OHMAMI by Chase Atlantic Lyrics Meaning – Decoding the High-Octane Ode to Hedonism and Escape


You can view the lyrics, alternate interprations and sheet music for Chase Atlantic's OHMAMI at Lyrics.org.
Article Contents:
  1. Music Video
  2. Lyrics
  3. Song Meaning

Lyrics

Bitch, I’m fuckin’ styling
Yuh styling (ooh-ooh-ooh, oh)
Yeah (whoa)

Cuban link, diamond cross
I got a Spanish chiquita
No habla ingles, not at all, no
Cut up three lines like Adidas
She clean that shit up with her nose
And I got a kilo, man
Kilimanjaro, baby, this a mountain of coke

Ooh, mami, this a new ‘Rari
Hit 150 on the dash, I bent the corner
Then she bent it for me sideways, uh
I might have to fuck her on the highway, yuh
Uh, whoa
Ooh, mami, I got blue molly
I put Louis V, Supreme on top of Murakami
Bitch, I’m fuckin’ styling, yeah
I might say I love her, but I’m lying, yeah
Yeah, whoa
Oh, no, no, no
Yeah, yeah

Mamacita, I can see the devil in your eyes
Muy bonita, tu quieres estar by my side
She might make me stay in for the night
For the night, oh
Call Maria, let’s get drunk
I haven’t been out for months
Got a two-liter in the back and another bottle in the trunk
Columbian gold in the front seat
The foreign girls showing me love
Telling your friends that you hate me
But I know that you can’t get enough

Ooh, mami, this a new ‘Rari
Hit 150 on the dash, I bent the corner
Now, now bend it for me sideways, uh
I might have to fuck her on the highway, yuh
Yuh, whoa

Oh, oh my
I don’t wanna take this call
I’m too high, red eyes
She might even take the fall if I ask her
Baby, pop it backwards
Acting extra but she never been an actress, yeah
Ah, shit
Oh yeah-yeah-yeah, whoa
Oh yeah-yeah-ah-ah-ah-ah-ah-ah
Oh yeah-yeah-ah-ah-ah, shit
Oh, shit

I said, ooh mami, this a new Rari’
Bitch, I’m fuckin’ styling
I don’t need no stylist
All of my dawgs, they be wildin’

Shit
Fuck a double date
Double-down on everything I say
You can bring your friend, but she don’t get to stay
Guarantee she end up leaving anyway
Never play, dawg, watch out
Dark flames when my doors swing out
Switch lanes on a one-way route
Switchblade make your blood pour out
Make it rain in a drought
Hop in, hop out
Motherfucker, get down when I say “down”
Brown duffle bag, I fill it up with 30 clip rounds
Drop shit, pop wheelies, fuck a breakdown
I don’t give a
Bitch, I’ma slide either way
Please do not try me today
I see the static from a mile away
She wanna fuck me, okay?
She wanna know how it taste, yeah, yeah

Fuck all that talking, I’m restless, yeah
I pray that I don’t get arrested
Pray that she wake up for breakfast
Pray that she wake up for breakfast

Full Lyrics

Chase Atlantic’s ‘OHMAMI’ is not just a song. It’s a decadent hymn to the recklessness of youth, the allure of excess, and the sweet escapism found in hedonistic pleasures. In line with the Australian band’s signature sound, the track melds genre-bending elements with infectious beats to capture a narrative that’s equal parts intoxicating and unsettling.

Dissecting the lyrics reveals a complex interplay of themes that span from the superficial glamor of living in the fast lane to the deeper, perhaps darker, implications of such a lifestyle. It’s a contemporary gilded fairytale where everything that glitters hints at something more insidious beneath the surface.

A Labyrinth of Luxury and Decadence

At first glance, ‘OHMAMI’ reads like a lavish grocery list of opulence. Cuban links and diamond crosses, a ‘new ‘Rari’ capable of hitting 150 on the dash, and a nod to designer drugs – blue molly, mentioned with the casual bravado befitting the modern-day rockstar. It’s easy to get swept up in the glitz of the narrative, mistaking it for a simple flex track.

But a closer look and listen unearths the meticulous craftsmanship in the songwriting. There’s a rhythmic emphasis on material excess that pulses through the track, offering a glimpse into a world where every high is ephemeral and every possession a token of something deeper – a relentless pursuit of the next thrill.

The Sirens’ Call: Muy Bonita and the Devil’s Eyes

The titular ‘OHMAMI’ refers to a woman, or rather, several women, who compel the narrator into states of lustful chaos. Their mention brings a cinematic quality to the song, painting them as modern-day sirens whose beauty is matched only by the potential danger they embody – their eyes holding devilish promises of the night.

These figures are not just muses; they are reflections of the narrator’s own vices, driving him to actions that skirt the edge of recklessness. The relationship is symbiotic and cycling, one fueling the other in a seductive dance that blurs the lines between control and chaos.

The Illusion of Paradise and its Hidden Tolls

The illusion of this hedonistic paradise is carefully constructed, yet the song’s atmosphere is tinged with the anxiety of what’s not being said. As the track progresses, ‘OHMAMI’ delves into hidden costs of such a glamorous life, from the interpersonal to the existential. It poses an unasked question: what is the real price of these indulgences?

Absent is the glorification of substance abuse; present instead is a stark, almost normalized depiction of a culture steeped in consumption and instant gratification. With its alluring beats and haunting melodies, the song captures the double-edged sword of struggling with vice while basking in its ephemeral glow.

Memorable Lines and the Glittering Façade

‘She clean that shit up with her nose and I got a kilo, man’ juxtaposes the gritty reality of drug use with the glorified imagery often associated with it in popular culture. What sticks with the listener is not just the frankness of these lines but the way they’re delivered with an effortless swagger that almost obscures their darker implications.

Lines like ‘I might say I love her, but I’m lying’ suggest a hollowed-out emotional center where true connection is traded in for transient thrills. It’s the ultimate confession in a song that shimmers with the sheen of synthetic happiness – a glittering façade that belies the void it’s built upon.

Escaping Reality or Embracing the Abyss?

In the end, ‘OHMAMI’ isn’t just about escapism; it’s a narrative tightrope that the band walks, balancing between the allure of an eternal high and the palpable void that follows. The song neither moralizes nor glamorizes; it merely presents a tableau of excess and invites listeners to peer beneath the veneer.

Chase Atlantic accomplishes an auditory journey where the listener is caught between admiration and admonition, perilously close to sinking into the abyss even as they eagerly consume each beat. ‘OHMAMI’ becomes less about the experiences recounted and more about the reflections they incite about the nature of pleasure and the potential costs of continuously chasing the ephemeral.

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