheld it fully throughout its
creation. The song was completely written in one day after I caught someone in
a lie and even though that was not the direct inspiration, being angry about a l

ie indeed did contribute to the overall depth of the song. In the end, Lies smas
hed every expectation I would have imagined with every subliminal detail it poss
esses and every story it tells. Written in February of 2013. Instrumentation: Sa
dik s Rule-of-Thirds from Sadik. Leave with the lies.
22.
Far Away Attention
In the world, there is so much vivid detail that you can discover much more abou
t your morals by looking at and it s all subliminal reality. It s not a cartoon; it s
not fictional; it s pure reality and it s quite scary to think about. To make a song
about these beautifully meaningful details arose late in November of 2012 and m
uch time went into thinking how on Earth it was possible to make a subliminal so
ng about something that was already subliminally looked upon. I couldn t simply ex
pose all these vivid details and create a compositional verse that way because I
didn t even understand them until I made the song to begin with. It was finally d
ecided that these tiny details of the world would be represented through discuss
ion of pieces of the Sweet Static Stories puzzle rather than the subliminal deta
il directly because after all, it was sort of impossible. Then after a second id
ea, repetition, I realized it was possible; fight fire with fire; put stop death
with death; counteract bad luck with more bad luck to turn it around. Pay amazi
ng amounts of attention to the three repeated sets of lines in the song and you
may understand how this works. No revisions needed to be made to any part of the
song except the added background vocals during the second chorus which were add
ed in March of 2013. The piano is all real played by Sadik recorded from a real
grand piano and the I will destroy this sort of attitude simply generalized throug
h the topic of the song. Written in January of 2013. Instrumentation: Always Thi
nk from Sadik & Jace. Piece by piece by piece.
23.
Soldiers Anthem
A sing to soldiers would be a blessing something I would always say. Of course, that
meant a song (and divine intervention during the creation of that very song). W
ithout soldiers, I wouldn t have needed to make Pacifism Will Never Exist however
at the same time, without them, we wouldn t have a place to call home as well. Amo
ng the first several songs written for Sweet Static Stories was Soldiers Anthem.
It both creates a vivid depiction of several war scenes while telling a story re
quired for one of the missing pieces of Sweet Static Stories. Soldiers Anthem fea
tures one of the most amazing verses I have ever written; the first verse of Sol
diers Anthem is both ingenious and divinely amazing. The instrumental is Sourze s i
nstrumental song Soldier which is all real instruments (including the absolutely
godly drums) was of course used for such a song. The entire composition is comp
osed of drums. All the bell sounds heard are actually from a steel drum kit. It
is also his most famous song made much more famous by Sweet Static Stories. It w
as decided that Soldiers Anthem would be laid out in eight separate parts. The fi
rst verse, in real-time stories, would go like this: an experienced troop in a w
ar scene, air support in a war scene, a general in a war scene, and a scared-todeath recruit in a war scene. The second verse, in past-tense stories, would go
like this: an angry veteran in combat, a drill instructor impersonation, and fin
ally, eight lines from the narrator for chorus one and chorus two. Originally, f
or the second four lines in verse one and verse two, there was going to be a gue
st appearance from rappers Shenko and White Noise but that was before I decided
the no feature rule. The deeply panned effects of my vocals following closely alon
g with the panned drums represent the concealed enemy suddenly attacking the lis
tener or appearing in the mind of the listener while they go fourth. That came l
ater in the story. The intro was the only additive to the entire song. At the en
d, you hear a Nazi speaking in German; translate it and you will discover a key
clue about Sweet Static Stories. This was a classic example of a recording sessi
on not going as planned and, also, me getting shot in the foot with some absolut
ely fucking outrageously high track count to mix. The final mix was 274 tracks (
excluding the 42 tracks of instrumental work), one of the largest track counts,
on any song, in music history. Mixing Soldiers Anthem took nearly 3 weeks. Writte
n in November of 2012. Instrumentation: Soldier from Sourze famous instrumental wi

th the best drums any rap instrumental could have which are all real played in r
eal time. A sing to soldiers to sing to soldiers.
24.
Fixed
Fixed was written to wrap up Sweet Static Stories with it s puzzle moral and all i
t s meaning put into one single song that is the outcome of the album as a whole.
The song was completely rewritten after the instrumentation was completely revis
ed. In other words, the entire song was rewritten. Throughout Fixed, you will he
ar bits and pieces of the Sweet Static Stories speech and if you have the will t
o ever discover the meaning of Sweet Static Stories and actually bring together
the puzzle, this is the song you must begin at. Make mistakes; break mistakes; di
scard what s imminent. The entire song is past-tense, even the title. This is a key
to solving the Sweet Static Stories puzzle. The only thing Fixed means, at all,
in any way, is what Sweet Static Stories means. The idea to make it was simple;
all I needed to do was completely recap everything that the album has to offer
in a literal and formal diction and that was all that had to be done. Fixed was
the second last song written for Sweet Static Stories. Start here to begin solvi
ng Sweet Static Stories. Remember that just count; count on one thing to fix anot
her until what is, remaining, solely positive. This has already been proven righ
t here in the Sweet Static Story I will now speak of. How? That I shall not spea
k of. Manifest your job to discover and conjure. Written in February of 2013. In
strumentation: Infection Codex Up from Sourze & Nishadem. Now it s fixed.
25.
Here s to Our Stars
The idea for Here s to Our Stars started when I heard someone complain about our s
chool song at SCN in January of 2013. I would like to give a shout out to whoeve
r that was because you re responsible started this. Afterwards, I wondered if it w
as possible to recreate the song in such a way that this complaint would not be
heard again. Now, jump back four years; in 2009, Sourze sat down wanting to make
a piano instrumental that would be the third edition to his Piano Flow series. As
so he did, and in the process of doing so, in a matter of four hours, he made w
hat is in my opinion, the most awesome piano rap instrumental ever produced. Upo
n hearing the instrumental a week later, I immediately got addicted to it. For f
our years, I never turned it into a song until I heard that one complaint. In th
e middle of January 2013, I got to work on what would turn into a project lastin
g a total of two months, consisting of writing, rehearsals, two weeks of audio w
ork, then another week of audio editing, and an absolutely wild four-hour record
ing session in DB recordz. From the start of writing to the final render of the
audio mix, the experience was awesome. Writing the first verse began on January
21st and ended five days later; writing the second verse began shortly afterwar
ds and ended another five days later. The reason this process consumed so much t
ime was because of word choices and making the verses as perfect as can be, just
like every song on Sweet Static Stories. Also, I needed to incorporate the them
e of S.S.S. into the track as well the meaning of making something everlasting and
unchanging and fixing mistakes. Listen really carefully; you might get it. Some
rehearsal began after the writing. Then on February 12th, Mr. Malloy, an SCN mu
sic teacher, & I recorded our drill team singing the school song right smack in
the main gym to bring the precise SCN live experience to it. Studio work made th
e chorus sound the way it does which is, regardless of what the listening device
is and despite the fact that dancers aren t singers, unarguably amazing. I origin
ally wanted to use the school choir but I thought it would be totally adorably c
ute to use the drill team and plus, then it really would be the closest to a sch
ool fight song that anyone could get. The final mix was going to be 124 tracks,
smashing the record high track count of a hip-hop song for the first time, follo
wed by 2,116 Kilo-Bits Per Second at 132 tracks, Pacifism Will Never Exist at 20
6 tracks, and finally, smashed again by Soldiers Anthem at over 250 tracks. On Ma
rch 1st, 2013, I entered the studio by myself and recorded the entire remainder
of the song in an absolutely wild four-hour recording session. Originally during
the first chorus, there was going to be some trash talk panned to the right whi
le the SCN endorsements were panned to the left since I though that our gymnasiu

m system only used the left channel and if it was played at another school with
stereo sound, the right channel which would always face the rivals home stand wo
uld have the trash talk but I later discovered out system is bridged to mono so
that was never done. The entire mix was brought to Saint Charles North and the m
ixing was finished through school computers. The entire project was finished on
Friday, March 8th. Now, just don t complain about the school song because honestly
, I don t think that Saint Charles North could possibly ask for a better one. Now
SCN has an amazing song to play before home games so that the North Stars have t
he motivation to wreck all opposing teams. My absolute favorite line of the enti
re album is in Here s to Our Stars; Stay shinin -bright don t ever hide the light as yo
u re veering-in/, it s the finest-sight to see the stars when they re clearly-lit/; I a
lways want to scream that line aloud when I hear it. Written in January and Febr
uary of 2013. Instrumentation: the beautiful Piano Flow Part 3 from Sourze. Here s
to Our Stars for everything; Love DE~Rail.
Credits and Licensing
To begin, I want to give a huge shout out to that son of a bitch that asked me i
f I could tell a story in a song. Congratulations, you inspired the best rap alb
um of all time; if it wasn t for you, this would have never happened. I d like to gi
ve an immense thanks to some of the best hip-hop instrumentalists the world with
holds which are: Sadik (Sadik Beatz), Jace BZ (Jacekdupa), Nishadem (Tha Venom),
Nikolaj Frame (Frame Productions), and Orion Trice (Sourze), the god of all rap
instrumentation. Shout out to Jason Walsh of Farview Recording. Shout out to Sh
enko, J-Rhyme, White Noise, Swagyukms, and everyone whom has ever supported DB r
ecordz. Shout out to all of the fucking haters who have no intellectual merit; I
love you guys. Shout out to everyone who has ever gone to our lovely Saint Char
les North High School whether you loved it or not (if you don t like SCN, you won t
like it anywhere and don t say you would). Shout out to Stefanie Passo on her awes
ome graphic design skills. Shout out to Disc Makers and CDB for the beautiful CD
copies and the free enterprise license for all fans. Finally, shout out to DB r
ecordz on the recording and sound engineering field for breaking 9 world records
in the audio industry and spending a total of 3700 person hours mixing in the p
rocess of producing Sweet Static Stories and shout out to Audio Technica on thei
r model AT4050 for withstanding 147 decibels peak SPL and recording every single
vocal on Sweet Static Stories.
Sweet Static Stories, on all CD copies, carries a free enterprise license. If yo
u are a holder of any content on CD that was not purchased as a download, you ar
e hereby granted the permission from I, Darryl Andrew Pioch, to copy, distribute
, and promote Sweet Static Stories as long as no profits are made, preferably.
Shout out to all grand openings A Good Way to Start a Story. Shout out to all stre
et rap and the remaining members of the competitions whether legally or illegall
y Second-Hand. Shout out to my conscious for being completely wrong about the enti
re meaning of Two Mornings After No you. Wrong. Shout out to being single and bein
g glad Something I Want. Shout out to every mistake I have ever made in my entire
life Sive. Shout out to every time I made the right choice and left something unch
anged Static. Shout out to my great grandmother (1922-2008) for all those late nig
ht tales and my will to ponder every move before making them Stories. Shout out to
everything mistake other fucks who try to consume me make and get completely de
cimated in the process Mines. Shout out to the event of January 13th, 2012 that st
ill bothers me until this day Day 354. Shout out to DB recordz discovery of esopha
gus ripping and esophagus ripping capabilities during rap battles Go for the Esoph
agus. Shout out to the phrase, Shit Happens Bad Opens Good. Shout out to the constit
ution and the haters of swag and the swaggers that hold their rights all around
the globe: Right to Life, Liberty, and Swag. Shout out to wartime and our societ
y s stupidity for allowing war Pacifism Will Never Exist. Shout out to computer reco
rding and the modern bit resolution of 24 bits with all its capabilities and som
ehow being able to put that into a story of the matter 2,116 Kilo-Bits Per Second.

Shout out to my own fearless conscious as well as anyone whom possesses a fearl
ess mind A fearless Person. Shout out to everything that stops you from what you w
ant to do and the anger it causes Quarantine. Shout out to everyone else that dese
rves to be where I m at that I m helping up the ladder One More Stop. Shout out to all
the haters that exist in the world today Standing in Boiling Water. Shout out to
every mental health institution in the world for their courage to defend planet
Earth against people like me who can run 106 lines of pure rap without anything
but rhyme scheme Psychopath. Shout out to the nicest people in the world and the f
eeling you receive from a long talk with them Sweet. Shout out to everyone who lay
s ends on ends of lies and compiles them Lies. Shout out to every detail in the wo
rld that means more than the eye can see Far Away Attention. Shout out to All U.S.
soldiers Soldiers Anthem. Shout out to everything that has the capability to be ch
anged by someone s wish Fixed. Alas, shout out to the 2012-2013 SCN drill team for t
he only feature on the entire album Sweet Static Stories. They are: Lindsey Niem
ann (No Lindsey, you do not have swag), Audra Stapella (Lol Audra I thought abou
t you at least once during the making of every song of S.S.S. ~ Love Ya), Maryka
te Purcell (#FML), Alyssa Arroyo (swag), Colleen Lullo (swag), Alison Meisenheim
er (swag), Allie Isabelli (swag), Monique Purdue (a ridiculously insanely unbeli
evably amazingly divinely attractive person), Jamie Beaulieu (swag), Michelle Ve
zina (swag), Isabel Miller (swag), Megan Spaniol (swag), Quinn Samanic (swag), t
heir coach Mrs. Franson (their amazing instructor responsible for them somehow w
inning state every year ~ they re dancers, not singers), and Saint Charles North Her
e s to Our Stars.
And technically, I didn t want any other musicians on the album so guess what? Tec
hnically, there are still no other musicians on the album. Sweet Static Stories th
e greatest rap album of all time (that was the point all along). Sincerely, DE~R
ail.
All in all, through Sweet Static Stories, other than what words can do and how i
ncredible the puzzle they create can become, I learned one simple thing; I now k
now what it takes to create, on every level, the best rap album of all time.
Sive, Six, Seven, Fix Five~