Title: “Feast or Famine”
Artist: Jadyn Ghalen
From: TBA (2025)
Release Date: March 30, 2025
Length: 5:12
Format: CD Single • Digital Download • 7” Single • Weekly Airplay
Recorded: Studio 60 Recording Studios, West Hollywood, California, USA
Genre(s): Hip-Hop • Rap
Label: Tric-Jam Records • Dahlhouse Entertainment
Written: October 2024
Writer(s): Jadyn Ghalen
Producer(s): Jadyn Ghalen • DeAndre Patton
“Feast or Famine” is a single from American rapper and hip-hop artist Jadyn Ghalen, taken from his as-yet-unannounced debut solo album expected for release in late 2025. This marks the second official release from the upcoming album and the fifth official solo single to be released in his career up to this point, having recently become a fully-fledged solo artist in the aftermath of the confirmed hiatus from Orion. The release of “Feast or Famine” follows on the heels of previous single “Don’t Get Too Comfortable” and it’s accompanying music video and indicates an extremely productive 2025 on the cards as the fanfare and promotional run ahead of the official album release truly ramps up, with little information coming out about the upcoming album. Fans have been piecing together as much information from these single drops and promotional material as possible in order to add to their anticipation and expectations for the upcoming release. With the production from Young Khalifa on his previous trap-influenced track “Don’t Get Too Comfortable” and production from DeAndre Patton on this beat-heavy nineties west-coast rap influenced track, it’s clear that Jadyn has been working with a collaborative mix of record producers throughout the entire album, keeping fans on their toes so far with two musically differing efforts so far, with the previous single bringing high-energy and high-octane trap elements including electronic elements and beat drops in direct comparison with its follow-up and the more structured hip-hop and rap sounds with heavy focus on the drum beats and rhythmic elements.
With the release of “Feast or Famine”, we’re given the first indication of the ambitious nature of the upcoming album as Jadyn has previously confirmed that he has an ambition to work with different elements, confirming that nothing is off the table in terms of potential ideas musically. We were introduced to this slightly with the previous singles electronic elements showcasing Jadyn’s ability to step away from the traditional hip-hop and rap elements, albeit trap music not being too much of a departure, it showed him willing to stretch into different area’s while maintaining his authenticity and trademark style. With this latest single, we see the bulk of the track follow the sort of traditional rap soundscapes you’d expect from him but with the additional elements of the Pacific Empire Chorus and Pacific Symphony adding an element of grandiose to the intro and pre-chorus of the track with a choir chorus and orchestra showcasing his ambition to create large soundscapes with ambitious musical elements at play.
Written and recorded by Jadyn Ghalen and produced by Jadyn Ghalen alongside longtime producer and collaborator DeAndre Patton at Studio 60 Recording Studios in West Hollywood, California as part of the recording sessions for his upcoming debut solo album. The track is the second official release from the upcoming project and will be distributed through Tric-Jam Records and Dahlhouse Entertainment, available as a CD Single, Digital Download, 7” Single and made available to Weekly Airplay and Worldwide streaming. The track will be official released on March 30, 2025.
Background, Writing and Recording;“Feast or Famine” was written and recorded around October 2024 during the California recording sessions for Jadyn Ghalen’s upcoming debut album which took place at Studio 60 Recording Studios and was helmed by the production team of Jadyn Ghalen and DeAndre Patton. The earliest recording sessions for his debut solo album took place in Atlanta, Georgia while alternating between ‘Orion’ duties and his own solo recording sessions during a busy period of creativity for Jadyn. However, the California recording sessions only begun after the recording of the sophomore ‘Orion’ album was complete, while that album was in post-production Jadyn ramped up his solo sessions and began his own California recording sessions alongside DeAndre Patton who produced his previous solo effort the 2023 solo E.P. “Mentality Monster”, with the two sharing a deep love of late eighties and early to mid-nineties west coast rap and forging a second-nature partnership within the recording studio on that initial solo release as well as a strong brotherly bond with DeAndre offering a mature and wisdom-infused older brother type of bond to Jadyn’s young and ambitious attitude, making their production partnership one that has helped shape Jadyn’s creativity throughout the five years both as a producer for ‘Orion’ as well as a producer for Jadyn’s first solo efforts.
The track was written by Jadyn in October 2024 while working on the primary instrumental of the song with DeAndre, as opposed to the traditional freestyle and freeform recording techniques Jadyn has a preference to work on the instrumental to a song first and sit and write lyrics for the instrumental before stepping into the recording booth. Much in a similar way to how a movie director will have a scene laid out exactly how they want with the dialogue locked in. Once the track has been laid down with the vocals and lyrics that have been originally written for the song, Jadyn will then go back into the recording booth and freestyle over that same beat which creates alternative versions of single tracks to work with, allowing for new ideas to breed life into the originally penned lyrics. This way of working was recently showcased in full as the leak of an alternative verse of his previous single “Don’t Get Too Comfortable” found its way online, which showcased a different side to a track that audiences had already become familiar with through the official release and also showcased the slightly more freeform and relaxed nature of these alternative takes.
Songwriter’s Commentary;Quote:“This one was one of the first tracks from the California sessions, I had already done some stuff in Atlanta and Miami working with Young Khalifa mostly as producer, but I knew I wanted to work with a couple of different producers on the whole record because it brings different ideas to the table and gives you a chance to see all of the possibilities out there. The California sessions were mostly myself and DeAndre Patton, we’ve worked together pretty much on everything since ‘Orion’s’ debut and he’s somebody that I trust to deliver the highest standard possible in the studio. The ideas that he brings to the table are completely different from the ideas that other people bring to the table, he ain’t afraid to go big in scope and create these ambitious soundscapes as well as keeping his roots in that rhythmic RnB and Hip-Hop lane. I knew the California sessions would be pretty much myself and DeAndre at the mixing desk, with a few other people throwing some ideas our ways, but the way that we work now is pretty much second nature to us, we know what to expect from each other and I feel like he knows what ideas to bring to the table to get the best out of me and what sort of ideas I just won’t vibe with. He knows I like stuff that has that nineties west coast hip-hop feel but also knows that I like my shit layered, that you only notice if you really paying attention. He knows I ain’t against going big in scope and creating something cinematic and on a larger scale.
That west coast influence is the biggest element to the track, it feels very drum heavy and rhythmic and for me that’s what DeAndre does best. But on this one, with the intro going big on the strings and the orchestral shit, he’s sort of blended his two main selling points together on this track. With his traditional influence and style as the main driving instrumental of the track we’re big on kicks and snares, with some hi-hats and rhythmic focussed for the base of the track. But he’s also set it up in a big way with the intro having the ‘Pacific Empire Chorus’ and the ‘Pacific Symphony’ that adds that element of grandiose right from the starting blocks which works on the track by grabbing your attention and making you think, where the fuck is this track going before going into that monster beat throughout the track that never lets up the pace.
Lyrically, it was one where the track straight up calls for an aggressive approach, for me it came from knowing that the nature of the rap and hip-hop genre is all or nothing throughout history. Even when you look at its popularity, this shit was in the pits back in like twenty-ten for legit five years where it was a novelty. Anybody that came in quickly faded out, it just wasn’t mainstream and you would see somebody that feels like they were destined to break into that mainstream and bring it back, you’d pin your hopes on someone that would come through like Jay-C cause the shit that he did drop showed his level was insane, but never ended up grabbing that shit like he could have. Younghood and Kidd Amaze eventually got the ball rolling and once Rum & Coke came onto the scene, they pushed that shit into the stratosphere and you became full of options in the genre. So you go from nothing for five years to suddenly seeing this shit starting to open up and eventually explode into one of the biggest mainstream genres in the industry, that’s where the feast or famine title came from.
Once I had that title in my mind, it was about highlighting all of the different elements that go into working towards your ambition, working towards your own aspirations and the main thing in my mind was how do I take what those that blew those doors open to the genre and build on that and made it easier for that next generation to be seen and heard more easily and put that into my own feelings of where I stand on that mountain. I highlight what I believe it takes to really fucking make it, I reference where I come from and always keeping that in clear view, but I also reference your own ambition to always surpass what’s gone before, I got the line there, “After years of decline in the culture, I’m setting the standard back in this industry.” I think the standard was set by that group from 2015 to 2020 that I mentioned before and now we got a whole bunch of us trying to not only keep that standard but push it on further. From my view, the track is about saying if you’re going to come into the industry and try to add to the culture, you can’t half-ass it, you have to put it all out there, everything you got to give needs to be given to the cause. That’s how I view this shit, I take it seriously.”
- Jadyn Ghalen
Song Description;The track begins with the sound of static and it’s quickly followed by a combination of orchestral strings, most prominently the sound of a violin and cello highlighting the piece for the songs intro, it serves a purpose in creating a large cinematic sounding opening to the track with the sound of an all-female choir ‘Pacific Empire Chorus’ singing the songs intro and latterly the songs pre-chorus, adding a feeling of grandiose while also adding an element of the unexpected as they deliver the songs opening intro beautifully,
“Oh, baby don’t come any closer/I’m on a winning streak/Please don’t come any closer/On a winning streak, I will get us what we need.” with the beautifully delivered harmonies an unexpected element to the track, creating a sense of anticipation and intrigue at what is to follow as the lyrics play off themes of gambling, ambition and luck.
As the final vocal delivery from the opening intro finish, the tone of the track immediately shifts as the orchestral strings are replaced by a strong driving hip-hop beat, making use of a prominent snare and kick-drum combination to add a little aggressive energy into proceedings and subsequentially ramping up the pace of the song tenfold as Jadyn immediately fires out his lyrics on beat with a tone that feels assertive and confrontational,
“Hustle in my veins, you know I’ve been grindin’ from the ground up/Late nights, bright lights, watch em’ all surround us/Always took my chances, poker face, chips in play, all or nothing glances, we call it dumb luck/When you ain’t got nothing, it’s only win or lose when you’re young/Nothing in-between, you learn to play it tough/Ain’t nobody earn your trust.” which sets the tone for the songs primary theme’s of proving yourself and putting in the work to ensure you’re on the right side of the two options mentioned in the songs titled “Feast or Famine”.
Jadyn continues, delivering about the all or nothing nature of the industry that he’s part of and the obsession with achieving more and more once you get that initial taste for success,
“Spent the longest time on that win steak, flyin’ too close to the sun/No matter what you earn, that shit just ain’t enough/I’ve been known to risk it all/When the high’s so good, ain’t afraid to face the freefall/Just to secure my place at the table/Ready for the feast/I’ve gone through the famine/Now I’m aiming for the belly of the beast.” which sets the track up with an aggressive drum heavy tone and a message about the fragility of ambition and the obsession of chasing success against the risk of an all or nothing outcome.
The tracks intro makes its return, this time serving as the songs pre-chorus with the ‘Pacific Empire Chorus’ and the strings of the ‘Pacific Symphony’ returning briefly once more before being followed by a piano led chorus, with a strong drum and bass backbeat as Jadyn raps over the instrumental combination,
“Ain’t no way you can half-ass this shit/I’m either gonna take it all or take none of this/Ain’t never been one to be protective over my own fuckin’ chips/I’m always gonna be all in/Take the risk/Take the hit/Feast or Famine/Is all there ever really is.” which delivers a brief but effective pre-chorus and chorus combination that serves a purpose in breaking up the song and also allowing a further opportunity for Jadyn to articulate the clear-cut and risk-averse attitude and commitment required to achieve such mighty ambitions in order to succeed in a very cut-throat business.
The track moves back into the soundscape delivered in the opening verse, with the primary elements focussed on and highlighted by the drum sequencing that dictates the rhythm of the song overall. The kick drum and snare combination give the song its pulse, with a rhythmic backbeat setting the tempo. Melodic elements appear deep within the instrumental mix with soft piano tones underlying in the second verse that add a slight element of melody, but relatively unnoticeable unless you’re searching for it due to the overpowering rhythmic elements to the second verse as Jadyn again raps over with a confident and assertive tone throughout,
“Been on a winning streak for a while now, but I ain’t forget my old lifestyle/Grew up appreciating every scrap thrown my way/Learning how to work hard for everything that I got piled up on my plate/But I ain’t got the time to sit and relax cause there’s always some young gunner waiting to launch their attack/Right now that young gunner’s the reflection looking back at me/I’m carrying this weight, like it’s my destiny/After years of decline in the culture, I’m setting the standard back in this industry/The past is just that, the past is history/Recency bias got me thinking nobody was pissed to watch em’ leave.” which see’s him talking about an awareness of where he came from compared to where he is now but also acknowledging that the success and lifestyle he has now comes from putting in the work. As well as referencing the decline of hip-hop and rap music in the mainstream during his youth, the early to mid-twenty tens being a barren spell for a while until resurgence began in the late twenty-tens.
He remains on beat throughout, as he rounds out the track finishing off his second verse,
“I like my business on notice/I like the fire under me roaring/I like the flight to be soaring/And the fight to be the highest scoring/Both sides on that level/Bring out the best of the devil/If the opportunity is there then believe that I’mma fuckin’ take it/If there’s reward to the risk watch me risk it/I don’t go for small wins, motherfucker believe that I’m all in/All there really is in this game/Is a feast or famine.” which delivers the clearest indication of the way that he hopes to see the genre flourishing with artists pushing each other to strive to be better and push their limits. The pre-chorus and chorus combination repeats another couple of times before fading out.
“Feast or Famine”“Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we needHustle in my veins, you know I’ve been grindin’ from the ground up
Late nights, bright lights, watch em’ all surround us
Always took my chances, poker face, chips in play, all or nothing glances, we call it dumb luck
When you ain’t got nothing, it’s only win or lose when you’re young
Nothing in-between, you learn to play it tough
Ain’t nobody earn your trust
Spent the longest time on that win steak, flyin’ too close to the sun
No matter what you earn, that shit just ain’t enough
I’ve been known to risk it all
When the high’s so good, ain’t afraid to face the freefall
Just to secure my place at the table
Ready for the feast
I’ve gone through the famine
Now I’m aiming for the belly of the beast
Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we needAin’t no way you can half-ass this shit
I’m either gonna take it all or take none of this
Ain’t never been one to be protective over my own fuckin’ chips
I’m always gonna be all in
Take the risk
Take the hit
Feast or Famine
Is all there ever really isBeen on a winning streak for a while now, but I ain’t forget my old lifestyle
Grew up appreciating every scrap thrown my way
Learning how to work hard for everything that I got piled up on my plate
But I ain’t got the time to sit and relax cause there’s always some young gunner waiting to launch their attack
Right now that young gunner’s the reflection looking back at me
I’m carrying this weight, like it’s my destiny
After years of decline in the culture, I’m setting the standard back in this industry
The past is just that, the past is history
Recency bias got me thinking nobody was pissed to watch em’ leave
I like my business on notice
I like the fire under me roaring
I like the flight to be soaring
And the fight to be the highest scoring
Both sides on that level
Bring out the best of the devil
If the opportunity is there then believe that I’mma fuckin’ take it
If there’s reward to the risk watch me risk it
I don’t go for small wins, motherfucker believe that I’m all in
All there really is in this game
Is a feast or famine
Oh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we needAin’t no way you can half-ass this shit
I’m either gonna take it all or take none of this
Ain’t never been one to be protective over my own fuckin’ chips
I’m always gonna be all in
Take the risk
Take the hit
Feast or Famine
Is all there ever really isOh, baby don’t come any closer
I’m on a winning streak
Please don’t come any closer
On a winning streak, I will get us what we needAin’t no way you can half-ass this shit
I’m either gonna take it all or take none of this
Ain’t never been one to be protective over my own fuckin’ chips
I’m always gonna be all in
Take the risk
Take the hit
Feast or Famine
Is all there ever really is”
Credits & Personnel;
CREDITSProduced 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
PERSONNELJadyn 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
Pacific Empire Chorus - vocals
Pacific Symphony – instrumentation, strings, composition
