Jace was a ghost producer—the kind of talent who made platinum records for people who couldn't find middle C. He’d worked with Tyga once, four years ago, on a throwaway track about champagne flutes. It paid for his mother’s surgery. He hadn’t thought about it since.
“I’m not,” he lied. “Mom, if you got a file from me—any file, ever—would you open it?”
Jace sat in the dark until morning. When the sun came up, he checked the news. No crash. No Tyga. Just a missing person report for a producer named Jace Holloway, last seen December 14th, 2:14 AM. dont-kill-the-party--feat.-tyga-.aiff
The intro was wrong. A child’s voice, maybe six years old, counting in French: “Un, deux, trois…” Then a beat dropped that felt like a heart restarting. The bass didn’t thump—it leaked , low and wet, like something drowning in the room next door. Tyga’s voice came in, but it wasn’t his studio voice. It was thinner. Younger. Desperate.
His phone buzzed. Unknown number. One line: “Delete the file or you kill the party for real.” Jace was a ghost producer—the kind of talent
At 2:14 AM, his doorbell rang. He didn’t answer. The ringtone on his phone played the child’s count again. Un, deux, trois. On trois , the lights went out. The file on his laptop started playing by itself—not the track, but the police scanner, live now, saying the same words in the same calm voice: “Officer down. Pacific Coast Highway. Rolls-Royce Wraith.”
Silence. Then: “You sent me something yesterday. An AIFF. Said it was your new track. ‘Don’t Kill the Party.’ I haven’t listened yet. Should I?” He hadn’t thought about it since
Jace’s hands went cold. He’d never written those lyrics. He’d never heard Tyga rap like that—no bravado, no diamonds, just a man holding a glass of flat champagne in an empty mansion while the last guest walked out the door.