Nikada bankrot
Rimski · Other Songs - Rimski
Ja hocu da samo na stolu mi sutra sve bude bogato
oprosti mi Boze, al' predugo ljubimo blato
ja hocu samo da cela ekipa tu bude sa mnom
i nikada bankrot, kunem se, nikada bankrot
U kraju slave me k'o Dan zahvalnosti
ja vodim rep sranje, ali ti ne zahvaljuj mi
na steku sa sanerima samo (samo)
i oko sebe sve sto vidim sve je zlato (zlato)
I tvoja mama mene etiketira
palimo tlo sa propalitetima
dve kajle, novi ulicni proizvod
najbolje sto je podzemlje donelo
I klinci me zovu da im dam, nova tura (novo)
hustle duja vas is das majne bruda
na mojim grudima je samo meduza
udahni sranje i nemoj da pustas
Ragazzi krivi kao rahitis
vi zakazite rendgen dok brojimo genge
imam nove treske, imam nove felne
imam novi flow, imam novi banging
Rimokillenzi fucking golden eyes
zlato, okej, momci bon voyage
niko mi ne poklanja, nikom ne poklanjam
nista preko zice, sine, cujes da odzvanja (aha)
U getu svi igraju prljavo
keep it hustling, drugo ne umemo
maloletnica se pazimo, ali jave kad dobiju
brate, necu na robiju
Vise ne furamo Tacchini
ova moja roba, Sergio izvini, ekskuza
od ujutru sam na ulici
ti se javi, buraz, nemoj biti kurvin sin
Zavrsicemo sve, samo lovu mi pljuni
ti brata obrni kad dodjes u Sni
rio mare sljaka, dokumenti tutti
niko nikad nije pao, bella ciao
Ref.
About Nikada bankrot
"Nikada bankrot" finds Rimski in a pop-minded frame, where a clear central idea and emotional directness carry the song. Its appeal comes from commitment to a single emotional temperature rather than from trying to impress through sheer scale. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. Small changes in intensity keep the song moving and stop its main idea from becoming static, giving the performance a natural sense of flow. For listeners returning to Rimski, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. The result is a focused piece of music that works in the moment but still has enough character to invite a return visit. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout. What gives the song its lasting pull is the relationship between focus and release. It does not need to announce every change; instead, the mood develops through repetition, contrast, and the confidence to let a phrase settle before moving on. That sense of control makes the performance feel more personal. The track can sit comfortably in a casual listen, yet it also rewards the extra attention that comes when a familiar line, turn of phrase, or change in energy begins to stand out. In that balance, Rimski avoids both excess and understatement. The music stays close to its emotional core, which helps the song feel coherent from beginning to end. More importantly, the song does not rely on novelty alone. Its effect comes from the consistency of its mood and the way each return to the main idea deepens the sense of place. That steadiness makes it easy to revisit without losing its impact. The result is not simply a catchy moment but a complete mood, one that leaves a clear afterimage and gives the title more meaning every time it returns, again and again.

