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Offline C4AJoh  
#1 Posted : 27 August 2025 18:29:43(UTC)
C4AJoh
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Credit to BrownSugar for the artwork

Title: “No Pressure, No Diamonds”
Artist: Jadyn Ghalen
Release Date: August 31, 2025
Recorded: Studio 60 Recording Studios, West Hollywood, California, USA • Sonic Lounge Studios, Atlanta, Georgia, USA • Bay Eight Recording Studios, Miami, Florida, USA • Penthouse Recording Studios, Manhattan, New York, USA
Genre(s): Rap • Hip-Hop • Trap • R&B
Length: 74:22
Label: Tric-Jam Records • Dahlhouse Entertainment
Producer(s): Jadyn Ghalen • Young Khalifa • DeAndre Patton • Younghood • BLOOM

“No Pressure, No Diamonds” is the debut studio album by American hip-hop and trap artist Jadyn Ghalen. The album was recorded between late 2024 and mid-2025 across multiple studios in the United States, including Studio 60 in West Hollywood, Sonic Lounge in Atlanta, Bay Eight in Miami and Penthouse Recording Studios in Manhattan. Blending rap, hip-hop, trap and contemporary R&B, the 16-track project features vivid imagery, highlighting the excessive lifestyle that comes with fame and success, introspective lyricism, detailed production and experimentation with sound and tone throughout with production handled by Ghalen himself alongside notable co-producers Young Khalifa, DeAndre Patton, Younghood and BLOOM.
It's title “No Pressure, No Diamonds” evokes both the literal process of pressure creating diamonds and a metaphor for Ghalen’s own expectations on himself as he steps out from the group ‘Orion’ with the weight of expectation firmly on his shoulders.
Ahead of the albums release, it has been supported by six hit singles along the way, “Don’t Get Too Comfortable”, “Feast or Famine”, “Butterflies”, “Good Lovin’” (feat. Keshia Love), “High Risk” and the latest offering “Permanent Vacation”.

The conception of “No Pressure, No Diamonds” began in early 2024, around four or five months after the release of his debut E.P “Mentality Monster” which gave Jadyn the inspiration to truly consider launching a fully-committed solo run, having initially came to prominence as a member of rap trio ‘Orion’. Following the buzz with his debut E.P and the freedom to create something truly his own, Ghalen made it clear that following the ‘Orion’ sophomore album “Orion II”, he would be focussing on dedicating his time to his own solo career with the group already set to take an extended hiatus following their second record. Officially beginning the recording sessions in later-summer 2024.
The recording process took place off and on for around nine to ten months with Ghalen opting to record in different locations with a set producer for each location and has described the recording process as highly collaborative. Of course, Ghalen took on a central role not only through his vocals and lyrics but also as a producer, ensuring the sound remained cohesive despite the changing geographical locations and the varying styles of each individual producer on the record. Working closely with longtime collaborator Aniyah Jordan as she led the engineering and mixing of the entire record to ensure that the album flowed naturally throughout despite the varied production teams throughout the process.

Musically, the album blends 808-heavy trap beats with rhythmic chord progressions, making use of dreamy synths, hi-hats, snares and layered vocal harmonies throughout. Thematically, the album varies between bravado and occasional glimpses of vulnerability, self-introspection and brutal honesty, with Ghalen stating in a recent interview, “The entire album feels like a pendulum swing between who I am and who I’m expected to be.” offering a glimpse into his own internal thoughts and pressures that he places upon himself.
Ghalen makes use of layered metaphors and recurring motifs, often likening the industry to a Jekyll and Hyde type situation in his own turn of phrase. With the album representing pressure, self-examination, excess, lust and destruction throughout. These elements help to tie the album’s eclectic sounds and styles into a unified map of what it means to be a famous superstar in the modern age. Ghalen continued opening up on the albums creation, calling it a “Long conversation with fear, confidence, ego and some healing.” which appears to be accurate as the album weaves throughout different narratives and perspectives throughout it’s sixteen track run.

The album looks set to mark a pivotal moment in Jadyn Ghalen’s transition from one-third of hip-hop group ‘Orion’ into a solo artist with mainstream force. The release of the album was accompanied by a staggering and ambitions global campaign that has seen Ghalen at his most productive, with his name attached to a hit single in each month of 2025 up to the albums official release date, beginning with his guest spot in January on Alicia Lena’s collaborative single “Beacon of Hope” alongside mainstream artists Ryan Ross Hernandez and Layla Sanchez. February and March saw him drop the first official single from the record “Don’t Get Too Comfortable” and it’s follow-up “Feast or Famine”. While another collaborative effort saw Ghalen feature once more alongside Layla Sanchez on her own reworked track “Get Off” in April. May saw the release of “Butterflies” and June saw the release of “Good Lovin’ (feat. Keshia Love)” both of which were taken from his debut album. With the final two singles coming in July and August with “High Risk” and “Permanent Vacation” marking the final pre-album releases from the record in an ambitious promotional campaign.

“No Pressure, No Diamonds” is set to be released via Tric-Jam Records in collaboration with Dahlhouse Entertainment on August 31, 2025.



Tracklisting;

01. Attention (4:36)
02. No Pressure, No Diamonds (5:18)
03. High Risk (4:44)
04. Don’t Get Too Comfortable (4:57)
05. Champagne Tastes (5:34)
06. In Your Mind (3:54)
07. Top Shelf (5:02)
08. Butterflies (5:43)
09. Feast or Famine (5:12)
10. Good Lovin’ (feat. Keshia Love) (4:23)
11. Permanent Vacation (4:50)
12. Bloodsport (5:38)
13. Nothing for Granted (5:02)
14. Ashes in My Gold (4:35)
15. Benz Halo (4:56)
16. Plugged In (3:18)



Singles;

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Don’t Get Too Comfortable (February 27, 2025)
Feast or Famine (March 30, 2025)
Butterflies (May 11, 2025)
Good Lovin’ (feat. Keshia Love) (June 1, 2025)
High Risk (July 27, 2025)
Permanent Vacation (August 24, 2025)



Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, Young Khalifa, DeAndre Patton, Younghood, BLOOM
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan, Leon Ferreira
Recorded at Studio 60 Recording Studios, West Hollywood, California, USA – Sonic Lounge Studios, Atlanta, Georgia, USA – Bay Eight Recording Studios, Miami, Florida, USA – Penthouse Recording Studios, Manhattan, New York, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn “Boa” Ghalen – vocals, lyrics, bass, composition, production, programming, mixing
Sierra Roe – vocals (*track 06 – “In Your Mind)
Keshia Love – vocals (*track 10 – “Good Lovin’” (feat. Keshia Love))
Young Khalifa – composition, production, mixing
Younghood – composition, production
BLOOM – composition, production
Aniyah Jordan – engineering, mixing, bass, drums, percussion, programming, composition
Ignacio Santos – synthesizer, composition
Augustine Francis – drums, percussion, programming
Leon Ferreira – mastering, mixing
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director
thanks 3 users thanked C4AJoh for this useful post.
PANIC! on 27/08/2025(UTC), BrownSugar on 27/08/2025(UTC), 2001clay on 28/08/2025(UTC)
Offline C4AJoh  
#2 Posted : 28 August 2025 17:07:05(UTC)
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Track: #01
Title: “Attention”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap • R&B
Length: 4:36
Studio: Penthouse Recording Studios, Manhattan, New York, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • Younghood
Label: Tric-Jam Records • Dahlhouse Entertainment



Background, Writing and Recording

“Attention” was written and recorded in March 2025 during recording sessions at the Penthouse Recording Studios in Manhattan, New York which served as the base for the New York recording sessions which took place alongside producer Younghood. Although the majority of the album was recorded in Atlanta, Miami and California this one alongside another couple of tracks were recorded in New York during the final stages of the albums recording process with Jadyn deciding to bring in Younghood to add the finishing touches to the overall album, resulting in an additional couple of tracks as well as various alternative takes that may see the light of day at some stage in the future. On working alongside Younghood, it was stated by Jadyn in a recent interview that Younghood’s production work on his own records “Gang Shit” and “The Bedroom Sessions (Vol. I)” showcased his abilities as a producer and made Jadyn want to tap into that mind for a couple of tracks. That combined with his respect for Younghood as a recording artist and his friendship with the rapper were the reasons for Jadyn bringing him in as a producer to add a couple of extra layers to the record in terms of sound and style, as well as offering a critical ear to the work as a whole.

Initially the tracks lyrics and content came from a more up-tempo and aggressive backbeat, but following consultation with Younghood it was decided to slow the track down in order to give the songs content and lyrics more space to breathe and be able to be focussed on and dissected a little more. The decision was one that came about with the songs lyrics being written and delivered in a confrontational style but the feeling was that the words lost a little of the impact when delivered against the higher tempo backdrop, the track was then slowed down and the vocal takes re-recorded in a more relaxed style that added and extra layer to the track and appeared to benefit the songs overall message. It’s been confirmed that the alternative takes of the track were also completed and could potentially see the light of day at some point, confirmation coming from Jadyn that a lot of alternatives were recorded during the sessions for the album as a whole. Hinting that a release with just the alternative takes could potentially happen someday.
The opening verse see’s the lyrics take aim at critics with Jadyn Ghalen stating that he will achieve everything he sets out to achieve and the negative attention just serves to inspire his output with the songs pre-chorus and chorus ramming home that message. While the second verse appears to shift focus to the female attention that comes when you’re famous and how you become spoilt for choice when living that sort of high-status lifestyle. On the whole, the track is a showcase of Jadyn playing up to the image that he is largely labelled with in the public eye.



Songwriter’s Commentary

Quote:
“This one came from the idea that everybody got something to say and my brain automatically loves that shit because you just giving more attention, I’ve heard all kinds of talk since I came into the industry with Orion. Tryna pit us against each other, talking bout how Brayton’s the one with the talent and getting heated when I started doing some solo stuff. Like, fuck it. I just do my shit and people vibe with it, but you always gonna have people wanting to see you fail and wanting to see you drop off. I ain’t playin’ when I say that I’m gonna be the fuckin’ man, it’s why I open the track with ‘Look at you, gassed cause I did all I said I would’. I know I ain’t even scratched the surface yet and I got people waiting for me to eventually fail but the whole vibe of the track tells you all you need to know about me. Just keep talking that talk and I’mma just keep doing my own shit, I love all the noise around me, the louder the better because at the end of the day, that shit just spurs me on and gives me the attention that I like.
You got the two verses working together to show the different sides of that sort of attention with the first verse taking aim at those that give you attention by tryna run you down and hating on your success and the second verse the type of attention you get because of your success and status in this industry. I make it pretty clear that I like both sides of that attention but that second verse, that’s the real shit to me.

We recorded this one in New York with Younghood on the mixing desk, we got a couple of tracks from the album from those New York sessions and I feel like you can see his genius in the studio shine through on those tracks cause they all on different type shit. This one got that slower, relaxed sort of sound with some crowd effect noises in that intro to the opening beat. We played around with the tempo a little and tried an aggressive mix for the track until Hood stripped it back and slowed it down a little and suggested recording vocal takes with a more relaxed tempo. Part of his genius is recognizing shit that nobody else would have pulled up, and he thought the aggressive lyrics against a slower tempo and relaxed vocal would have more of an impact than those aggressive lyrics against a faster tempo and aggressive backdrop. We cut alternatives to a bunch of tracks during the recording, we still got that original take locked in somewhere with different lyrics on that second verse that I might drop one day. But I think this version works better with the slower tone and the confrontational message of the track working off against each other and shows why it’s good to work against different producers and get different ideas on the board.
- Jadyn Ghalen




Song Description

The track begins with a low-fi keyboard and soft drum beat, with added sound effect of crowds faintly heard in the background for around fifteen seconds before the opening vocal comes in. Jadyn delivers his vocals in a style somewhere between rap and a relaxed singing vibe as he delivers the opening lyrics, “Look at you, gassed cause I did all I said I would/Took some shit from the haters that kept telling you I was gon fall off/Look at me, standing tall with that big dick energy (Uh)/I like my Cohiba with a fifth of Hennessey (Fuck)/They say the apology should be as loud as the disrespect/Bitch, I’m only getting started/You should see what’s coming next/I ain’t one to forget a name/Got a mind like a rolodex/I like the finer things, like a moth to a flame.” as he highlights his mindset of being confident in his own ability and lifestyle to stand tall and back up everything he does and says. He continues to focus on the lifestyle and his determination to be the best at what he does and as the songs title suggests, play up to the attention that his position in the industry gives him, “Gold chains on my neck, Rolex on my wrist/I’mma sit at the head of the table and throw you all my scraps from it/I don’t fuck around with this shit/I’mma be all that I say I am and then some/Put my name in the headlines/Blowin’ up their mentions/I can’t seem to stay away from the spotlight/I’m just a sucker for attention/Sucker for attention.” and with the end of the opening verse, it feels prevalent that he highlights that he’s aware that he’s a sucker for attention as it’s been one of the things that have been thrown against him as a negative in his career.

As the track comes to the end of the opening verse and moves into the pre-chorus and chorus, the sound of the music continues with the low-fi energy with the keyboard and soft drum beat combination, giving the song a hazy almost VIP club-lounge type of feeling as he sounds a little more assertive in the chorus, his vocals turned up slightly and feeling slightly more aggressive and dominant, “I ain’t fear this shit/As long as you speak my name/Put some motherfucking reverence on it/I ain’t fear this shit/As long as you speak my name/Put some motherfucking reverence on it.” which not only plays into the message of the opening verse, being confident in his own ability and being self-aware enough to know that he’s addicted to attention, good, bad or indifferent so long as his name is being said with some sort of weight behind it. He follows the pre-chorus up with the songs chorus, “I’mma be all that I say I am and then some/Put my name in the headlines/Blowin’ up their mentions/I can’t seem to stay away from the spotlight/I’m just a sucker for attention/Sucker for attention.” as he takes the catchy and repetitive run from the final bars of his opening verse and repeats them for the chorus, just to ram home the songs overall theme a little more, just in case it wasn’t clear enough where his mindset is.

The songs pre-chorus plays once more before the energy of the music increases only slightly, still maintaining the same sort of hazed out at the club type of vibe, he plays on the words used in the opening verse to begin the second verse. But where the opening verse appeared to take aim at the haters obsessed with giving him attention, the second verse seems to take focus on the women that are obsessed with giving him attention, showcasing the different types of attention that he garners most in his career, “Look at you, gassed cause you found yourself close to a legend/Out here wildin’ cause you wanna taste of heaven/Look at me, surrounded by options like a kid in a candy store (Uh)/Can’t just decide on one, cause this sweet tooth keep me coming back for more (Fuck)/Got a weakness for that thicc shit/For that ass bounce and those big tits/I can’t lie, I’m a sucker for that bad bitch or that stripper shit/Fighting over who gets to go first/Just to get a glimpse of it.” which shows focus on the type of attention that he receives from women that are all too eager to catch his eye. Cleverly contrasting the two different types of attention that he receives the most of and how they are both often seen as negatives against his name, taking the opportunity in the song to highlight his self-awareness and deliver home the message that he craves the spotlight and attention on him, however it comes.



“Attention”

“Look at you, gassed cause I did all I said I would
Took some shit from the haters that kept telling you I was gon fall off
Look at me, standing tall with that big dick energy (Uh)
I like my Cohiba with a fifth of Hennessey (Fuck)
They say the apology should be as loud as the disrespect
Bitch, I’m only getting started
You should see what’s coming next
I ain’t one to forget a name
Got a mind like a rolodex
I like the finer things, like a moth to a flame
Bandz on bandz on bandz
Rackz on rackz on rackz
Gold chains on my neck, Rolex on my wrist
I’mma sit at the head of the table and throw you all my scraps from it
I don’t fuck around with this shit
I’mma be all that I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention

I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it
I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it


I’mma be all that I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention


I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it
I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it


Look at you, gassed cause you found yourself close to a legend
Out here wildin’ cause you wanna taste of heaven
Look at me, surrounded by options like a kid in a candy store (Uh)
Can’t just decide on one, cause this sweet tooth keep me coming back for more (Fuck)
Got a weakness for that thicc shit
For that ass bounce and those big tits
I can’t lie, I’m a sucker for that bad bitch on that stripper shit
Fighting over who gets to go first
Just to get a glimpse of it
I say I’mma live this lifestyle
I’mma be all I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention

I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it
I ain’t fear this shit
As long as you speak my name
Put some motherfucking reverence on it


I’mma be all that I say I am and then some
Put my name in the headlines
Blowin’ up their mentions
I can’t seem to stay away from the spotlight
I’m just a sucker for attention
Sucker for attention”




Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, Younghood
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Penthouse Recording Studios, Manhattan, New York, USA

Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
Younghood – composition, production
Aniyah Jordan – engineering, mixing
Leon Ferreira - mastering
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Edited by user 28 August 2025 19:05:16(UTC)  | Reason: Not specified

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BrownSugar on 28/08/2025(UTC)
Offline C4AJoh  
#3 Posted : 28 August 2025 19:39:24(UTC)
C4AJoh
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Joined: 18/05/2009(UTC)
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Track: #02
Title: “No Pressure, No Diamonds”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap
Length: 5:18
Studio: Studio 60 Recording Studios, West Hollywood, California, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • DeAndre Patton
Label: Tric-Jam Records • Dahlhouse Entertainment



Background, Writing and Recording

“No Pressure, No Diamonds” was written in May 2025 and was the result of a late-night session at Studio60 Recording Studios in California, working alone in the early hours of the morning, Ghalen wrote the bulk of the song while listening to the instrumental of the track that was produced by DeAndre Patton. Known for his traditional hip-hop and rap sensibilities, DeAndre is known as a producer that doesn’t over-produce, simplistic beats that help generate that creative spark is something that has fuelled their ongoing collaboration together ever since first working with Ghalen on the first Orion record.
The song and many recorded during the California sessions of the record represent a shift in Ghalen’s sound as he has experimented primarily with high-energy trap sounds throughout the other recording sessions while the sessions with DeAndre in California have focussed more on the traditional styles of hip-hop and rap with pulsating rhythms and driving beats. Lyrically the track see’s Ghalen bringing a more introspective lyricism than we’re used to, exploring themes of struggle, resilience and hardship that manifested itself into the drive to make a success of himself in the music industry when he eventually got there. The title of the track being a reference to the well-known phrase, “no pressure, no diamonds.” which symbolises the idea that greatness comes through adversity in the same way that a simple rock under the weight of extreme pressure can form into a diamond. The song can be described as both a motivational anthem and a gritty autobiographical track, resonating with listeners who identify with themes of perseverance and survival.

The lyrics were written solely by Jadyn Ghalen, the song reflecting his own life and personal narrative. The writing process was described by Ghalen as highly introspective at a time of rare quiet in the early hours of the morning. Throughout the song, Ghalen reflects on his upbringing in a tough urban environment, his family’s struggles to make ends meet and keep food on the table, and the dedication to his craft to ensure that he would get out from under those difficulties. The track came in May 2025 deep into the recording sessions for his upcoming debut album, according to sources involved in the recording sessions it was clear that this was a track that wouldn’t have been written at a period where there was lots of people in and around the sessions, it was clear that this was a track that could have only ever came during a solitary moment in the dead of night. Once the lyrics were penned, reworked and edited only then did Ghalen step into the recording booth to showcase the songs theme and lyrics for the first time to his producer and studio team.



Songwriter’s Commentary

Quote:
“This one feels different, no doubt. You know this is deep into the sessions, we’re talking early morning confessionals and shit, no shit talking but just feeling something in your bones and going with it on some auto-pilot shit. Man, I describe my life like going from survival to stunting and writing tracks about this lifestyle is way more fun than this type of track, but you know every so often this type of thing just comes out of you. It feels like drawing that curtain back and showing more of yourself than you’d like to but it’s honest in what the grind really takes, the pressure and determination it takes to claw out of the place you’re in and get to a place where you want to be.
This was no stepping into a recording booth and freestyling, it was late night at the mixing desk listening to some beats that we had locked down and really writing it all down first. Those three am moments always bring something different out of you that you weren’t even aware were hiding inside. I wrote a lot of shit down for this track and we re-worked and edited to make it fit cause it felt like this was one that the album needed.

I recorded this one with DeAndre in California, and I think whenever I’m at home in California it always brings shit into perspective for me. We run it hard in Cali, my house ain’t ever empty so there ain’t a lot of moments at home to sit and reflect, but when it comes to the studio that’s where I get that quiet, that silence that manifests itself into deeper thoughts and clarity type shit.
I felt like it was a track that fits into the album as a whole cause you need those ones that help to inform all the other shit around it and a whole lot of the record is about the place I’m in right now and that life of excess and luxury but not a whole lot about the journey to get to this place. Like I ain’t fucking with you, but it’s about 85% crazy highs and vibes but there’s that other 15% that people don’t see in the quiet moments where you get some minutes to take it in and really reflect on how you weren’t ever really meant to be here. It’s that 15% that keeps you grounded but it’s way too easy to get caught up in your own hype and I don’t think that’s ever something you should deny yourself.”[/i]
- Jadyn Ghalen




Song Description

The track begins with a moody, atmospheric instrumental, an aggressive hip-hop beat underlying the urgency and tone of the tracks lyrical content which sets the tone for a deeply introspective yet powerful anthem. From the first breath, Jadyn sets the tone for the more introspective style that runs throughout the track, opting to mumble talk his way through the songs intro, “Yeah, yeah, yeah/Shine don’t come cheap, huh/Diamonds on me, cut deep/Pressure built me, never broke me/Never broke me.” It’s a statement of survival and strength from the outset, a tone shift for an artist that relishes in rapping about the excessive and joyous aspects of the fame lifestyle, but this one immediately indicates that we’re looking a little more inward and self-reflective on the track.

As the first verse unfolds, the production remains sparse and simplistic, beat heavy and rhythmically pulsating which allows the lyrics to shine, highlighting Jadyn’s own journey to get to the point of success. “I was raised in a place where the sky never shined on us/Streetlights flicker with a violent thrust/Momma prayin’ everyday, working to keep the wolves at bay, tears every night on her pillowcase/Devil on my shoulder, tryna steal my grace/I came up through pain, sleeping on hardwood floors moulded me/Learnt pretty quick that this world don’t owe shit to me/Made it my mission to make it/All this shit you see/ Is a combination of dedication/Late nights, no sleep, just affirmations.” The tone of his delivery is aggressive and confrontational as he showcases a side that’s rarely seen from him as he recounts his journey and the difficult times and the relentless effort to prove and push yourself in order to achieve success. It’s not just about purely flexing success, but it’s also about showcasing the struggle that drove him to work relentlessly to get to where he is now, “ Internally battling self-doubt, fear and temptations/Every scar part of the story, every loss got a lesson that it taught me/Now I only move with purpose/I keep it cold, but I got a fire burning under the surface/I learnt to walk through the flames, cause I was made from the furnace/Pressure never once broke me, just sharpened my purpose/Diamonds come from relentless pressure/And I’m cut from the rarest.” the beat remains understated but effective, his vocals projected to the forefront with minimal reverb and modification, giving the track the raw feel that it requires.

The pre-chorus is brief but immensely effective, “No pressure, no diamonds/No silence, just sirens/Came from the bottom, still rising/Icons only, we timeless.” in its rapid-fire delivery building perfectly into a chorus that feels anthem and gigantic in scope, the intensity of the drums rising and building towards crescendo, “No pressure, no diamonds, I grind in the silence/I came from the bottom, the stars in alignment/They doubted, I’m shinin’, I stayed on assignment/You see what I’m worth, but you missed all the climbin'.” the repetition of the chorus hits hard, not just because it’s catchy, but because it echoes a deeper message on how success isn’t just the flashy elements, it’s earned through grit, solitude and scars throughout the journey. “No pressure, no diamonds, I walk through the fire/Got pain in my steps, but my dreams gettin’ higher/I’m cut from that cloth, they ain’t built for this wire/You fold under heat, I turn to a diamond.”

The second verse builds on the emotional weight of the track with more detailed and vivid imagery, Ghalen once more focussing on how it was all the fuel for his own push for greatness, “I grew up in the noise, where those sirens used to sing us to sleep/Broken glass on the pavement, that shit always cut deep/Father was a ghost, absent, so the streets became a father figure early to me/Had to guard my soul, heart heavy and my hands stay dirty/Friends turn to foes in the blink of an eye, loyalty ain’t what it seem/Had to learn how to move solo, trust became a luxury/Pain in my chest every day, I wear it like armour, you feel me?/Used to pray I’d make it out, now I grind like it’s ingrained within me/Nights with no heat, just a dream and a vision/Could only rely on myself, ain’t no cosign or permission/Had to learnt to drown out the silence that screamed louder than the critics.” which paints a picture of a life shaped by survival instincts and tough lessons. The lyrics feel like they’re straight out of his memoirs, but continue to revert back to the bigger theme of rising above and refusing to break under pressure, fighting his way out of his situation and into a different way of life, “Fear and doubt faded, when I flipped it to ambition/Told myself, we never fold, we just finish/Kept the lights shining bright, even when hope got the dimmest/My scars ain’t for the flex, they’re proof that I’m winning’/Had to lose my peace to gain purpose/Now I move different.”
The production throughout maintains it’s traditional hip-hop and rap elements, all beats and rhythm, using hi-hats and stripped-back 808’s to create a backdrop befitting of the songs overall theme and story as the songs hook and chorus return once more to close out the track.



“No Pressure, No Diamonds”

“(Mmm)
Yeah, yeah, yeah
Shine don’t come cheap, huh
Diamonds on me, cut deep
Pressure built me, never broke me
Never broke me


I was raised in a place where the sky never shined on us
Streetlights flicker with a violent thrust
Momma prayin’ everyday, working to keep the wolves at bay, tears every night on her pillowcase
Devil on my shoulder, tryna steal my grace
I came up through pain, sleeping on hardwood floors moulded me
Learnt pretty quick that this world don’t owe shit to me
Made it my mission to make it
All this shit you see
Is a combination of dedication
Late nights, no sleep, just affirmations
Internally battling self-doubt, fear and temptations
Every scar part of the story, every loss got a lesson that it taught me
Now I only move with purpose
I keep it cold, but I got a fire burning under the surface
I learnt to walk through the flames, cause I was made from the furnace
Pressure never once broke me, just sharpened my purpose
Diamonds come from relentless pressure
And I’m cut from the rarest

No pressure, no diamonds
No silence, just sirens
Came from the bottom, still rising
Icons only, we timeless


No pressure, no diamonds, I grind in the silence
I came from the bottom, the stars in alignment
They doubted, I’m shinin’, I stayed on assignment
You see what I’m worth, but you missed all the climbin'
No pressure, no diamonds, I walk through the fire
Got pain in my steps, but my dreams gettin’ higher
I’m cut from that cloth, they ain’t built for this wire
You fold under heat, I turn to a diamond


I grew up in the noise, where those sirens used to sing us to sleep
Broken glass on the pavement, that shit always cut deep
Father was a ghost, absent, so the streets became a father figure early to me
Had to guard my soul, heart heavy and my hands stay dirty
Friends turn to foes in the blink of an eye, loyalty ain’t what it seem
Had to learn how to move solo, trust became a luxury
Pain in my chest every day, I wear it like armour, you feel me?
Used to pray I’d make it out, now I grind like it’s ingrained within me
Nights with no heat, just a dream and a vision
Could only rely on myself, ain’t no cosign or permission
Had to learn to drown out the silence that screamed louder than the critics
Fear and doubt faded, when I flipped it to ambition
Told myself, we never fold, we just finish
Kept the lights shining bright, even when hope got the dimmest
My scars ain’t for the flex, they’re proof that I’m winning’
Had to lose my peace to gain purpose
Now I move different

No pressure, no diamonds
No silence, just sirens
Came from the bottom, still rising
Icons only, we timeless


No pressure, no diamonds, I grind in the silence
I came from the bottom, the stars in alignment
They doubted, I’m shinin’, I stayed on assignment
You see what I’m worth, but you missed all the climbin'
No pressure, no diamonds, I walk through the fire
Got pain in my steps, but my dreams gettin’ higher
I’m cut from that cloth, they ain’t built for this wire
You fold under heat, I turn to a diamond"




Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, DeAndre Patton
Engineered by Aniyah Jordan
Mixed by DeAndre Patton, Aniyah Jordan and Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Studio 60 Recording Studios, West Hollywood, California, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
DeAndre Patton – production, mixing
Leon Ferreira – mixing, mastering
Aniyah Jordan – engineering, mixing, bass, drums, percussion, programming, composition
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director

Edited by user 29 August 2025 00:09:25(UTC)  | Reason: Not specified

thanks 1 user thanked C4AJoh for this useful post.
BrownSugar on 28/08/2025(UTC)
Offline C4AJoh  
#4 Posted : 28 August 2025 23:32:44(UTC)
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Track: #03
Title: “High Risk”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Trap
Length: 4:44
Studio: Bay Eight Recording Studios, Miami, Florida, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • BLOOM
Label: Tric-Jam Records • Dahlhouse Entertainment



Background, Writing and Recording

Written and recorded around February 2025 at Bay Eight Recording Studios in Miami, Florida the production process was a collaborative effort between Jadyn Ghalen and BLOOM, who co-produced the track in a single late-night session. According to interviews, the instrumental was built around an atmospheric synth loop and layered with 808s and hi-hats. Ghalen wrote much of the song on the spot, the general tone of the track coming from an initial freestyle before he stepped away from the recording booth and refined the tracks lyrics further. He confirmed that he drew from recent personal experience following Orion’s rapid ascension within the music industry. The final track was recorded in under four hours, with minimal overdubs and retakes to preserve the raw intensity of the performance. BLOOM later added subtle production flourishes during mixing, enhancing the track’s atmospheric quality without sacrificing its club-ready bounce and energy. The result is a polished yet urgent sound that reflects both the unpredictability and allure of the lifestyle Ghalen raps about.

Following a breakout year in 2023 with the release of his debut E.P that showcased his ability as a solo artist away from rap group ‘Orion’, he began working on the possibility truly launching a solo career once ‘Orion’ had released their sophomore album before hiatus. Wanting to stretch himself beyond the confines of the traditional hip-hop and rap sounds that the group had come to be known for, it was always his aim to experiment with trap and electronica elements as well as other sounds. Ghalen made a point to work in different environments with producers that he knew would bring something different to the table, Young Khalifa, DeAndre Patton, Younghood and BLOOM all bringing their own distinctive qualities to the mixing booth.
“High Risk” was conceived during a creative period in Miami, working with a producer who’s natural instinct wasn’t immediately drawn to hip-hop and trap but one that was an expert in cultural sounds and club anthems. Ghalen has said that the song draws influence from Miami’s own vibrant nightlife and Ghalen’s personal experiences navigating fame, desire and recklessness within that very nightlife. It’s lyrics exploring themes of risk-taking, hedonism, and the emotional volatility that accompanies a high-stakes lifestyle, making it both a club anthem and a veiled commentary on the consequences of the lifestyle that so many people desire.



Songwriter’s Commentary

Quote:
“High Risk”, man, that joint came from a real place. I was in Miami, Bay Eight Studios, vibes were crazy that night. Like, you could feel the air was thick with something, y’know? And I ain’t just talking about smoke. It comes from working with someone that brings fresh ideas and sounds to the table and I think we ran through like three tracks that day, just feeling like we were really onto something big. Everything we record, I step into the recording booth and freestyle it first, to get a feel for the instrumentation and usually the theme for the track just comes out naturally within that freestyle. Being in Miami, always gets me in a certain type of mindset, it’s where I go to really let off steam, so you know that the lyrics are gonna go into a certain direction nine outta ten times just because that’s the vibe that’s always in the air in Miami.
I linked with BLOOM for the Miami recording sessions and I had already locked down a lot of material during the sessions in Georgia, California and New York, so for me the Miami sessions were less pressure. Just see if we vibe and can create some unique shit in the process. We ain’t really worked before, but I knew his credentials and Layla put me onto his people and really pushed the idea onto me, I trust her word more than most and knew he did some high-level shit on her own records, so it was an easy link-up.

Most producers give you a whole bunch of stuff and hope some of it works, but he’ll focus in on one or two really high-quality pieces that fits you and work around it to mould it to your own style which shows his understanding for production goes beyond just paint-by-numbers type of shit. “High Risk” was this dreamy, high-energy track more electronica than trap at first, but he stacked it with some heavy 808’s, ticking hi-hats, and I laid some vocals on the freestyle and we just caught the moment raw and new we had something we could really get into in those late studio hours. We talkin’ like 2:30am and ain’t no way we can shut it down now.
I wasn’t tryna write something that fit the formula, I was just speakin’ on how it feels to move through this lifestyle. All the temptations, fast-living, money, lust and that’s the type of shit that you hope it brings. The energy called for a highlight on those elements, but I wanted to make sure I caught the underside of that too, with the lingering paranoia, inability to truly trust and knowing it could all crash. It’s literally roulette every night. I wanted to put that tension in a sound that still feels alive and bouncing, still makes your body move but when you really listen, it’s deeper than that.

That hook, “High risk, high speed, woke up in a daydream.” could be one of the realest lines I’ve ever put down on paper, like real talk. You move so fast, sometimes it’s hard to really hold onto the moment. But I ain’t crashed yet, and that’s the energy I wanted to capture. It’s a celebration, but it’s also a warning. You know that the crash-out could be coming one day, but right now you’ve got to move with it and take in as much of it while it’s right in front of you.”
- Jadyn Ghalen




Song Description

The track begins with an uplifting dreamy electronic trap beat, immediately recognizable with an infectious feel to it which sets the tone for an energetic and uplifting club banger type of track, as Jadyn delivers the intro with a blended rapping and singing tone, “Wings out, I been flyin’ through the storm, no cap/Burnt the past down to ash, now I ain’t ever lookin’ back (nah)/Lit like kerosene, I’m always the one to strike a match/Like a moth to the flame, always attract but I never get too attached (nah).” and the combination of the electronic high energy with the self-confident independent focused lyrics provide a backdrop and intro to what feels like a club staple for years to come from the offset.
The songs chorus arrives immediately after the intro and follows in the same vein, almost blending the two together with a slight increases in bpm which brings the energy up slightly higher, with lyrics once again drenched in self-aggrandising and confidence, “City flowin’, when I move (move)/Gold drippin’ from my neck to my shoes (drip)/Running midnight in a Phantom Coupe (whip, whip)/Hands on the wheel, supermodel on my dick/Yeah, I live this life on high risk (risk)” giving the song an immediate catchy hook within the first minute of the track.

As the track arrives at its first verse, the music continues almost seamlessly at the same pace, drenched in synths and hi-hats throughout the entire song, the addition of a kick-drum adds a little more atmosphere and rhythm into the songs opening verse which allows Jadyn’s vocals to flow perfectly, the tone of his voice with a laid-back self-confident energy, “Shit, I been in the dark, now my diamonds lit the path up/Luxury life, yeah, that’s the new-age mantra/These bitches ain’t vibing unless you rich and handsome, so I got em’ all ridin’ wit me in my phantom/Loyal to the grind, but I’m married to the vibe (vibe)/Penthouse view, but I prefer the view inside/Hundred missed calls, looking for attention every night/I ain’t one to boast/But I always leave em’ satisfied.” as he delivers his soliloquy on the luxury lifestyle he leads, highlighting the independent free-spirit mantra that he chooses to life his life and the benefits that his lifestyle and success brings him, “Scratches on my neck but they don’t show up on the leather seats/Passion fills the air, writhing around on satin sheets/Whispers from your breath, can we play this song on repeat/Eyes roll back, when she deep in ecstasy/Fiends for this lifestyle, cause they know this motherfucker don’t run it cheap/High risk, high speed, woke up in a daydream/Butterfly effect got me blessed, but I don’t know what it mean/High risk, high reward, spin it like roulette/Rollin’ like a storm/But I ain’t crashing yet/Ain’t crashing yet.” which doubles down on the themes of excess and luxury, the final lines of the opening verse capturing the thrill and danger of living on the edge.

The songs hook and chorus combination repeats as a follow-up to the opening verse, again bringing the tracks infectious club banger style to the forefront in order to make sure that the track sticks with you long after its finished. The energy remains high as we arrive at the second verse, with the lyrical content switching focus from the female attention and those benefits of fame and success to the broader sense of success and those that want to ride the journey with you but ultimately are there for the success not the individual at the center of it, “This shit could have been different, but I don’t focus on the past/Yeah, they used to doubt me on the low, now they only watching from the back/Used to ignore my name, now they peering through the glass/I used to bring em’ all up with me/Till’ I was surrounded by snakes in the grass/Now I’m all luxury/Ain’t ever turning back.” which cleverly shows independence so positively championed in the opening verse and the double edged nature of independence in the second verse that shows that you can’t truly trust, “Yeah, I just move on my own terms, no pressure/Saint Laurent lace hangin’ off the dresser/I took all my own pain and turned that shit to scripture with a trap hook/Trophies and accolades keep me out their bad books/Designer shit and private planes, city lights and penthouse views/Everything’s an accolade/When you’ve came from nothing/You got nothing to lose.” which showcases an added weight to the lyrics and how there’s positives and negatives from this independent, high success lifestyle. Posing some important talking points, before the songs hook and chorus return once more to close the track out on a catchy note.



“High Risk”

“Wings out, I been flyin’ through the storm, no cap
Burnt the past down to ash, now I ain’t ever lookin’ back (nah)
Lit like kerosene, I’m always the one to strike a match
Like a moth to the flame, always attract but I never get too attached (nah)


City flowin’, when I move (move)
Gold drippin’ from my neck to my shoes (drip)
Running midnight in a Phantom Coupe (whip, whip)
Hands on the wheel, supermodel on my dick
Yeah, I live this life on high risk (risk)


Shit, I been in the dark, now my diamonds lit the path up
Luxury life, yeah, that’s the new-age mantra
These bitches ain’t vibing unless you rich and handsome, so I got em’ all ridin’ wit me in my phantom
Loyal to the grind, but I’m married to the vibe (vibe)
Penthouse view, but I prefer the view inside
Hundred missed calls, looking for attention every night
I ain’t one to boast
But I always leave em’ satisfied
Scratches on my neck but they don’t show up on the leather seats
Passion fills the air, writhing around on satin sheets
Whispers from your breath, can we play this song on repeat
Eyes roll back, when she deep in ecstasy
Fiends for this lifestyle, cause they know this motherfucker don’t run it cheap
High risk, high speed, woke up in a daydream
Butterfly effect got me blessed, but I don’t know what it mean
High risk, high reward, spin it like roulette
Rollin’ like a storm
But I ain’t crashing yet
Ain’t crashing yet

Wings out, I been flyin’ through the storm, no cap
Burnt the past down to ash, now I ain’t ever lookin’ back (nah)
Lit like kerosene, I’m always the one to strike a match
Like a moth to the flame, always attract but I never get too attached (nah)


City flowin’, when I move (move)
Gold drippin’ from my neck to my shoes (drip)
Running midnight in a Phantom Coupe (whip, whip)
Hands on the wheel, supermodel on my dick
Yeah, I live this life on high risk (risk)


This shit could have been different, but I don’t focus on the past
Yeah, they used to doubt me on the low, now they only watching from the back
Used to ignore my name, now they peering through the glass
I used to bring em’ all up with me
Till’ I was surrounded by snakes in the grass
Now I’m all luxury
Ain’t ever turning back
Yeah, I just move on my own terms, no pressure
Saint Laurent lace hangin’ off the dresser
I took all my own pain and turned that shit to scripture with a trap hook
Trophies and accolades keep me out their bad books
Designer shit and private planes, city lights and penthouse views
Everything’s an accolade
When you’ve came from nothing
You got nothing to lose

Wings out, I been flyin’ through the storm, no cap
Burnt the past down to ash, now I ain’t ever lookin’ back (nah)
Lit like kerosene, I’m always the one to strike a match
Like a moth to the flame, always attract but I never get too attached (nah)


City flowin’, when I move (move)
Gold drippin’ from my neck to my shoes (drip)
Running midnight in a Phantom Coupe (whip, whip)
Hands on the wheel, supermodel on my dick
Yeah, I live this life on high risk (risk)”




Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, BLOOM
Engineered by Aniyah Jordan
Mixed by Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Bay Eight Recording Studios, Miami, Florida, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.


PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
BLOOM – production, composition
Aniyah Jordan – engineering, mixing
Leon Ferreira – mastering, mixing
Ignacio Santos – synthesizer
Augustine Francis – programming
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director
Offline C4AJoh  
#5 Posted : 29 August 2025 01:31:03(UTC)
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Track: #04
Title: “Don’t Get Too Comfortable”
Artist: Jadyn Ghalen
Genre: Hip-Hop • Rap • Trap
Length: 4:57
Studio: Sonic Lounge Studios, Atlanta, Georgia, USA
Writer: Jadyn Ghalen
Producer: Jadyn Ghalen • Young Khalifa
Label: Tric-Jam Records • Dahlhouse Entertainment



Background, Writing and Recording

“Don’t Get Too Comfortable” was written and recorded around September 2024 as one of the tracks that came from the earliest recording sessions for Jadyn’s debut solo album at Sonic Lounge Studios in Atlanta, Georgia. It was done at a period where Jadyn was splitting his time between recording sessions for Orion’s eventual sophomore album as well as starting the process of working on his own solo recording sessions in anticipation of Orion’s hiatus following their sophomore album and subsequent 2025 world tour. Working alongside Young Khalifa during the Atlanta recording sessions is where the bulk of work for the eventual debut solo effort was crafted, with “Don’t Get Too Comfortable” the strong trap influence and nightclub floor-filler aspect of the track is a strong indication of what Young Khalifa brings to the table as a producer on the record. Where Jadyn’s natural instincts and abilities tend to find him in the traditional hip-hop and rap lane that you’d come to expect, it’s been made clear that elements of RnB, Trap and Electronic influences will be a heavy aspect of his debut album and working alongside Young Khalifa just serves to showcase his ambition to flex his artistry even more on his first solo album. It’s been confirmed that he will be working alongside a handful of different producers throughout the whole recording process with Young Khalifa taking the helm for a large portion of the album, with Jadyn trusting the upcoming producers judgement and ear when it comes to finding soundscapes that allow him to create. Showcased by the decision to take “Don’t Get Too Comfortable” as the lead single from the project, allowing audiences to hear what the pair are capable of producing as a collaborative production team as well as making it clear from the offset that there will be an element of experimentation on the project as a whole, while still remaining primarily in that Hip-Hop lane.
As mentioned, the heavy trap influence on the track is one that is relatively new to the music of Jadyn Ghalen’s both as a solo artist and as part of the group Orion. Although there have been a couple of tracks throughout Orion’s back catalogue that have had slight hints of trap music, it’s not one that has been overwhelmingly associated with any of their members either as a group or as a solo collective. It’s been made clear in previous interviews that Jadyn Ghalen has ambition to create music that can work in unison with different styles, as showcased by his collaborative work on a track with alternative artist Radio Vine and more recently on a track that saw him collaborate alongside major mainstream artists Alicia Lena, Ryan Ross Hernandez and Layla. In discussing “Don’t Get Too Comfortable” he talked about wanting to hear his music in as many public platforms as possible and the soundscapes on this track in particular with its high-energy electronic aspects and in particular it’s pre-chorus beat drop being one that showcases his range ability to make dance floor anthems while still keeping in his own traditional hip-hop and rap wheelhouse.



Songwriter’s Commentary;

Quote:
“I ain’t gonna lie, this one of my favourite tracks that I’ve done. In the studio with Young Khalifa and he came up with this slow ass bassline that you hear on the intro and we put it on repeat and the phrase ‘Don’t get too comfortable’ just came into my head, I just kept repeating that line and I thought this could be something really special. I like the way the phrase says a lot but doesn’t say much either, you can listen to that intro and start to piece together what you think I’mma say with it. Once we had that intro with those lyrics that track became our main focus for a couple of days in the studio, we worked on a bunch of different follow-ons from that intro, but the one we had to settle on was this final version where you feel the beat get bigger and bigger in that opening verse and just drop like a motherfucker just before the chorus comes in. I think a lot of my shit you hear in clubs, but they mostly the chilled out stuff that you can sit back and vibe to. I’ve heard remixed versions of my stuff but I ain’t ever dropped like a certified club anthem that just fills a fucking dancefloor, y’know?

Lyrically, I wanted to highlight the lifestyle that you can live out in this industry and all the crazy luxuries that come your way if you want it and contrast that with the chorus, ‘don’t get too comfortable, your position on top is so vulnerable’ and play off that contrast between the two. This lifestyle is wild if you really want it to be and the things that come your way because of that is insane, but you know that your position is always fragile, you ain’t guaranteed anything to last forever, you ain’t guaranteed that people will still fuck with your output in two years or five and you could be forgotten about in even less time than that. I rap about all the great shit that comes your way in this business in the first verse and second verse, but in between all those luxuries I keep reminding you in the chorus not to get too comfortable cause you always gotta keep an eye out over your shoulder.

It was never meant to be some deep shit about the fragility of fame or any of that sort of thing, I ain’t ever have that intention to go in deep on some shit like that but sometimes it just comes out that way and I think when it does it means that it’s something inside you thinking about that, somewhere under the surface. I know from where I come from that this life that I get to life right now is a big fucking luxury and I’m far away from the place I grew up in. But I think I’ve always got that fear of it all going away just as quickly as it came to me and I think that’s why I put in the work that I do, if I can hold my end of the deal then I know I can sustain this crazy fucking lifestyle in some way.”

- Jadyn Ghalen




Song Description;

The track begins with a slow-paced and deep 808 bassline from the opening, accentuated with hi-hats and a rhythmic drum beat serving as the undertone to the more prominent bassline during the songs intro, with the sound of Jadyn’s vocals overscoring the entire thing as he repeats the words, “Don’t get too comfortable, don’t get too comfortable/Don’t get too comfortable, don’t get too comfortable/Don’t get too comfortable, don’t get too comfortable/Don’t get too comfortable, yeah, don’t get too comfortable.” which appears to set up the track perfectly, with the moody trap beat and the lyrics subtle enough to peak the listeners attention as to what the context of the song will be as it progresses.

As the intro ends, the music immediately goes into the opening verse of the song as the drums pick up and the bassline becomes heavier and more forceful, changing the pace of the song to a much more mid-tempo energy, with synth and electronic textures added into the background in order to really flesh out the musical backdrop of the song as Jadyn delivers his vocals on the opening verse, “I been down this path before, felt all the highs and the lows, took a while but I’ve cracked the code/Never stand still, never bored, money at a surplus /Drowning in pussy, can’t reach the surface/They all want a piece of the action, fuck with me, guaranteed satisfaction/In the studio, on the record, on the stage/In the bedroom, on the balcony, in the pool, out of state/Either way they screaming out my name.” as the energy of the instrumental matches perfectly with the trap enhanced vocals, “I’mma make it real clear from the offset, I won’t hesitate/Droppin’ diamonds, rockin’ fine golds/Finest Cubans, poppin’ pills, top down on the Benz, they call me king of Beverly Hills/I don’t fuck with small bills, I do it all exclusive, top shelf, expensive thrills/All night long, ain’t nobody gonna stop me/Came out to California to work/But this life one big party.” which sets up the chorus perfectly as a emphatic trap beat drop occurs between the ending of opening verse and the songs chorus.

As the songs chorus arrives, the BPM rises with it, creating a highly energetic trap beat which is just enhanced even further as the songs repetitive chorus comes into play, “Don’t get too comfortable, don’t get too comfortable/Your position on top is so vulnerable/So vulnerable/Every day making moves, ain’t ever gonna make me stop/Can’t always guarantee your position on top/Don’t get too comfortable/Yeah, don’t get too comfortable.” which not only showcases the strong musical partnership between Jadyn Ghalen and Young Khalifa but also the artistic mind of Jadyn’s to be able to structure and layer a song so strategically and technically that in deeper analysis you can see everything has been done to garner the maximum effect from the subtle teaser in the intro of a phrase that could relate to all manner of different things, to the tempo change between laid back energy in the intro to mid-tempo in the opening verse building to a huge trap beat drop ahead of the songs chorus.

On arrival at the second verse, the music rides the wave of the songs tempo, dropping slightly off from the hugely energetic chorus but switching from a mid-tempo progressive beat from the opening verse to a slightly more higher-tempo trap beat pulsating throughout the final verse of the song, giving a prominent, deep and heavy bassline and hard-hitting layered drum backbeat to really deliver energy to the song that feels tailor-made for nightclubs around the country. Jadyn delivers his vocals during the songs final verse, again enhanced slightly in the production booth to add that atmospheric hazy trap feel to his vocal delivery as he fires out his lyrics with a fast-pace and high-energy, “Everybody want a piece, rolling in the hills/Living luxury, top shelf shit/Cultured tastes, expensive thrills/Guest list on max out/Never sleeping, ain’t ever tapped out/Pretty bitches so relentless, always stunting/Pussy poppin’/Top droppin’/Attitude adjustment when I get em’ humming/Begging pleas, on their knees/Papi Chulo got em’ coming.” which signals a brief pause, added faint female orgasmic noises spliced in to enhance the image that the songs lyrics generate, before he continues back on the beat, “Relentless on my shit, ain’t enough hours/Don’t get too comfortable/Can’t get too comfortable/Won’t get too comfortable/Can’t keep up with the game that I’m running/Yeah, even I can’t keep up with the game that I’m running.” which is then followed by a huge trap beat drop once more as the song moves into the chorus, repeated twice to close out the track.


“Don’t Get Too Comfortable”

“Don’t get too comfortable, don’t get too comfortable
Don’t get too comfortable, don’t get too comfortable
Don’t get too comfortable, don’t get too comfortable
Don’t get too comfortable, yeah, don’t get too comfortable

I been down this path before, felt all the highs and the lows, took a while but I’ve cracked the code
Never stand still, never bored, money at a surplus
Drowning in pussy, can’t reach the surface
They all want a piece of the action, fuck with me, guaranteed satisfaction
In the studio, on the record, on the stage
In the bedroom, on the balcony, in the pool, out of state
Either way they screaming out my name
I’mma make it real clear from the offset, I won’t hesitate
Droppin’ diamonds, rockin’ fine golds
Finest Cubans, poppin’ pills, top down on the Benz, they call me king of Beverly Hills
I don’t fuck with small bills, I do it all exclusive, top shelf, expensive thrills
All night long, ain’t nobody gonna stop me
Came out to California to work
But this life one big party

Don’t get too comfortable, don’t get too comfortable
Your position on top is so vulnerable
So vulnerable
Every day making moves, ain’t ever gonna make me stop
Can’t always guarantee your position on top
Don’t get too comfortable
Yeah, don’t get too comfortable


Everybody want a piece, rolling in the hills
Living luxury, top shelf shit
Cultured tastes, expensive thrills
Guest list on max out
Never sleeping, ain’t ever tapped out
Pretty bitches so relentless, always stunting
Pussy poppin’
Top droppin’
Attitude adjustment when I get em’ humming
Begging pleas, on their knees
Papi Chulo got em’ coming
Relentless on my shit, ain’t enough hours
Don’t get too comfortable
Can’t get too comfortable
Won’t get too comfortable
Can’t keep up with the game that I’m running
Yeah, even I can’t keep up with the game that I’m running

Don’t get too comfortable, don’t get too comfortable
Your position on top is so vulnerable
So vulnerable
Every day making moves, ain’t ever gonna make me stop
Can’t always guarantee your position on top
Don’t get too comfortable
Yeah, don’t get too comfortable

Don’t get too comfortable, don’t get too comfortable
Your position on top is so vulnerable
So vulnerable
Every day making moves, ain’t ever gonna make me stop
Can’t always guarantee your position on top
Don’t get too comfortable
Yeah, don’t get too comfortable”




Credits & Personnel;

CREDITS

Produced by Jadyn Ghalen, Young Khalifa
Engineered by Aniyah Jordan
Mixed by Young Khalifa, Aniyah Jordan, Leon Ferreira
Mastered by Leon Ferreira
Production Management by Imani Jasmine Woods
Recorded at Sonic Lounge Studios, Atlanta, Georgia, USA

Production Manager: Imani Jasmine Woods
Production Assistant: Zariah-Devi Khabib
Art Director: Vincent Cooper Jr.

PERSONNEL

Jadyn Ghalen – vocals, lyrics, composition, production
Young Khalifa – production, composition, mixing
Aniyah Jordan – engineering, mixing
Leon Ferreira – mixing, mastering
Imani Jasmine Woods – production management
Zariah-Devi Khabib – production assistant
Vincent Cooper Jr. – art director
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