Born For More
Album • October 1st 2025
My magnum opus. A story about fame, ego, and collapse.
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Overview
Story
Born For More began without a master plan. The first songs, like Glory and Go Away, were just instrumentals I made for fun while I was still working on Spacewalk. At that point, I wasn’t setting out to write a rap album or a concept piece, I was just experimenting. But as the tracks piled up, the idea of a narrative took hold.
Originally, I thought the story would follow an egomaniac who gradually learns humility and ends up grounded. But it didn’t really work and felt forced. So, I flipped it: instead of redemption, the arc became one of rise and collapse. Fourteen tracks charting the journey from innocent ambition, through success and ego, into temptation and unraveling. At first, I tried sticking to my old “seven songs per album” rule, but seven wasn’t nearly enough for the story. Doubling it gave me plenty of room to let the arc develop.
Some tracks existed before the concept (Project 1, Glory, Go Away), while others were built to fill specific roles (Famous as the intro, Bye Bye as the breakout, Orbit as the pause). Together, they formed something bigger than the sum of their parts.
Writing & Themes
The first act of the album feels closest to me. Songs like Famous, Little Leak or Glory are grounded in my own thoughts ambition, doubt, believing I wouldn’t let money change me. But as the story progresses, it drifts into fiction. The character becomes larger-than-life, and by the end, he’s someone unrecognizable, lost in ego and self-destruction.
The best song of the album is probably Silver Lining. It captures the peak of the journey, one perfect day where everything clicks. But even there, cracks appear. The bridge hints that the dream won’t last, setting up the collapse that follows. It’s the centerpiece both thematically and sonically, tying the whole arc together.
Production
I wasn’t chasing influences consciously, but they’re there. Late 2024 I started listening to Kanye, especially My Beautiful Dark Twisted Fantasy struck me, which absolutely shaped the scope and ambition. I mean, the cover art nods to it as an obvious homage. Beyond that, I also let songs lean into their own world: Little Leak with east coast 90s production, Temptation channeling The Prodigy’s abrasive electronic energy, Project 1 with those Yeezus-like synths.
My process was mostly beat-first, lyrics-after. Once I had the structure, I didn’t reshuffle songs much, they just locked into place naturally. The hardest to finish was probably October, the drum loop has a really loud cymbal that actually made me go insane. But once the mix came together, it became one of my favorite songs on the album. I mean, every song on the album is my favorite song, to be honest.
Reflection
To me, this album feels like my magnum opus. It’s the first time I’ve built something this ambitious and pulled it off, a full on cinematic arc. Every track has a reason to be there, and the production leaps far ahead of my earlier work. Sure, there are imperfections I’d fix if I reopened the sessions, but the album as a whole is the best thing I’ve done.
I see Born For More as the defining LLH record – the one that marks the real beginning. It’s ambitious, messy, emotional, and larger than life. Hopefully it doesn’t mirror my own future too closely (though I wouldn’t mind the penthouse). But whether it’s read as fiction, reflection, or prophecy, it’s the statement I wanted to make: I was born for more.
Track-by-Track
1. Famous
Famous was written from scratch to be the opener, because none of the songs I already had at that time worked as an intro. Its intro is obviously inspired by Kendrick Lamar’s PRIDE. – reflective, understated, almost vulnerable. Meanwhile, the rest of the song carries more of the wide-eyed optimism of Mac Miller’s K.I.D.S. It’s dreamy and warm, more like a daydream of fame than a victory lap, untouched yet by ego or cynicism. The production leans into this vibe: soft synth beds, subtle bright flourishes, but really dynamic drums. Lyrically, it asks “what if?” instead of “look at me,” keeping it grounded and innocent. That balance makes it the perfect opening statement, an invitation into the world of the album before the chaos sets in.
2. Little Leak
This track went through multiple versions. At one point it sat right before Bye Bye with completely different lyrics — more about pushing through self-doubt and finding the courage to share my music. Later, I shifted it back to the second spot and reshaped it into something more meta: a song about questioning whether what I’m doing even makes sense. It deals with that uncomfortable awareness of being a white kid stepping into rap, asking whether I’m just imitating a culture that isn’t mine. Musically, it’s funky and head-nodding, with that 90s bounce in the drums that gives it swagger but undercuts the confidence with lyrics full of hesitation. It’s one of the tracks where I pull back the curtain — not fully in character, but not fully me either. That uncertainty makes it a perfect “Act I” track, because it captures the tension before the breakout.
3. Glory
One of the earliest tracks I made for the album. It all started with a chopped vocal sample — “they all want glory, come and seek it.” That hook grabbed me instantly, and I just built the song around it. The structure is simple but powerful: it starts bare with only the vocal, then the synths swell in like a wave, knocking the door down. I didn’t set out with any grand idea for Glory. It was pure instinct, a beat that grew into a track without overthinking. Later, it slid perfectly into the arc — the sound of ambition, of chasing something bigger. Production-wise, I love the way the synths feel like sunlight bursting through clouds. It’s not the deepest track conceptually, but it doesn’t need to be — it’s pure energy, a shot of adrenaline early in the story.
4. Project 1
This is the oldest song on the record. I made it back in August 2024, right after finishing Imagination. Inspired by Kanye’s On Sight from Yeezus, it was jagged, abrasive, and a little too weird to put anywhere at the time. For almost a year it just sat in my hard drive, always tempting me with the thought: “this is too good to waste, you gotta use this at some point.” When I built out the first act of Born For More, I realized it finally had a home. I tweaked the arrangement a little, rearranged some sections, but most of it is still the original. Even the chorus is largely untouched, which is wild considering how much my mixing and writing had improved since then. Project 1 stands out because of its rawness — it doesn’t try to be clean or polished, it just slaps. It’s an experiment that became a keystone in the story, almost like the ghost of an earlier version of me haunting this bigger, more ambitious project.
5. Bye Bye / Now I’m Here
This song was always the breakout. It started from a bass loop I stumbled on, and from that moment, everything clicked. I knew I had the skeleton of the anthem that would mark the turning point of the album. Structurally, it’s unusual: no chorus, just three verses broken up by drops and a soaring bridge. The subtly audible “Bye Bye” vocal is me, repeated and pitched to become this ghostly refrain. To me, the magic of this track is the bridge. I always pictured myself on a stadium stage, singing those lines with thousands of people singing them back, before the music cuts out and the crowd carries the moment into the drop. It’s long, maybe even indulgent, but it earns it. This was me writing with scale in mind, pushing past bedroom production into arena-sized imagination.
6. Orbit
After the bombast of Bye Bye, I knew the album needed a moment of stillness. Orbit is exactly that — the deep breath after the leap. It’s serene, atmospheric, and built around this little voice sample I found from an Apollo mission: “nice to be in orbit.” That one line was enough to give the track its identity. The production is stripped back compared to the surrounding tracks. A soft piano, subtle percussion and lots of reverb makes it feel like floating in zero-G. It’s not about lyrics or narrative detail — it’s about vibe. It’s the calm before the next storm, and one of the tracks that holds a special place for me because of its mood.
7. Silver Lining
This is the centerpiece of the album, no question. I wanted to capture the feeling of one perfect day: living life fully, soaking in every detail, riding that high where everything feels aligned. It took me multiple rewrites to get it right — the only thing that stayed consistent was the hook. Eventually, I built a structure that leads you through a slice-of-life arc, from morning to night, full of color and joy. But even in that joy, I wanted to hint at cracks. The bridge foreshadows the decline, showing that perfection isn’t sustainable. Production-wise, this is me at my sharpest: the sound design is lush, wide, and confident, with layers building into a euphoric climax. If Born For More has a crown jewel, this is it.
8. That Way
The comedown. To me, That Way is the sound of walking home from a party at 3 a.m., alone, and suddenly feeling sad for no reason. I actually recorded the vocals in one of those exact moods — tired, drained, melancholy. It was a raw first or second take, and I kept it because it was so genuine. Musically, it’s sparse compared to the tracks before it. Empty space, gentle beats, muted melodies. It feels hollow by design, reflecting that weird emotional vacuum you can’t explain. Coming right after Silver Lining, it’s the crash that makes the high even sharper.
9. Hurricane
One of the first songs I made for the album, before I even had the concept nailed down. Originally it was just supposed to sound like a rainy day, but it found new meaning in the story as the marker where things start falling apart. It doesn’t hammer the narrative directly, but the vibe makes it indispensable. The defining feature is the synth in the chorus, which blooms open with each chord like a storm cloud breaking. It’s moody, uneasy, but still catchy. Hurricane may not be the most important story beat, but it adds texture and atmosphere, deepening the middle stretch of the album.
10. October
This track was a beast to finish. The instrumental came first, but when I added the drums, I got stuck with this cymbal that refused to sit right in the mix. No matter what I did, it pierced through and drove me crazy. I almost scrapped the track over it, but eventually I found a balance. Lyrically, it’s one of my strongest. The line “Step aside, step aside, when I arrive it’s game over / Chains hang heavy, heart cold like October” hit so hard I had to make it the title. This is the turning point where the character gives up vulnerability and embraces full ego. The sound is heavy, cold, and aggressive, perfectly matching the lyrical shift.
11. Temptation
This track wasn’t written for the album at first — it was just me experimenting with a Prodigy-inspired synth bass and some chaotic vocal chops. But when I realized the hook — “Give into temptation, alright, alright” — could fit the narrative, it clicked into place. Suddenly it was the perfect soundtrack to the character’s descent into drugs, lust, and numbness. It’s less of a rap track and more of a rave track: pulsing, abrasive, with lots of dead space that makes every drop hit harder. The final verse strips down bare, leaving only the essentials. That was intentional — it’s the vulnerability peeking through in the middle of the chaos.
12. Go Away
Written in a single night, half-drunk. I started at 10 p.m., went to the club at 11, came back in the early hours and recorded lyrics with my wrecked voice. That demo had a rawness I loved — sadly I couldn’t keep it for the final cut because I made some tweaks in the lyrics, but the energy stuck. Eventually I managed to capture the same sarcastic bravado, even if I never got my voice to sound like that again. The song masks pain with ego, swinging between heartbreak and mockery. The bass arp drives it forward with a sneer, while the lyrics drip with sarcasm. It’s toxic, a little ugly, but that’s the point: the mask is fully on now.
13. Hell of a Life
Originally this was the intro track, and you can still hear it in how it opens — chaotic, brash, no filter. But it worked better later in the arc, once the character has fully lost control. The point here wasn’t to sound polished, it was to let the ego run wild. Writing it was pure fun: throwing out ridiculous rhymes and absurd bars with a straight face. Lines like the “ketchup / catch up” one are so dumb they’re brilliant. I can imagine it’s by far the least popular track, but it’s also one of the most unique. It captures the unhinged side of the character, and in a way, it’s me letting loose too — laughing at the absurdity while delivering it like it’s gospel.
14. Born For More
The finale. At first it was buried deeper in the tracklist, but I realized it belonged at the end as the epilogue. It’s got this marching rhythm, almost militaristic, that feels like a closing statement. The vibe is triumphant and tragic at the same time — like the character has burned everything down but still insists he was “born for more.” Vocally, it pushed me out of my range. There are notes in this song I honestly don’t think I could hit again — it was a one-time thing, caught in the moment. That makes it even more special. When the track fades into silence, I wanted listeners to just sit there, reflecting. It’s not a neat resolution, but it’s the only way this story could end.
