2:43

Dark dark pop inspired 8-bit midi hiphopera beat gangsta
4:28

Flip That Fraction
v4.5-all
1950s gangsta rap fused with smoky jazz swing and mutation funk, mid-tempo boom-bap pocket with brushed drums, upright bass, muted trumpet stabs, warped clavinet accents, and a gritty backbeat, Intro starts with bare bass and snapped fingers; verses stack tight rap bars; pre-chorus opens with horn swells; chorus slams with gang vocals and call-and-response; bridges drop to bass, brushes, and spoken ad-libs, rap, jazz, funk
3:12

The Oddest Oddity
v4.5-all
Experimental electro-pop with glitchy robo-swing and a playful mid-tempo bounce; verse rides tiny programmed percussion and metallic blips, pre-chorus strips to handclaps and a rising synth squeal, chorus hits with gong smacks, vocoder doubles, and a chanty hook, Robotic lead vocal with stacked unison ad-libs, pitched ear-candy chops between lines, reverse-swell transitions, and a bright punchy mix with hard sub bounce
3:10

Mirror in the Mask
v4.5-all
Nu metal industrial rap with a slow, stomping half-time pulse and flamenco-flavored handclaps; verse rides sparse bass, clipped percussion, and dry vocal bites, pre-chorus tightens with rising tension, chorus hits with shouted doubles and gang chants, and the bridge strips to voice and handclaps before the final surge, Close-mic lead vocal with gritty doubles, occasional whispered asides, and delay throws on key hook words, Ear candy: reversed cymbal swells into the hook, a brief heel-tap break, metallic hits that bloom in the transitions, Mix is dark, punchy, and claustrophobic with a sharp top end, flamenco, industrial, nu metal, rap, slow
2:41

Happy State
v4.5-all
Funk rap with gangsta rap edge and mutant anime bounce, mid-tempo swing with rubbery bass, clipped handclaps, and off-kilter synth stabs; verse rides sparse drums and talk-rapped bravado, pre-chorus opens with filtered percussion and shouted pickups, chorus hits with stacked gang vocals and a bright pocket groove, Verse vocals stay dry and close-mic with ad-lib pings, hook words get doubled and panned, and a glitchy riser plus reverse chop snaps into each drop, Mix is punchy, glossy, and snarl-heavy with a slick low end, bounce, anime, funk, happy, rap
3:16

UK garage dark pop with swung 2-step drums, clipped sub-bass, glassy synth stabs, and a moody half-time lift in the chorus; verse rides lean with skittering percussion and close-mic confession, pre-chorus strips to bass pulse and snapped claps, chorus opens with stacked doubles and a chanty hook, Filter sweeps, reversed vocal swells, and a short drop before the final chorus, Bright, punchy top end over a dark, glossy low end, uk garage, soaring, pop
3:14

Contemporary neo-soul trap funk with swung pocket drums, clipped bass hits, ghost-note guitar, and a murky synth bed; verse rides sparse kick, snare, and elastic bass, pre-chorus opens with filtered chords and stacked harmonies, chorus hits with a sticky chant and rubbery funk guitar, Lead vocal stays close-mic and smoky with double-tracked hooks, ad-lib flips, and delay throws on the last word, Matches, vinyl crackle, and reversed swell lifts between sections; mix is dark, warm, and punchy with glossy low-end, funk, contemporary, neo soul
3:57

First Time Together
v4.5-all
Urban pop with jazzy swing, sexy violin lines, brushed drums, warm sub-bass, and a laid-back half-time groove; verse stays intimate and close-mic with sparse chords and plucked violin accents, pre-chorus lifts with clipped vocal doubles and rising strings, chorus blooms with a sticky melodic hook, stacked harmonies, and soft gang ad-libs; bridge drops to bowed violin and breathy vocal layers before the final chorus returns fuller, glossy, and slow-swaying with little turnaround fills, finger snaps, and silky delay throws on the hook, pop, violin, poetic, jazzy
4:03

Hip-hop with slow trap swing, tucked kick-snare pocket, moody piano shards, muted sub pulses, and a restless hi-hat grid; verse rides sparse drums and intimate close-mic delivery, pre-chorus lifts with filtered strings and doubled whispers, chorus lands on a wider bass slide and stacked hook vocals, bridge drops to half-time with tape-worn ad-libs and a distant bell, Ear candy: reversed swells into each chorus, short delay throws on the last word of lines, and a final lift with crowd-like gang doubles, Dark, glossy mix with sharp low end and emotional air, hip-hop, emotional
4:52

Boca de Noche
v4.5-all
Latin darkpop with reggaeton pulse and moody synth bass, syncopated percussion, and a slow-burn perreo bounce; verse stays stripped with clipped plucks and dry snaps, pre-chorus builds with filtered risers and breathy doubles, chorus hits with wide stacked vocals and a sticky Spanish hook, Ad-libs drift in the corners, tape-stop accents and reversed swells bridge each section, glossy but shadowy mix with a sultry close-mic lead, latin
3:47

I Like (Sampled Track Cover)
v4.5-all
Futuristic indie pop-classical dancehall rap travesty phenomena, deranged male vocals
3:49

Days Gone By (Tour Coyes Cover)
v4.5-all
urban trap, 92 BPM, halftime bounce, swung triplet hats, subby 808 slides, distorted kick, minor key piano loop, celesta accents, filtered Rhodes chords, live bass drops, tape saturation, plate reverb, mono vocal hook, chorus stack, bittersweet nostalgia, road trip motion, rainy night groove
4:07

My Little Bit of Heaven
v4.5-all
dark rap, industrial punk rap, 92 BPM, halftime trap groove, swung open hats, distorted 808 sub-bass, raspy male vocals, shouted gang vocals, distorted trumpet stabs, palm-muted electric guitar, live snare flams, tape saturation, mono drum bus, call-and-response hooks, sparse verse drops, stacked chorus lifts, bittersweet uplift
4:15

Knock on Wood (Sampled Track)
v4.5-all
Dark scary pirate metal dark romance love ballad cynicism rap ballad
4:13

Leisurely Living
v4.5-all
Barbershop yodel harmony at a slow 110 BPM with a dark, old-time lounge sway; verse stays sparse with close-mic lead, upright bass, brushed snare, and tight trio chords, then pre-chorus opens into stacked yodel lines and soft gang barbershop vowel swells, Chorus lands in big four-part harmony with playful yodel hooks, handclaps, and a woozy tape wobble, Warm, intimate, dusty mix with a sepia glow and low-end pulse, old-time, healing
4:08

This Heaven
v4.5-all
Art-pop with off-kilter synth pulses and a loose mid-tempo swing; verse rides a thin marimba loop and rubbery bass, pre-chorus opens with stacked handclaps and a filtered rise, chorus lands on a big sing-back melody with warped vocal doubles, Add reversed cymbal swells, glassy arps between lines, and a final lift with crowd-like gang ad-libs, Bright, strange, and glossy with a slightly haunted edge
3:09

That’s So F#@ked Up
v4.5-all
Gangsta rap with dark yodeling barbershop harmonies, swung trap drums, and a slow menacing bounce; verse rides sparse kick, snapped snare, and low vocal chant, pre-chorus strips to bass and tight group oohs, chorus hits with stacked barbershop chords and yodel flips on the anchor phrase, Lead vocal is gritty and close-mic with doubled ad-libs, echo throws on punchlines, reversed swells into each drop, and a cold glossy mix with heavy sub and sharp top-end, barbershop, rap
4:33

Dark, Stadium rock orchestra gangsta rap, upright bass, heavy kick drums, dark, cello, 6/7 time, 100 BPM, singer a angry female vocals, singer b frustrated urban male vocals
2:55

Forensics
v4.5-all
Dark gangsta rap with triangulated triplet drums and eerie yodel hooks, mid-tempo bounce and hard swing; verse rides sparse piano stabs and clipped hats, pre-chorus tightens with rising vocal chants, chorus slams into a rubbery bass stomp and gang yodel ad-libs, Lead vocal is gritty and close-mic with doubled lows, panned shouts, and delay throws on the hook, Glassy risers, tape-stop flashes, and a cold sub drop mark the turns, Mix is dark, punchy, and claustrophobic, rap
3:00

Wrong Side Call
v4.5-all
Dark pop-infused gangsta rap drill with sliding sub-bass, skittering hi-hats, and a haunted synth loop; verses ride tense half-time pockets, pre-chorus strips to kick and chant, chorus hits with stacked hook doubles and clipped gang vocals, Whispered asides, delay throws on key words, reversed swells into drops, Brightly compressed, cold and punchy mix with a glossy edge, drill, rap, pop
2:57

Off That Sh!t
v4.5-all
Gangsta rap with retro orchestral funk groove, mid-tempo swung drums, upright bass stabs, chopped strings, muted brass hits, and dusty vinyl texture; verse rides tense and sparse with close-mic lead, double-tracked punch lines, and low ad-libs, pre-chorus lifts with rising strings and tambourine, chorus drops to a chanty half-time pocket with gang vocals and short delay throws on the anchor, Ear candy: reversed cymbal swells, pizzicato runs into the hook, and a tape-stop before the bridge, Mix is gritty, warm, and cinematic with a bright horn edge, rap, clean, funk, hip-hop, classical
3:14

The Risks (Sampled Track)
v4.5-all
Spoken-word rap, heroic dark trap with heavy half-time pulse, sparse piano stabs in the verses, pre-chorus narrowing to kick and handclaps, chorus opening with stacked gang chants and low brass swells; gritty lead vocal with tight doubles, occasional whispered punch-ins and delay throws on the last word of each hook line, risers and reversed hits into the drop, bright yet ominous mix with hard sub weight, spoken word, soul, rap
2:08

We Get Caught Up (Sampled Track)
v4.5-all
Keyboard distorted handpan electric piano midi rap rap rap song about how we grow up worrying about all the wrong shit that in the end really don't matter and tend to neglect what's really important, flip the sample to a piano keyboard vibe and lay it down as the foundation of the beat
3:35

L'Heure Zéro (The First Hour)
v4.5-all
Infectious, urban, Upbeat Indie Pop / Educational; memorable
4:04

Love Eternal (Sampled Track)
v4.5-all
Ceremonial, ritualistic, 110hz, healing magic, healing magick, Philly drill esoteric Esoterocism dark exotic Philly drill, open hats sparse, loop the sample for the core beat components, Satisfied urban male vocals rapper; [no hi-hats] no hi-hats
3:17

Hell of a Life (Sampled Track)
v4.5-all
Dark, urban, hood approved, Philly drill×r&b×Philly drill, heavy kick drums, distorted ukulele, upright bass, slowed lo-fi saxophone licks, open hats [no hi-hats] no hi-hats, gruff growly urban male vocals rapper
3:14

Overtime (Heaven Sent)
v4.5-all
Dark, dank, dripping with swag Jamaican inspired Philly drill style no hi-hats [no hi-hats]
3:19

Missing Pieces (Mashed Up Remix)
v4.5-all
emotional trap, keyboard, fairy tale, hypnotic drill beat fire
3:18

Evil is Evil
v4.5-all
dark, dark, dark pop urban bounce drill, 6/7 time, 86 BPM, Deep voiced gritty urban male vocals [no hi-hats] no hi-hats
3:54

Shady ass sneak mother fucking grimy ass hood shit some killa Philly drill with the signature no hi-hats[no hi-hats]
3:00

Everyday I Do This
v4.5-all
Gangsta rap with a dark barbershop swing and yodel accents over a heavy boom-bap pocket; verse rides sparse bass, snapped snare, and clipped handclaps, pre-chorus lifts with stacked close harmony and a yodel tag, chorus hits with gang vocals and stomped barbershop chords, Lead vocal is gritty and close-mic with doubled hooks, tossed ad-libs, and sudden high yodel breaks, Ear candy: creaky risers, reverse quartet swells, and a dead-silent bar before each hook, Mix is ominous, dry, and punchy, rap, barbershop
3:15

No Time for That Sh!t
v4.5-all
Punk rap with a mid-tempo stomp and dirty half-time drums, tense bass slides, snapped claps, and clipped guitar stabs; verses ride sparse drums and a snarling bassline, pre-chorus opens up with gang shouts and rising noise, chorus slams in with shouted doubles and a chantable hook, Add tape-stop hiccups, siren-like synth swells, and a final lift with handclaps, Gritty, bright-loud mix, close-mic lead vocal with ragged ad-libs and crowd-style backing vocals on the hook, punk, rap
3:41

Who The Best Is
v4.5-all
Battle rap over a gritty dark alley beat, head-nod tempo with rattling snares, grimy sub pulses, and chopped vocal stabs; verse 1 and 2 ride sparse drums and a dusty loop, chorus slams with gang shouts and doubled punchlines, bridge 1 strips to bass and voice, verse 3-4 climb with tighter percussion, bridge 2 drops to a half-time stomp, final chorus lands huge with ad-lib stacks, hard-panned echoes, and a raw, close-mic mix that sounds dirt under the nails, rap
3:24

On Edge (Sampled Track)
v4.5-all
Dark pop with gangsta rap energy, mid-tempo swung drums and a half-time dubstep bounce; verse rides a tense looped sample with tight low end, pre-chorus strips to sub pulse and finger snaps, chorus hits with stacked doubles and a clipped chant, Filter sweeps, reverse swells, and a sub drop mark transitions, Glossy-but-grimy mix, close-mic lead with grimy ad-libs and hook gang vocals, rap, dubstep, pop
3:15

Nu metal a cappella rap with dark punk attitude, stomping half-time groove feel, clipped group chants, beatboxed low-end mimicry, and sudden call-and-response breaks; verse rides dry close-mic bars, pre-chorus strips to breathy stacks and tense handclaps, chorus hits with shouted doubles and gang vocals, bridge drops to near-silence before a final fractured chant, Echo throws on hook words, grimy wide mix, raw and front-facing, nu metal, rap
3:23

No Time To Be Scared
v4.5-all
Philly drill, raw and menacing, 145 BPM with rattling kick patterns, sliding 808 dives, sparse snare snaps, and no hi-hat sparkle; verse rides cold and claustrophobic with blunt punchlines, pre-chorus tightens into chant-like urgency, chorus hits with gang-vocal repeats and a brutal stop-start bounce, Lead vocal stays close-mic and snarling with doubled hook lines, ad-lib shadows, and short delay throws on the title phrase, Add tense risers, gunmetal hits, and a filtered synth stab before each drop; mix is dark, dry, and speaker-rattling, drill, raw, hardcore




