Total

"Total" is a raw expression of the artist's mindset, focusing on themes of individual sovereignty, authentic struggle, and the rejection of societal hypocrisy. The title itself, "Total", encapsulates the central message: a demand for the complete realization of one's worth and desires, refusing to settle for scraps or handouts. Rawme Hooda uses the song to draw a boundary between his true self and the superficial world around him.

The lyrics delve into the isolation of the artist, who finds his only true companion in his "pen." This relationship highlights the therapeutic and empowering nature of writing; while the world offers fake smiles and useless advice ("Batti Bana Teri Salaah Ki"), his art offers a path to truth. The recurring dismissal of "needs" (Need Konya) and "hopes" (Umeed Konya) from others signifies a break from dependency. He is building his empire alone, fueled by his own pain and grit.

Culturally, the song addresses the Jat identity, specifically the pride and stubbornness associated with it ("Jhukda Jaat Ka Sheesh Konya" - A Jat's head doesn't bow). However, Hooda flips stereotypes by prioritizing intellectual power (the pen) over traditional displays of muscle or aggression. The song also critiques the music industry and social climbers, with lines about people wanting a "lift" or stealing his songs, reinforcing his determination to succeed without selling out or owing favors.

The song serves as a powerful manifesto of self-reliance and unyielding ambition. It begins with the narrator declaring a state of detachment from petty greed, stating that once he achieves a goal, he moves on without attachment. He dismisses unsolicited advice with contempt, suggesting it be rolled up like a wick because he has no use for it. A central theme is the rejection of fake camaraderie; he questions the value of a friend who doesn't feel his brother's pain and asserts that he trusts no one but his own pen to carry his hopes.

As the verses progress, the narrator emphasizes his authenticity and connection to his roots. He contrasts the material expectations of others with his reality, noting that while others might look for flaws (seeds in his weed), his focus is pure. He proudly proclaims the resilient spirit of the Jat community, stating that a Jat's head does not bow everywhere. The lyrics touch upon deep personal pain that neither medicine nor prayer can heal, yet he remains standing, far from death's door. He criticizes the gossiping nature of society, where people say one thing here and another there, and refuses to offer a seat to those who only want a free ride.

The chorus and subsequent lines underscore a demand for "Total"—a metaphor for complete fulfillment and success on his own terms. He rejects partial measures, whether it's advice, fake relationships, or half-hearted success. He describes his living space as chaotic but his vision as clear, listening to beats in the dark without needing anyone to lead him. The narrator juxtaposes humble symbols like a 'Splendor' bike against the desire for a 'Jeep', illustrating that his worth isn't tied to flashy vehicles but to his lyrical prowess. Ultimately, the song is a cry for everything he deserves—not just a portion, but the entirety of his dreams, respect, and legacy, delivered with a flow that refuses to compromise.

"Total" was released in January 2026, marking a significant addition to the wave of modern Haryanvi hip-hop. The song was written and performed by Rawme Hooda, an emerging voice in the regional rap scene known for his distinctive flow and lyrical depth. The musical composition involves a collaboration with producers Nishael, Nishit Basumatary, and Riyaazi, who created the track's hard-hitting, bass-heavy beat that complements Hooda's aggressive delivery.

The track reflects the artist's personal grind and evolution. Released during a time when Haryanvi music was increasingly blending with mainstream hip-hop elements, "Total" stands out for its lyrical density and refusal to rely solely on catchy hooks. The song's creation appears to be driven by Hooda's frustration with the industry's superficiality and his desire to assert his place as a serious lyricist ("God of Haryana" flow). The video and promotional material suggest a grassroots effort to push the boundaries of the genre, moving beyond party anthems to more introspective, albeit aggressive, storytelling.

The song features a strict and repetitive A-A-A-A rhyme scheme in the verses, heavily relying on the word "Konya" as a recurring epistrophe. This unusual choice means the internal rhymes (the words immediately preceding 'Konya') become the primary source of variation (Greed/Need/Peed/Seed/Umeed). This structure creates a relentless, hammering rhythm that feels like a chant or a litany of grievances.

Rhythmically, the track is set to a mid-tempo trap beat with heavy 808 basslines. The vocal delivery is often slightly ahead of the beat, creating a sense of urgency. The pacing is deliberate; Hooda allows pauses after the punchlines to let the negation "Konya" land with full weight, ensuring the listener processes each denial before moving to the next.

Rawme Hooda employs several techniques that define the track's gritty aesthetic:

• Negation as Rhyme (Antistrophe): A dominant technique in the song is the repetitive use of the Haryanvi word "Konya" (meaning 'is not' or 'no') at the end of consecutive lines. This creates a monotonous but hypnotic anchor, emphasizing the theme of rejection and denial of the status quo (e.g., "Need Konya," "Peed Konya," "Seed Konya").
• Dialect and Register: The song uses raw Haryanvi dialect mixed with English loanwords (Greed, Lead, Neat, Clean). This code-switching asserts a modern, glocal identity—rooted in the village but aware of the global hip-hop culture.
• Flow and Cadence: Hooda uses a staccato flow, chopping his syllables to match the percussive beat. This delivery style mimics the punches of a boxer, reinforcing the combative nature of the lyrics.
• Hyperbole: Phrases like "I'm God Haryana" and "Spitting blood" are hyperbolic declarations typical of battle rap, used to establish dominance and larger-than-life confidence.

"Total" represents the maturation of the Haryanvi Hip-Hop scene. While early Haryanvi pop was often characterized by lighthearted themes or gangster posturing, tracks like "Total" introduce a layer of lyrical conscious rap that focuses on internal struggles and artistic integrity. The song resonates deeply with the youth in Northern India, particularly in Haryana, who see it as an anthem for the "self-made" mentality. By blending the traditional Haryanvi dialect with the swagger of American hip-hop (referencing J. Cole, Waffles, Mutter Museum), Rawme Hooda is helping to bridge the gap between regional folk identity and global rap culture.

The lyrics are rich with cultural and personal symbolism that grounds the song in its Haryanvi context while appealing to universal themes of struggle.

• The Pen: The ultimate symbol of agency and power. By stating he has no hope in anyone "except his pen," Hooda elevates writing to a spiritual or weaponized status, capable of carving out his destiny.
• Splendor vs. Jeep: The Hero Splendor (a common, economical motorcycle in India) represents humble reality and authenticity, while the Jeep represents material status. Hooda's line about a girl being happy on the Splendor signifies a test of loyalty and a rejection of materialism.
• The Wick (Batti): The imagery of rolling advice into a "wick" (often implying inserting it somewhere or burning it) is a crude but effective metaphor for the complete disregard of unsolicited opinions.
• Seeds in Weed: A metaphor for purity and quality. Saying there are "no seeds in my weed" implies that his work (or his character) is refined, potent, and free of useless fillers or flaws.
• Cotton & Blood: The request for "cotton" because he spits "blood" symbolizes the intense physical and emotional toll of his rapping. He pours his very life force into his performance.

"Konya" (No/Not): This is the most pervasive motif. It transforms the song into a list of what the artist does not have, does not need, and is not willing to tolerate. It defines his identity via via negativa—defining himself by what he rejects.

"Total Chahiye" (I want Total): In contrast to the "Konya" verses, this phrase acts as the counter-weight. While he rejects the fake, he demands the "Total" of the real. It represents the shift from denial to demand.

"Mere Pen Ke Alawa" (Except my pen): This motif underscores the theme of isolationism and artistic integrity. It is the anchor of his trust.