January

125–128 BPM UK tech house, deep, rolling, hypnotic, Short punchy kick with tight low end, no boom, Dry clap layered with rimshot, shuffled 16th closed hats with heavy swing, sparse open hats with short delay, Minimal shaker loop, Off-grid percussion (conga taps, bongos, rim knocks) lightly quantised, Subtle metallic tech hits with delay tucked low, Rolling warm rubbery sub-bass in a repetitive 1-bar pattern with slow filter movement opening every 8 bars, light analogue saturation, Minimal filtered chord stabs and short envelope plucks answering the bass, very low detuned pad for pressure, subtle dub stabs with delay, sparse analogue blips, Vocals chopped and whispered, used rhythmically with filtering and delay; no narrative sections, FX restrained: low vinyl hiss, room tone, reverse swells, gentle filter sweeps only, Groove builds by density and tension, no EDM drops, DJ-tool structure

125–128 BPM UK tech house, deep, rolling, hypnotic, Short punchy kick with tight low end, no boom, Dry clap layered with rimshot, shuffled 16th closed hats with heavy swing, sparse open hats with short delay, Minimal shaker loop, Off-grid percussion (conga taps, bongos, rim knocks) lightly quantised, Subtle metallic tech hits with delay tucked low, Rolling warm rubbery sub-bass in a repetitive 1-bar pattern with slow filter movement opening every 8 bars, light analogue saturation, Minimal filtered chord stabs and short envelope plucks answering the bass, very low detuned pad for pressure, subtle dub stabs with delay, sparse analogue blips, Vocals chopped and whispered, used rhythmically with filtering and delay; no narrative sections, FX restrained: low vinyl hiss, room tone, reverse swells, gentle filter sweeps only, Groove builds by density and tension, no EDM drops, DJ-tool structure

Tech House (Fabric / Grant Dell / Terry Francis style) Deep, rolling, hypnotic groove 125–128 BPM DRUMS: - Punchy, short UK tech house kick (tight low end, no boom) - Crisp, dry clap layered with rimshot - 16th-note shuffled closed hi-hats (heavy swing) - Occasional open hat hits with delay - Minimal shaker loop - Off-grid percussion: conga taps, bongos, rim knocks - Light metallic tech percussion with subtle delay BASS: - Rolling sub bass, warm, smooth, rubbery - Repetitive 1-bar pattern evolving slowly - Filter movement (lowpass opening on 8-bar cycles) - Slight analog saturation SYNTHS & STABS: - Minimal chord stabs (filtered, rhythmic) - Short plucks with envelope shaping - Detuned pads very low in the mix - Subtle dub stabs with delay - Analog-style blips and bleeps VOCALS: - Short chopped phrases - Whispery textures - Processed with delay, reverb, filtering - Vocoded backing ambience FX & ATMOS: - Subtle vinyl hiss - Room tone - Reverse reverb swells - Filter sweeps extremel

Tech House (Fabric / Grant Dell / Terry Francis style) Deep, rolling, hypnotic groove 125–128 BPM DRUMS: - Punchy, short UK tech house kick (tight low end, no boom) - Crisp, dry clap layered with rimshot - 16th-note shuffled closed hi-hats (heavy swing) - Occasional open hat hits with delay - Minimal shaker loop - Off-grid percussion: conga taps, bongos, rim knocks - Light metallic tech percussion with subtle delay BASS: - Rolling sub bass, warm, smooth, rubbery - Repetitive 1-bar pattern evolving slowly - Filter movement (lowpass opening on 8-bar cycles) - Slight analog saturation SYNTHS & STABS: - Minimal chord stabs (filtered, rhythmic) - Short plucks with envelope shaping - Detuned pads very low in the mix - Subtle dub stabs with delay - Analog-style blips and bleeps VOCALS: - Short chopped phrases - Whispery textures - Processed with delay, reverb, filtering - Vocoded backing ambience FX & ATMOS: - Subtle vinyl hiss - Room tone - Reverse reverb swells - Filter sweeps extremel

125–128 BPM UK tech house, deep, rolling, hypnotic, Short punchy kick with tight low end, no boom, Dry clap layered with rimshot, shuffled 16th closed hats with heavy swing, sparse open hats with short delay, Minimal shaker loop, Off-grid percussion (conga taps, bongos, rim knocks) lightly quantised, Subtle metallic tech hits with delay tucked low, Rolling warm rubbery sub-bass in a repetitive 1-bar pattern with slow filter movement opening every 8 bars, light analogue saturation, Minimal filtered chord stabs and short envelope plucks answering the bass, very low detuned pad for pressure, subtle dub stabs with delay, sparse analogue blips, Vocals chopped and whispered, used rhythmically with filtering and delay; no narrative sections, FX restrained: low vinyl hiss, room tone, reverse swells, gentle filter sweeps only, Groove builds by density and tension, no EDM drops, DJ-tool structure, ‑• EDM / big-room drops • Festival builds • Supersaw or trance leads • Over-quantised percussion • Pop-house gloss • Trap or reggaeton crossover • Explicit sexual language • Comedy / novelty vocals

125–128 BPM UK tech house, deep, rolling, hypnotic, Short punchy kick with tight low end, no boom, Dry clap layered with rimshot, shuffled 16th closed hats with heavy swing, sparse open hats with short delay, Minimal shaker loop, Off-grid percussion (conga taps, bongos, rim knocks) lightly quantised, Subtle metallic tech hits with delay tucked low, Rolling warm rubbery sub-bass in a repetitive 1-bar pattern with slow filter movement opening every 8 bars, light analogue saturation, Minimal filtered chord stabs and short envelope plucks answering the bass, very low detuned pad for pressure, subtle dub stabs with delay, sparse analogue blips, Vocals chopped and whispered, used rhythmically with filtering and delay; no narrative sections, FX restrained: low vinyl hiss, room tone, reverse swells, gentle filter sweeps only, Groove builds by density and tension, no EDM drops, DJ-tool structure, ‑• EDM / big-room drops • Festival builds • Supersaw or trance leads • Over-quantised percussion • Pop-house gloss • Trap or reggaeton crossover • Explicit sexual language • Comedy / novelty vocals

122–124 BPM Afro house in 4/4 in the style of DJ Gregory / Gregor Salto, Warm rounded four-to-the-floor kick, rolling Afro percussion (conga, shaker, light cowbell) with natural swing, Deep melodic sub-bass in short phrases, lightly side-chained, Minimal harmony using warm Rhodes or organ stabs answering the vocal, Groove builds by adding percussion layers, not volume, Vocals intimate, spoken-sung, mostly dry with short delay tails only, One breakdown with kick removed, percussion and vocal fragments remain, then full groove returns, Soulful, hypnotic, late-night DJ-friendly Afro house, no drops, no EDM, ‑EDM / big-room • Festival builds or drops • Supersaw leads • Over-quantised drums • Pop-house gloss • Trap or reggaeton • Gospel choirs

122–124 BPM Afro house in 4/4 in the style of DJ Gregory / Gregor Salto, Warm rounded four-to-the-floor kick, rolling Afro percussion (conga, shaker, light cowbell) with natural swing, Deep melodic sub-bass in short phrases, lightly side-chained, Minimal harmony using warm Rhodes or organ stabs answering the vocal, Groove builds by adding percussion layers, not volume, Vocals intimate, spoken-sung, mostly dry with short delay tails only, One breakdown with kick removed, percussion and vocal fragments remain, then full groove returns, Soulful, hypnotic, late-night DJ-friendly Afro house, no drops, no EDM, ‑EDM / big-room • Festival builds or drops • Supersaw leads • Over-quantised drums • Pop-house gloss • Trap or reggaeton • Gospel choirs

124–126 BPM, minor key with warm lift, Four-to-the-floor Afro-house kick (rounded, not punchy), rolling conga + djembe percussion loop with subtle swing, off-beat shakers, occasional rim/cross-stick accents, Sub-bass replaces slap bass: elastic, melodic, side-chained lightly to kick, Rhodes evolves into filtered chord stabs with movement; clean funk guitar becomes muted rhythmic chops tucked low, Analog synth stabs simplified into call-and-response with vocal phrases, Drums breathe: drops remove kick not groove, Chorus stays bass-led and hook-forward, Vocals confident, close, slightly dry; short delays on last words only, Bridge strips to percussion + pad swell, rebuild with bass re-entry, Optional UK garage crossover: swap straight hats for swung 2-step shuffle in breakdown, keep kick 4x4 on return, Energy: uplifting, warm, late-night club not peak-hour rave, ‑• Big-room EDM builds • Hyper-compressed drums • FM slap bass nostalgia • Over-sung pop belting • Festival drops or supersaws • American cheerleader energy

124–126 BPM, minor key with warm lift, Four-to-the-floor Afro-house kick (rounded, not punchy), rolling conga + djembe percussion loop with subtle swing, off-beat shakers, occasional rim/cross-stick accents, Sub-bass replaces slap bass: elastic, melodic, side-chained lightly to kick, Rhodes evolves into filtered chord stabs with movement; clean funk guitar becomes muted rhythmic chops tucked low, Analog synth stabs simplified into call-and-response with vocal phrases, Drums breathe: drops remove kick not groove, Chorus stays bass-led and hook-forward, Vocals confident, close, slightly dry; short delays on last words only, Bridge strips to percussion + pad swell, rebuild with bass re-entry, Optional UK garage crossover: swap straight hats for swung 2-step shuffle in breakdown, keep kick 4x4 on return, Energy: uplifting, warm, late-night club not peak-hour rave, ‑• Big-room EDM builds • Hyper-compressed drums • FM slap bass nostalgia • Over-sung pop belting • Festival drops or supersaws • American cheerleader energy

123–124 BPM Afro-house foundation with UK underground garage swing, built for heads not festivals; harmonic base uses Andalusian Phrygian cadence (i–♭VII–♭VI–V) voiced as deep, dusty minor chords; intro opens with soft palmas (hand claps), muted flamenco guitar harmonics, low cello drone, vinyl air, and brushed shakers; groove entry brings a warm, rounded Afro kick, swung UKG hats, subtle ghost claps, and Fender bass following the root without showboating; verses stay restrained with call-and-response violin phrases, banjo ghost plucks, and minimal chord stabs; pre-chorus drops kick weight slightly while flamenco arpeggios and cello accents build tension; chorus hits with full but controlled Afro percussion (bongos + congas), wide string stabs, rolling bass, and garage shuffle — lift without peak-time cheese; bridge strips back to palmas, guitar, and breath before final return, designed to feel timeless in a record shop and warm on a system, ‑EDM drops, ‑no supersaws, ‑no pop piano, ‑no big-room compression, ‑no cinematic trailer strings, ‑no gospel choirs, ‑no trap drums, ‑no tourist flamenco clichés, ‑no American cheerleader energy, ‑no shiny vocal FX

123–124 BPM Afro-house foundation with UK underground garage swing, built for heads not festivals; harmonic base uses Andalusian Phrygian cadence (i–♭VII–♭VI–V) voiced as deep, dusty minor chords; intro opens with soft palmas (hand claps), muted flamenco guitar harmonics, low cello drone, vinyl air, and brushed shakers; groove entry brings a warm, rounded Afro kick, swung UKG hats, subtle ghost claps, and Fender bass following the root without showboating; verses stay restrained with call-and-response violin phrases, banjo ghost plucks, and minimal chord stabs; pre-chorus drops kick weight slightly while flamenco arpeggios and cello accents build tension; chorus hits with full but controlled Afro percussion (bongos + congas), wide string stabs, rolling bass, and garage shuffle — lift without peak-time cheese; bridge strips back to palmas, guitar, and breath before final return, designed to feel timeless in a record shop and warm on a system, ‑EDM drops, ‑no supersaws, ‑no pop piano, ‑no big-room compression, ‑no cinematic trailer strings, ‑no gospel choirs, ‑no trap drums, ‑no tourist flamenco clichés, ‑no American cheerleader energy, ‑no shiny vocal FX

Afro House foundation at 122–125 BPM with warm deep kick and rolling low-end, blended with UK Garage swing on shuffled hats and ghost claps; intro opens with soft bongos, light shakers, muted Fender bass plucks, flamenco guitar harmonics, and atmospheric violin swells; groove entry introduces deep Afro kick, tighter 3/2 bongo pattern, cello drone underpinning, and subtle UKG hat shuffle; verses stay restrained with violin answering vocal phrases, muted banjo offbeats, rounded syncopated bass, and minimal chord stabs; pre-chorus builds using rising flamenco guitar arpeggios, widening shakers, softened kick, and cello accents for tension; chorus drop hits full Afro House drums with layered bongos and congas, wide violin/cello stabs, rolling Fender bass groove, and UKG swing hats + ghost claps; mid-section reduces percussion for banjo/flamenco interplay, warm minimal bass, widened pads behind strings, then rebounds into final chorus with emotional lift and club weight, ‑Avoid cheesy EDM drops, ‑festival supersaw leads, ‑pop-piano hooks, ‑rom-com sentimentality, ‑gospel choirs, ‑trap elements, ‑exaggerated vocal melisma, ‑American cheerleader energy, ‑cinematic soundtrack builds, ‑Balkan scales, ‑or over-compressed “big room” drums

Afro House foundation at 122–125 BPM with warm deep kick and rolling low-end, blended with UK Garage swing on shuffled hats and ghost claps; intro opens with soft bongos, light shakers, muted Fender bass plucks, flamenco guitar harmonics, and atmospheric violin swells; groove entry introduces deep Afro kick, tighter 3/2 bongo pattern, cello drone underpinning, and subtle UKG hat shuffle; verses stay restrained with violin answering vocal phrases, muted banjo offbeats, rounded syncopated bass, and minimal chord stabs; pre-chorus builds using rising flamenco guitar arpeggios, widening shakers, softened kick, and cello accents for tension; chorus drop hits full Afro House drums with layered bongos and congas, wide violin/cello stabs, rolling Fender bass groove, and UKG swing hats + ghost claps; mid-section reduces percussion for banjo/flamenco interplay, warm minimal bass, widened pads behind strings, then rebounds into final chorus with emotional lift and club weight, ‑Avoid cheesy EDM drops, ‑festival supersaw leads, ‑pop-piano hooks, ‑rom-com sentimentality, ‑gospel choirs, ‑trap elements, ‑exaggerated vocal melisma, ‑American cheerleader energy, ‑cinematic soundtrack builds, ‑Balkan scales, ‑or over-compressed “big room” drums

Afro house, 122–124 BPM, dark tribal groove with Detroit minimal attitude, Heavy rounded kick, off-grid percussion, muted toms, shakers drifting behind the beat, Bass is thick, elastic, slightly detuned, short and punchy, Sparse stabs, filtered organ or Rhodes, long dub delays, Vocals: male lead, monotone, half-spoken, exaggerated pauses, awkward emphasis, chopped timing, formant-shifted doubles, pitched-down whispers, occasional call-and-response fragments, Voices feel odd, intimate, slightly uncomfortable in a good way, Arrangement stays stripped and repetitive, built for tension and sweat, ‑No US EDM energy • No comedy voices

123–124 BPM Afro House with strong tribal, open-air club energy, Deep rounded kick with natural weight, elastic off-beat sub bass, loose human swing, Prominent tribal percussion layers (conga, djembe, toms, wood hits) driving the groove with off-grid movement and call-and-response patterns, Continuous shaker and loose hats for rolling momentum, Minimal melodic content — rhythm leads, Balearic guitar reduced to short percussive plucks and muted riffs, used as texture not melody, Vocals sparse and chant-like, male and female used rhythmically rather than lyrically, Arrangement stays hypnotic and repetitive with slow evolution, micro-fills every 4–8 bars, no drops, no builds, no pop lift, Raw, sweaty, outdoor dancefloor feel with forward tribal motion, ‑• No named artists or venues • No EDM drops • No big melodic hooks • No cinematic builds • No glossy pop sheen

122–124 BPM Afro House with Balearic club anthem feel, Warm rounded kick, elastic off-beat sub bass, gentle human swing, Clean Afro percussion (shaker, rim, soft conga) driving a rolling groove, Balearic guitar plucks and light arpeggios with open chords for sunset emotion, subtle pads for width, Chorus lifts with brighter harmony and space, not volume, Male and female vocals blend smooth and melodic, clean delivery, no oversinging, Arrangement flows gradually from warm intro to open anthemic chorus, no EDM drops, no cinematic builds, Ibiza/Mallorca late-evening energy, beach-to-club crossover, ‑• No EDM festival drops • No big-room builds • No pop gloss overload • No theatrical vocals • No dark techno tone

122–124 BPM Afro House with Balearic club anthem feel, Warm rounded kick, elastic off-beat sub bass, gentle human swing, Clean Afro percussion (shaker, rim, soft conga) driving a rolling groove, Balearic guitar plucks and light arpeggios with open chords for sunset emotion, subtle pads for width, Chorus lifts with brighter harmony and space, not volume, Male and female vocals blend smooth and melodic, clean delivery, no oversinging, Arrangement flows gradually from warm intro to open anthemic chorus, no EDM drops, no cinematic builds, Ibiza/Mallorca late-evening energy, beach-to-club crossover, ‑• No EDM festival drops • No big-room builds • No pop gloss overload • No theatrical vocals • No dark techno tone

122–124 BPM Afro House Pop with reggae influence, Warm rounded kick with gentle swing, smooth off-beat bass carrying a reggae feel but club-ready, Light Afro percussion (shaker, rim, soft conga) creating forward motion without clutter, Clean guitar skanks and muted chords answering the rhythm, subtle melodic plucks for pop accessibility, Chords warm and emotional, minor to hopeful lift in chorus, Male and female vocals blend smoothly, clean and sincere, no oversinging, Arrangement grows gradually with energy lifts at each chorus, no EDM drops, no cinematic builds, Radio-friendly, beach-to-club crossover with emotional clarity, ‑• No EDM festival drops • No big-room builds • No over-melodic leads • No theatrical delivery • No lecture tone

122–124 BPM Afro House Pop with reggae influence, Warm rounded kick with gentle swing, smooth off-beat bass carrying a reggae feel but club-ready, Light Afro percussion (shaker, rim, soft conga) creating forward motion without clutter, Clean guitar skanks and muted chords answering the rhythm, subtle melodic plucks for pop accessibility, Chords warm and emotional, minor to hopeful lift in chorus, Male and female vocals blend smoothly, clean and sincere, no oversinging, Arrangement grows gradually with energy lifts at each chorus, no EDM drops, no cinematic builds, Radio-friendly, beach-to-club crossover with emotional clarity, ‑• No EDM festival drops • No big-room builds • No over-melodic leads • No theatrical delivery • No lecture tone

126 BPM Afro-Tech House / Deep House with strong London underground swing, Heavy but clean 4/4 kick with occasional ghost hits for movement, loose shuffled hats with open hat at bar ends, continuous swung shaker driving momentum, Off-grid Afro congas and rim patterns create groove tension, airy but tight clap layered subtly, Warm rolling sub bass with syncopated movement, never aggressive, Minimal stabs and textures only, groove-first, DJ-functional, Male vocal leads rhythmically with confident delivery, female vocal used for hook reinforcement and echoes, Arrangement builds gradually with micro-fills every 4–8 bars, no EDM drops, no cinematic builds, late-night Fabric-style pressure, ‑• No named artists or venues • No manifesto / lecture tone • No big-room drops • No pop gloss • No cinematic FX

123–124 BPM Afro House / Deep House crossover with subtle flamenco flavour, Deep rounded kick, warm rolling off-beat sub bass, smooth human swing, Clean Afro-influenced percussion with conga, rim and light hand drums, never busy, Flamenco-style nylon guitar phrases used rhythmically, short and percussive, not melodic solos, Occasional muted guitar stabs answering the groove, Minimal minor-key chord textures, warm and restrained, Male vocal as rhythmic lead, female vocal as hook response and harmony, Arrangement stays hypnotic and dance-focused with gradual energy changes, no drops, no pop builds, no EDM effects, Club-ready, elegant, late-night feel, ‑• No named artists • No lecture / classroom tone • No pop hooks • No EDM drops • No cinematic builds

123–124 BPM Afro House / Deep House crossover with subtle flamenco flavour, Deep rounded kick, warm rolling off-beat sub bass, smooth human swing, Clean Afro-influenced percussion with conga, rim and light hand drums, never busy, Flamenco-style nylon guitar phrases used rhythmically, short and percussive, not melodic solos, Occasional muted guitar stabs answering the groove, Minimal minor-key chord textures, warm and restrained, Male vocal as rhythmic lead, female vocal as hook response and harmony, Arrangement stays hypnotic and dance-focused with gradual energy changes, no drops, no pop builds, no EDM effects, Club-ready, elegant, late-night feel, ‑• No named artists • No lecture / classroom tone • No pop hooks • No EDM drops • No cinematic builds

124–125 BPM Afro House / Tech House crossover, Deep rounded club kick with warm rolling off-beat sub bass, subtle human swing, Minimal tribal percussion layers (conga, rim, wood hits) for groove and movement, never busy, Short minor-key chord stabs, warm and restrained, no melodic leads, Funk-influenced micro drum fills and shuffle for late-night club pressure, Vocals used sparingly as rhythmic texture only, low-ego, non-pop, Arrangement stays hypnotic and functional with gradual energy shifts, no drops, no cinematic builds, no big hooks, Adult, underground, DJ-friendly groove, ‑• No named artists or venues • No “in the style of” • No EDM drops • No pop vocals • No cinematic soundtrack feel

* Traditional Drums & Shakers: Digital samples of congas, bongos, djembes, talking drums, shekeres, and claves provide an authentic, "organic" feel, * Electronic Percussion: Drum machines like the Roland TR-909 are used for standard house elements such as kicks, snares, and hi-hats, adding punch and consistency to the mix, Melodic Elements & Synths Melodies and atmosphere are often created using a mix of sampled organic instruments and synthesizers:  * Marimbas & Kalimbas: warm, percussive and plucked tones, are foundational for melodic loops and arpeggios, * Synthesizers: Analog-style VSTs are essential for creating deep sub-bass lines, warm pads, and ethereal leads, * u-he Diva * Xfer Serum * Arturia Analog Lab * Native Instruments Massive X * Spectrasonics Omnisphere 2, techno classic London house music

Tempo: 123 BPM (slightly slower = clearer vocals) Feel: Afro house first, reggaeton only as shadow Intro • Soft Afro kick • Sub swell (no bassline yet) • Air pad + noise Verse Groove • Kick + muted sub • Shaker only (no hats yet) • Very light log drum (every 2 bars) Chorus • Add off-beat hat • Sub becomes rolling (single note) • Log drum answers vocal (don’t compete) Verse 2 • Add rim / wood hit • Keep bass identical (consistency matters) Break • Kick out • Pad + whisper loop • Filter sweep only Final Chorus • Full groove returns • Extra percussion layer (quiet) • No fills, no drops Outro • Kick + shaker • Delay tail • DJ-safe fade, ‑• No fast rap phrasing • No stacked harmonies • No choir / gospel tones • No aggressive reggaeton snare • No melodic bass runs • No busy fills

Tempo: 110 BPM Time: 4/4 Feel: Swung breakbeat, steady head-nod Rule: ONE groove from start to end — no drops, no breaks Bars 1–8 (Intro / Establish) Kick + snare break, vinyl crackle, low bass note every 2 bars, Male voice only, spoken/half-rapped, No female yet, Bars 9–40 (Main Body – Call & Response) Same beat continues unchanged, Structure repeats every 4 bars: • Bars 1–3: Male delivers full lines (clear, unbroken sentences) • Bar 4: Female answers with short phrase only (3–6 words max) This pattern repeats for the entire song, No overlaps, No harmonies, Female never starts a verse — only responds, Bars 41–56 (Lift – Energy Without Change) Beat stays identical, Add subtle funk stab or filtered noise rise, Same 3-bar male / 1-bar female structure, Bars 57–64 (Outro) Beat strips naturally (no stop), Male final line on bar 61–62, Female last response on bar 64, End clean, That’s it, No sections, No drops, No tricks

Groovy deep house with a warm, rolling bass and a playful, late-night feel in the lane of Jay Tripwire and Grant Dell, Opens with filtered kick, shuffled hats, and a rubbery bass hinting at funk rather than austerity, Spoken vocal appears early as rhythmic phrasing, loose and confident, sitting slightly behind the beat, Around the first minute the groove locks in fully: bass becomes bouncy and melodic, percussion gains swing, and short chord stabs add a subtle garage feel, Vocals return in small, time-stamped fragments, playful rather than serious, creating call-and-response with the groove, Midway through, energy dips briefly to let rhythm breathe, with claps, hats, and bass still moving — no empty breakdown, From there the track lifts into its most danceable phase: bass is round and infectious, groove feels cheeky and physical, vocals punctuate rather than lead, Toward the end, elements strip back gradually, keeping movement until the final bars so DJs can mix cleanly

123 BPM, deep Afro / soulful house, warm minor key, underground club feel in the discipline of Grant Dell; long 32-bar DJ intro with filtered kick, rounded sub, vinyl air, ghost shaker and breath FX, percussion slowly revealing; groove settles with muted conga, shaker and elastic bass before intimate female vocal enters low and dry; tension builds through tightened percussion and rising pad without dropping energy; chorus lifts subtly by opening bass, adding soft open hat and background hum vocal texture (no EDM drop); second verse strips hats slightly, adds rim and hand percussion, vocal wetter and more confident; short breakdown removes kick leaving drone pad, breath and whispered “Still”; final section returns full warm kick, layered percussion and steady hypnotic lift, then a clean 32-bar outro stripping back to kick, sub and air for mixing; total length ~4–5 minutes, ‑• No explicit sexual language • No pornographic imagery • No big-room or EDM drops • No male lead vocal • No theatrical chanting or ethnic cliché • No festival energy

Tempo: 96–100 BPM (important — slower than before) Time: 4/4 Feel: Boom-bap swing × breakbeat punch Groove: ONE core loop, DJ mentality Structure • Intro: 4–8 bars (beat already playing) • Verses: 16 bars each (no change) • Hook: 8 bars (same beat, vocal change only) • Bridge: 4–8 bars (strip bass, keep drums) • Outro: 8 bars Drums • Fat kick • Loose snare • Swung hats • Break fills every 8 bars (very light) Bass • Simple, repetitive, no melody runs FX • Vinyl crackle • Occasional scratch stab • No risers, no drops, ‑EDM or house tempo • Trap or drill drums • Fast rap density • Spoken-word poetry delivery • Autotune hooks • Cinematic scoring • Over-complex metaphors This style wins because it’s simple, ‑confident, ‑repeatable

Tempo: 92–98 BPM | Time: 4/4 | Feel: Loose folk-blues sway, slightly behind the beat Drums: Minimal kit or brushed snare; kick on 1 & 3; no modern tightness; human drift allowed Bass: Upright or warm electric; root–fifth movement; subtle push into choruses Guitars: • Acoustic steel-string driving the rhythm (Dylan folk pulse) • Gritty electric fills answering vocal lines (Stones attitude) Keys: Sparse upright piano or organ pads, only to underline transitions Vocals: • Lead: conversational, narrative, imperfect phrasing encouraged • Optional low harmony on last line of verses, no stacked choirs Dynamics / Structure: • Verses stay restrained and lyrical • Energy rises from lyric weight, not production • No big chorus; repetition is emotional, not melodic • Outro strips back to vocal + acoustic, fade or hard stop What to AVOID: • Quantized drums or modern folk polish • Anthemic chorus lifts • Dense metaphors or wordplay gymnastics • Synths, pads, or cinematic builds

Tempo: ~113 BPM Time: 4/4 Feel: Loose, rolling, human swing (no grid-tightening) Intro (8 bars) • Congas + shakers set the pulse • Acoustic guitar strumming open chords (slightly behind the beat) • Upright piano answering with bluesy stabs Verse Sections • Vocal sits conversational, slightly lazy phrasing • Acoustic guitar + bass locked, minimal drums • Light maracas panned wide Chorus • Add backing gang vocals (unison shouts, not harmonised) • Piano more aggressive • Tambourine on backbeat • Bass walks more openly Verse 2 / 3 • Same groove, subtle dynamic lift • Occasional slide guitar fills • Percussion bus gets dirtier, more room sound Bridge • Strip back to congas + bass + vocal • Spoken / half-sung delivery • Tension through restraint Final Chorus / Outro • Full percussion • Call-and-response chant • Ad-libs, laughter, loose endings • Let it feel slightly out of control at the very end

— Beggars Banquet–Era Groove Tempo: ~113 BPM Time: 4/4 Feel: Loose, rolling, human swing (no grid-tightening) Intro (8 bars) • Congas + shakers set the pulse • Acoustic guitar strumming open chords (slightly behind the beat) • Upright piano answering with bluesy stabs Verse Sections • Vocal sits conversational, slightly lazy phrasing • Acoustic guitar + bass locked, minimal drums • Light maracas panned wide Chorus • Add backing gang vocals (unison shouts, not harmonised) • Piano more aggressive • Tambourine on backbeat • Bass walks more openly Verse 2 / 3 • Same groove, subtle dynamic lift • Occasional slide guitar fills • Percussion bus gets dirtier, more room sound Bridge • Strip back to congas + bass + vocal • Spoken / half-sung delivery • Tension through restraint Final Chorus / Outro • Full percussion • Call-and-response chant • Ad-libs, laughter, loose endings • Let it feel slightly out of control at the very end, ‑• No modern rock • No indie / alt • No garage revival • No punk • No metal • No psychedelic rock • No prog Exclude production traits • No quantization • No tight drum kits • No sidechain • No modern compression • No stereo-widened polish • No cinematic reverb Exclude vocals • No clean pop vocals • No choir harmonies • No melodic pop hooks • No American accent styling • No theatrical delivery Exclude songwriting tropes • No self-referential AI language • No modern slang • No irony or parody • No moralising tone • No explicit references to the original lyrics

Krafty Kuts × Andalusian Guitar × Afro House — Beat Map 4/4 | 124 Bpm Constant | Quantised, Cut-Friendly, Dj-Safe Track Opens With Deep Afro-House Kick Fully Present From Bar One, Round And Steady, Side-Chained Gently To A Warm Sub Bass Playing A Simple One-Bar Motif With Swing; Dry Rim Or Clap On Two And Four Only, No Fills; Shuffled Breakbeat Hats And Ghost Snares Enter Quietly To Give Krafty-Kuts-Style Grit Without Breaking The Grid; Andalusian Nylon Guitar Plays Short, Percussive Phrases (Muted Strums, Rasgueado Flicks, Tremolo Swells) Strictly Between Vocal Or Hook Phrases, Never Over The Kick; Flamenco Palmas Layer As Texture In Call-And-Response With The Breakbeat Ghosts, Filtered In And Out Every 8 Or 16 Bars; Energy Comes From Cuts And Drops Of Elements (Half-Bar Kick Mutes, Snare Cuts, Guitar Chops), Not From New Parts; Mid-Section Strips To Kick + Bass + Shuffled Breakbeat Drums Only, Then Guitar Re-Enters Chopped And Re-Pitched For A Crafty Feel;

Krafty Kuts × Andalusian Guitar × Afro House — Beat Map 4/4 | 124 Bpm Constant | Quantised, Cut-Friendly, Dj-Safe Track Opens With Deep Afro-House Kick Fully Present From Bar One, Round And Steady, Side-Chained Gently To A Warm Sub Bass Playing A Simple One-Bar Motif With Swing; Dry Rim Or Clap On Two And Four Only, No Fills; Shuffled Breakbeat Hats And Ghost Snares Enter Quietly To Give Krafty-Kuts-Style Grit Without Breaking The Grid; Andalusian Nylon Guitar Plays Short, Percussive Phrases (Muted Strums, Rasgueado Flicks, Tremolo Swells) Strictly Between Vocal Or Hook Phrases, Never Over The Kick; Flamenco Palmas Layer As Texture In Call-And-Response With The Breakbeat Ghosts, Filtered In And Out Every 8 Or 16 Bars; Energy Comes From Cuts And Drops Of Elements (Half-Bar Kick Mutes, Snare Cuts, Guitar Chops), Not From New Parts; Mid-Section Strips To Kick + Bass + Shuffled Breakbeat Drums Only, Then Guitar Re-Enters Chopped And Re-Pitched For A Crafty Feel;

Intro — 16–32 bars: minimal drums & percussion + atmosphere • Build-up / Pre-drop — introduces bassline and elements gradually • Main Drop / Groove — full drums, bass, percussion, groove elements • Breakdown / Minimal Section — strip back, remove kick/bass or lower energy • Second Drop / Variation — reintroduce full groove with variation (percussion, synth stabs, FX) • Outro / DJ-friendly exit — elements fade out gradually for mixing (This structure template matches most modern tech-house and underground-club-style tracks) ⸻ 🔊 Core Layers / Virtual Instruments & Samples • Kick drum (punchy, club-ready, sub + click) • Bassline / Sub-bass synth (deep, rolling, groovy)Krafty Kuts × Andalusian Guitar × Afro House — Beat Map 4/4 | 124 Bpm Constant | Quantised, Cut-Friendly, Dj-Safe Track Opens With Deep Afro-House Kick Fully Present From Bar One, Round And Steady, Side-Chained Gently To A Warm Sub Bass Playing A Simple One-Bar Motif With Swing; Dry Rim Or Clap On Two And Four O

124 BPM, 4/4, D minor, Afro-house foundation with Krafty Kuts–style breakbeat shuffle; intro uses filtered Afro kick, sub swell, vinyl hiss, breath FX and dry spoken vocal; Verse 1 adds rim, shakers, muted breaks with restrained rolling bass; Pre-Hook drops kick and percussion briefly with riser and breath automation; Hook brings full Afro kick plus breaks, open hats, stacked chant widening to stereo; Verse 2 increases break presence with syncopated toms and more bass movement; Bridge strips to pad and heartbeat-style kick every two bars with intimate vocal; Drop reintroduces full groove with Afro kick dominant and breaks tucked underneath; Ecstatic build opens filters, raises saturation and delay sends; Peak removes kick entirely for 4–8 bars letting breaks, bass and chant collide in dense overload; Outro collapses hard to pad and breath, kick returns quietly then fades dry to silence, ‑• ❌ No rom-com, ‑feel-good, ‑movie-soundtrack vibes • ❌ No American cheerleader energy or pop-EDM hands-in-the-air cheese • ❌ No gospel uplift, ‑no choir climax, ‑no inspirational arc • ❌ No explicit sexual language, ‑no porn cadence, ‑no moaning clichés • ❌ No spa-music, ‑healing-retreat fluff, ‑or New-Age meditation kitsch • ❌ No over-sung vocals or vocal acrobatics • ❌ No drop-happy EDM structure (one real peak only) • ❌ No Latin pop / reggaeton bounce bleeding into this track • ❌ No happy major-key resolution at the end

BEAT MAP — “Dancing Is Better Than Therapy” 94 BPM · 4/4 · Colombian dem bow (light swing), Intro 8 bars: filtered kick, light guacharaca, LP gaita, air pad; spoken EN→ES line bars 5–8, Hook A 8 bars: full groove; vocals alternate per bar EN/ES — “Dance it off / Báilalo / Don’t text me / No me escribas / Dance it off / Báilalo / Don’t call / No me llames”, Verse 16 bars: reduced drums, English lead only, Pre-Chorus 8 bars: lift, gaita opens, EN lead with ES echo tails, Chorus 8 bars: full groove, EN melodic lead, soft ES word-doubles, Hook B 8 bars: language flip — “Báilalo / Dance it off / Si duele demasiado / Let it be / Báilalo / Dance it off / Nada más / That’s all”, Bridge 8 bars: kick + tambora only, spoken EN, Drop 16 bars: chant alternating bars “Dance it off / Báilalo”, Final Chorus 8 bars: widest section, EN lead + soft ES harmony, Outro 8 bars: filtered groove, EN “I want peace” → ES “Quiero paz”

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog, ‑No EDM drops • No emotional breakdowns • No supersaws • No gospel / choir • No hype builds or shouting

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog, ‑No EDM drops • No emotional breakdowns • No supersaws • No gospel / choir • No hype builds or shouting

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog

1984 British jazz-funk / electro-funk groove, slap-bass-led, tight live drums with electronic edge, Rhodes electric piano, analog synth stabs, clean funk guitar, confident male vocal, early Level 42 energy, no modern house, no EDM, Afro-Latin tech house with rolling percussion, groovy sub bass, organic tribal elements, and rhythmic vocal accents, Carlos Francisco vibe: warm, percussive, uplifting, and groove-focused