2:56

A Is Where It Starts
v4.5-all
Playful indie-pop with childlike percussion (shakers, claps, toy piano), bright acoustic guitar, and a bouncy upright bass, Female vocals deliver tight, catchy phrases; chorus blooms with stacked “ah” harmonies and a simple singalong hook, Light tambourine and handclap lift for the refrain; short bridge strips to vocal and toy piano before a final big, smiley chorus
3:06

Big Bold B
v4.5-all
Playful bubblegum pop with bright synth plucks, claps, and a bouncy bassline, Mid-tempo groove, kids-choir style group hooks in the chorus, lots of call-and-response, Male vocals up front, stacked harmonies on the title line, with a short breakdown where the beat drops for a spelling chant
2:27

Curvy Little C
v4.5-all
Playful acoustic pop with handclaps, upright bass, and sly male vocals, Light shuffle groove, snaps on the backbeat, and a whistled hook between sections, Chorus blooms with stacked harmonies and a stomping clap pattern; bridge strips to vocal and guitar then springs back with a bright final refrain
2:29

Dear Letter D
v4.5-all
Playful kids-pop track with bright acoustic guitar, handclaps, and bouncy bass, Female vocals, simple call-and-response hooks that children can shout back, Light percussion and glockenspiel accents in verses; chorus blooms with group vocals and stomps, Short bridge strips to claps and voice, then big final chorus with stacked harmonies
2:48

Every Little E
v4.5-all
Playful indie-pop with male vocals, springy clean guitars, shaker groove, and a bouncy bassline, Tight drums keep it light; verses stay sparse to spotlight witty lyrics, Chorus blooms with stacked “ee” harmonies, handclaps, and a bright synth hook doubling the vocal melody, Short bridge drops to claps-and-voice before a final, jubilant refrain
1:48

F Is My Favorite
v4.5-all
Playful indie-pop bounce with tight drums, rubbery bass, and bright glockenspiel hits on the hook, Male vocals, quick and cheeky, with stacked gang shouts on the title line, Verses stay sparse and percussive; chorus explodes with claps, call-and-response, and a kids-choir-style octave layer on the last hook
2:42

G Is Kinda Great
v4.5-all
Playful indie-pop bounce with crisp acoustic guitar, brushed snare, and a rubbery bassline, Male vocals, close and conversational, with stacked harmonies on the hook, Verses stay sparse and percussive, chorus widens with claps and gang vocals, Short whistle motif between sections for extra earworm charm
3:07

H Is Kind Of Hilarious
v4.5-all
Playful indie-pop groove with bouncy bass, light drums, and jangly guitars, Male vocals with crisp, close-mic delivery, Verses stay sparse and talky, chorus blossoms with stacked harmonies and claps, Tiny synth bells highlight the hook; bridge drops to half-time then snaps back for a final singalong
3:24

I, Myself, and the Tiny Line
v4.5-all
Playful indie-pop groove with bright clean guitars, bouncing bass, and light hand percussion, Male vocals, close and conversational, Verses stay sparse and quirky; chorus blooms with stacked “ahh” harmonies and a childlike sing-along feel, Subtle synth bells sprinkle hooks, with a gentle rise into the bridge then a smiley, soft landing
3:25

Just J
v4.5-all
Playful indie-pop bounce with male vocals; dry, close-mic verses over claps and muted guitar, opening into a bright, gang-vocal chorus with sticky hooks, Light bass and tambourine keep it skipping forward, with a tiny call-and-response bridge that invites crowd participation
2:27

K Is Kinda Cool
v4.5-all
Playful upbeat pop over bouncy bass and claps, light piano stabs and glockenspiel hooks; male vocals leaning conversational in the verses, big group singalong in the chorus, Bridge strips back to snaps and a single synth before the final chorus comes in wider with stacked harmonies and a cheeky ad-lib outro
2:38

L Is For Leaving
v4.5-all
Playful electro-pop at 140 BPM, bright synth arps and tight sidechained chords over a bouncy kick-snare, Male vocals, nimble and rhythmic, with stacked doubles on the hook, Verses stay minimal with plucky bass; chorus blooms with wide pads and call-and-response ad-libs, Short filtered pre-chorus that lifts tension into a big, catchy drop
2:09

M Is For Mayhem
v4.5-all
rap, Greasy underground boom-bap at 140 BPM, swung drums and dusty minor-key piano loop, thick sub and detuned synth stabs, Male vocals, close-miked and gritty; verses tight and percussive with double-time pockets, Hook opens wider with stacked gang shouts on the title phrase and filtered drops before each chorus hit, ending in a hard stop for a cappella tag, underground rap
2:46

N Is For Nothing You Know
v4.5-all
rap, Sparse, grimy underground beat at 140 BPM, swung drums and dusty chopped samples; male vocals in an aggressive pocket, Verses stay close and conversational, grainy saturation on the voice, Hook widens slightly with layered doubles and a subtle distorted bass swell, Occasional vinyl crackle and filtered intros between sections for tension and release, underground rap
2:59

Circle In My Name
v4.5-all
Playful acoustic pop, light swing groove; ukulele and hand percussion up front, bouncy bass, claps on the chorus, Male vocals with tight double-tracked hook, childlike backing “oh-oh-oh”s, Mix bright and close, energy ramps from intimate verse to big singalong chorus then ends with a soft, lingering final note
2:15

Popcorn And The Letter P
v4.5-all
Playful kids-pop bounce, bright acoustic guitars and mallet keys, claps on the backbeat, Female vocals up front with stacks of childlike gang shouts on the hook, Simple bass and kick keep it moving; bridge drops to half-time handclap groove before a final big, chant-along chorus
2:10

Q Is For Trouble
v4.5-all
rap, Sinister bass trap beat with sub-heavy low end, stuttering hi-hats, and sparse, detuned bell plucks, Male vocals in a sneering, laid-back flow; hook explodes with stacked gang shouts and pitch-shifted ad-libs, Verses stay minimal so the bass breathes, bridge brings a filtered breakdown then slams back into the hook, bass trap
2:10

3:03

Serpentine S
v4.5-all
Playful indie-pop bounce with crisp acoustic guitar, claps, and a rubbery bass line, Male vocals, close and cheeky on the verses; chorus stacks bright gang vocals on the hook, Light percussion and finger snaps in the first half, then add tambourine and a simple synth line to lift the final chorus, Keep the mix dry and intimate so every consonant pops
2:38

Little Tilted T
v4.5-all
Playful indie-pop, clean plucked guitars and bouncy bass, Light drums with rim-click groove in the verses; choruses bloom with stacked gang-style backing vocals and bright synth bells, Male vocals, cheeky and close-mic'd, with subtle call-and-response ad-libs, Short bridge strips to claps and vocal before a final, punchy hook
4:04

You, You, You
v4.5-all
rock, Huge stadium rock anthem with big distorted guitars, pounding tom-led drums, and a sing-along crowd-chant chorus, Male vocals, raspy and urgent in the verses, opening into soaring, stacked harmonies on the hook, Pre-chorus strips back to a simple kick and palm-muted guitars, then the chorus explodes with octave leads and wide reverb on the snare, Bridge drops to shouted gang vocals over a held guitar drone before one last, higher-key chorus
3:58

V for Victory
v4.5-all
rock, Big stadium rock anthem, male vocals pushing into raspy grit on the chorus, Crunchy overdriven guitars with wide power chords, steady mid-tempo drums, tom-heavy builds into explosive hooks, Pre-chorus drops to half-time and opens space, then chorus slams in with gang vocals on the title line, Simple, chantable melody designed for crowd sing-alongs, with a triumphant, rising final chorus
2:38

Double You
v4.5-all
Playful indie-pop groove with bouncy bass, hand percussion, and jangly guitars; male vocals leaning cheeky and intimate, Verses stay sparse with tight drums and finger snaps, then choruses widen with gang vocals on the hook and bright synth bells doubling the melody, Short bridge strips to claps and vocal stack before a final, shout-along chorus
3:05

X Marks My Heart
v4.5-all
Playful indie-pop bounce with male vocals; clean electric guitar riffs over a tight, mid-tempo drum groove and warm bass, Verses stay light and minimal, snapped backbeat and dry vocal, Chorus widens with stacked “oh” harmonies, tambourine hits, and a bright, singalong hook, Short bridge strips to claps and vocal, then full-band return for a last high-energy chorus
4:04

Y Is For Why
v4.5-all
Aggressive festival-ready dubstep banger, male vocals, Tight intro that drops into a snarling wobble lead and hard-hitting drums, with chopped vocal glitches highlighting the “Y” hook, Verses ride a half-time groove with sparse synth stabs; chorus detonates with wide detuned bass, bright risers, and gang shouts on the hook, Brief breakdown before a second, even heavier drop for live crowd mayhem, dubstep
4:04

Last Letter Drops
v4.5-all
Aggressive mid-tempo dubstep banger with male vocals; metallic wobble bass and snarling leads, tight half-time drums, and chopped vocal glitches, Verses ride sparse subs and distant pads; chorus slams with layered growls, detuned saws, and crowd-chant backing, Short risers and impact hits mark drops; mix keeps the vocal dry and upfront for a bratty, anthemic feel, dubstep
