XTRALIUS

Death metal, Swedish groove death and roll, Boss HM-2, 90’s metal, Thrash, catchy riffs, raw, cool guitar solo, just 2 guitars, analog drums, bass and vocals, no keyboards, no synths

[Old school death metal] Raw, gritty 90s production like early Deicide/Cannibal Corpse, B standard tuning, 7-string guitars tuned to B-E-A-D-G-B-E, Primary scale: Mixolydian b6 **GUITARS:** - Main riffs: Tremolo-picked aggression + palm-muted chugs - Guitar/bass unison on verse riffs - Dual lead guitars harmonized in thirds (perfect for Phrygian dominant) - 2 epic, melodic solos (one mid-song, one outro) - sweep picking + pinch harmonics **DRUMS:** Simple, direct death'n'roll style, Tight double-bass grooves, snappy snare, minimal fills, 70 BPM tempo, **STRUCTURE:** Intro → Verse → Chorus → Verse → Chorus → Guitar solo → Bridge → Breakdown → Solo → Final chorus → Outro, catchy, hard rock, bass

Raw Scandinavian death/thrash metal inspired by Dismember, LIK, Baest, The Haunted, High BPM, fast and aggressive, Old-school attitude, modern clarity, not overproduced, organic analog production, Drums: acoustic, aggressive, natural, no triggers, slight timing variation, raw snare crack, tight kick, real room ambience, no quantization, Bass: gritty, audible, mild overdrive, follows riffs but breathes, no heavy compression, Guitars: 7-string in B standard tuning, HM-2 style tone, controlled chainsaw, no digital fizz, tube amp feel, double tracked only, tight but human, Memorable, hook-driven riffs, strong motifs, punchy palm mutes, no excess layering, Vocals: male harsh growl/shout, raw, forward, minimal tuning, Mix: balanced, not polished, moderate stereo, analog warmth, subtle tape saturation, preserve transients, no brickwall limiting, Master: dynamic, punch over loudness

Technical death metal, 7-string guitars standard tuning, 9/8 time, mixolydian ♭6 mode, Swedish chainsaw tone (HM-2), medium drums with blasts, guttural vocals, intro solo → verse → chorus → verse → melodic solo with dive bombs → unison riff → verse → chorus → outro, cold apocalyptic vibe, electric guitar, catchy, powerful, male vocals, ‑Metalcore, ‑emo, ‑punk, ‑pop

Hyper-fast sinister death metal at 240–260 BPM in B standard (7-string: B E A D G B E, lowest note strictly B), Cold, oppressive, and violent atmosphere, Influenced by Dismember, Baest, The Haunted, and LIK but faster and darker, Organic analog production, raw and abrasive tone, chainsaw guitars with tight low-end, no muddy mix, Riffs must be sharp, memorable, tremolo-picked with dissonant intervals, relentless blast beats, sudden tempo shifts, and sinister chromatic runs, No clean guitars, no melody breaks, Structure: [Intro – eerie noise, reversed textures] [Verse – rapid guttural growls, tight phrasing] [Pre-Chorus – tension, dissonance] [Chorus – chaotic layered growls] [Verse 2 – faster variation] [Bridge – brief half-time, oppressive] [Breakdown – violent, syncopated chugs on low B] [Final Chorus – maximal intensity] [Outro – abrupt stop or feedback decay] Theme: osteogenesis imperfecta, genetic decay

Raw swedish style production, progressive death metal, death and roll drum beats, elegant fills, 100bpm tonal center e harmonic minor, powerful death style growls, catchy memorable riff, beautyful soaring lead, feeling over shred

[Old school death metal] Raw, gritty 90s production like early Deicide/Cannibal Corpse, B standard tuning, 7-string guitars tuned to B-E-A-D-G-B-E, Primary scale: Mixolydian b6 **GUITARS:** - Main riffs: Tremolo-picked aggression + palm-muted chugs - Guitar/bass unison on verse riffs - Dual lead guitars harmonized in thirds (perfect for Phrygian dominant) - 2 epic, melodic solos (one mid-song, one outro) - sweep picking + pinch harmonics **DRUMS:** Simple, direct death'n'roll style, Tight double-bass grooves, snappy snare, minimal fills, 70 BPM tempo, **STRUCTURE:** Intro → Verse → Chorus → Verse → Chorus → Guitar solo → Bridge → Breakdown → Solo → Final chorus → Outro, catchy, hard rock, bass, ‑Country, ‑female vocals

Old school death metal, raw edges, memorable catchy riffs, aggressive, progressive, dark

Death Metal, ritmo fuerte, voces roncas, Drop C, 2 guitarras bajo y batería, 4/4

Old school Swedish death metal, early 90s Stockholm sound, raw and aggressive, Guitar tone driven by Boss HM-2 chainsaw distortion, maxed gain, buzzing and filthy, Guitars in B standard, tight but dirty, no modern polish, Fast tremolo riffs mixed with simple, memorable chromatic hooks, D-beat and blast beat drums, loose and organic, analog feel, Bass slightly distorted, following guitar lines, Vocals deep, savage growls, no clarity polish, pure aggression, Song structure riff-driven, minimal breakdowns, constant forward motion, Dark, morbid atmosphere, no melody focus, just brutality and groove, Production lo-fi, compressed, gritty, like Sunlight Studios, Avoid modern metalcore or djent elements, Keep it primitive, evil, catchy and raw, like early Entombed and Dismember energy

Death Metal, ritmo fuerte, voces roncas, Drop C, 2 guitarras bajo y batería, 4/4, old school swedish death metal, batería en medio tiempo, guitar solo in the style of fredrick thordendal

Old school swedish death metal, simple drumming with double bass drums, prominent bass lines and sound in the mix, HM-2 chainsaw guitars, analog production, no keyboards, no special effects, just raw metal

Progressive death metal song at 95 BPM in 7-string tuning (BEADGBe), built around E Mixolydian ♭6 with modal interchange, Intro features clean, reverberated arpeggios with pedal tones on E and C, creating an ancient, mysterious atmosphere, Verses use palm-muted, groove-driven riffs emphasizing E Mixolydian ♭6, with subtle chromatic shifts between G# and G, Choruses transition into E Aeolian with open chords and sustained harmonic layers for a darker emotional release, occasionally introducing D# for harmonic minor tension, Second verse incorporates Phrygian Dominant elements (F natural) for an exotic, dissonant edge, Instrumental interlude explores Whole Tone and Altered scales with polyrhythms, tritones, and wide interval leads, creating controlled chaos, Final chorus blends Aeolian with hints of Mixolydian ♭6 for tonal ambiguity, Coda shifts fully into Phrygian Dominant with a slow, hypnotic riff, Outro resolves to a sustained E minor chord with a descending baroque-style arpeggio

prog metal epic, death metal guitars, melodic solo

Progressive metal in E minor around 130 BPM with tight, riff-driven guitars and complex, through-composed song structure, Studio-recorded rock drums on a real acoustic kit with room mics capturing a natural room sound, lively ambience, and dynamic performance, Neil Peart-inspired human groove with intricate tom patterns, creative cymbal work, and slight push and pull in timing for an unquantized organic feel, Real snare with crisp attack and resonant body, punchy kick with defined low end, and warm toms that sing in fills and transitions, Guitars are more upfront and aggressive, with layered high-gain rhythms and melodic leads locking in with the bass, while atmospheric textures and effects sit behind the band to support a dense, evolving progressive metal soundscape, full range tenor male voice metal style, no falsetto, Russell Allen inspired

[Brutal Death Metal] Raw, Gritty 90S Production, B Standard Tuning, 7-String Guitars Tuned To B-E-A-D-G-B-E, Primary Scale: B Mixolydian B6 **Drums:** Simple, Direct Death'n'roll Style, Tight Double-Bass Grooves, Snappy Snare, Minimal Fills, 70 Bpm Tempo, Metal, Experimental, Guitar

Brutal death metal, relentless blast beats, down‑picked low‑B chugs, cavernous yet articulate production, dissonant chromatic riffs, melodic exotic lead breaks focused on phrasing instead of speed, guttural mid-to-low growls blended with gritty baritone shouts, dense bass presence driving riffs with percussive gallop and counter-melodies, occasional atmospheric dissonant chords for tension, overall crushing and claustrophobic intensity

old school American death metal track with raw but defined production, emphasizing clarity and brutality, Seven-string guitars in B standard tuning using the B Locrian scale, Incorporate fast tremolo picking riffs, syncopated chugs, and tempo variations, Drums should be direct, death’n’roll influenced with precise double kicks and snappy snare hits, Add dark, technical yet epic guitar solos, synchronized guitar-bass sections, and twin guitar harmonies in thirds reminiscent of early Morbid Angel and Death