Similarly, Summer of ’96 is often cited in fan circles as a phantom masterpiece. This project is believed to contain a wealth of urban-leaning tracks, showcasing RAYE’s versatility as an MC and vocalist. The suppression of these albums created a vacuum filled only by low-quality leaks and live recordings, fueling a fervent demand for the music that "the label didn't want you to hear." Among the most sought-after gems in the unreleased catalogue is the track "World Is Gone." This song represents the quintessential RAYE paradox: it is a track so potent and melodically sound that it could have easily topped charts, yet it remained a "leak" circulated primarily on SoundCloud and YouTube rips.

This era also birthed a plethora of other unreleased tracks that showcased RAYE’s chameleonic ability to navigate genres. From the house-influenced energy of "Lately" to the experimental pop of "Sometimes," these tracks reveal an artist who was not just waiting for her turn, but actively creating a massive body of work in real-time. In the period leading up to her independence, RAYE began teasing a larger conceptual piece centered around the track "Genesis." While the song eventually saw a release, the original "Genesis EP" or mixtape concept was reportedly much larger. During this time, she recorded a significant number of orchestral versions of her tracks.

"No Limit," for instance, is often lauded by fans as a crime against pop culture for being shelved. It possesses the kind of earworm hook and driving beat that defined the late 2010s club renaissance. These tracks are crucial to understanding RAYE’s dual identity: she is a purist songwriter capable of writing My 21st Century Blues , but she is also a hitmaker who knows exactly how to construct

In the modern landscape of pop music, few artists have navigated a trajectory as tumultuous and triumphant as RAYE. For years, she was the industry’s worst-kept secret—a songwriter penning smashes for the likes of Beyoncé and Charli XCX while her own discography remained trapped in major-label limbo. When she finally severed ties with Polydor and independently released her magnum opus, My 21st Century Blues , in 2023, the world finally caught up to what her loyal fanbase had known for a decade: Rachel Keen is a generational talent.

For fans, these titles carry a mythic weight. Blue Velvet was rumored to be a darker, moodier sister project to her earlier pop hits. Tracks associated with this era, such as the titular "Blue Velvet" (a snippet that surfaced online, distinct from the classic standard), suggested a cinematic, Lana Del Rey-esque atmosphere. It represented a pivot away from the radio-ready dance-pop of hits like "Secrets" toward something more brooding and artistic. The fact that this album was shelved despite being finished speaks volumes about the creative stifling RAYE endured.

"World Is Gone" captures the songwriter at her most potent—wielding a melody that is both heartbreaking and anthemic. It fits seamlessly into the sonic palette of the Euphoric Sad Songs era, an EP that dissected the seven stages of grief. Fans often point to this track as evidence of the high barrier for entry RAYE faced; if a song of this caliber is deemed unworthy of release, how high was the bar set?