new twisted

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

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 reggaeton-pop with house discipline and late-night dancefloor flow, influenced by Jay Tripwire and Grant Dell, but more emotional and song-driven, Tempo sits comfortably in the mid-reggaeton pop range with a steady four-to-the-floor undercurrent for DJ compatibility, Track opens with a long, clean intro for mixing: filtered kick, soft sub, light percussion and hats, no vocals, Around the first minute the groove locks fully, bass becomes warm and bouncy, reggaeton swing is clear but restrained, Male lead vocal enters clearly and confidently, phrased rhythmically, with female harmony appearing subtly underneath on sustained words and line endings, As the track develops, percussive elements and claps add lift, creating a danceable but controlled energy suitable for clubs rather than radio pop excess, Midway through, there is a brief reduction in elements to reset energy without dropping momentum; kick and rhythm continue, vocals pull back slightly, female harmony becomes more atmos

Groovy deep house with warm, rolling bass and subtle funk in the lane of Jay Tripwire and Grant Dell, Track opens with filtered kick, shuffled hats, and a rubbery bass tease, Early spoken phrases drop loosely over the groove, slightly behind the beat, As the track settles, bass becomes bouncy and confident, percussion gains swing, and muted chord stabs add a gousey, garage-leaning feel, Vocals appear in timed fragments, playful and observational rather than serious, punctuating the groove instead of leading it, Midway, energy relaxes briefly without losing movement, keeping the dancefloor engaged, Final section locks into the most danceable state, bass and percussion working together while vocals become sparse and rhythmic, before elements ease back for a DJ-friendly exit

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

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

Minimal deep house with a restrained, late-night feel in the lane of Jay Tripwire and Grant Dell, The track opens sparse and curious, built around a soft, rounded low end and gentle off-beat movement, leaving plenty of air for spoken words to sit like rhythmic fragments rather than lines, The groove gradually becomes warmer and more confident, but never busy; bass remains simple and hypnotic, percussion human and understated, with subtle swing rather than precision, Muted dub chords appear briefly as texture, never stepping forward or resolving melodically, A lighter moment emerges where weight drops away and breathy female tone drifts through, intimate and friendly, adding warmth without narrative, The track then settles into its most grounded state, steady and calm, where a single spoken phrase can loop naturally without pressure or urgency, Toward the end, elements gently fall away, leaving space, low end, and atmosphere, allowing the final words to land softly and the track to clos

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

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

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

Minimal deep house with a restrained, late-night feel in the lane of Jay Tripwire and Grant Dell, The track opens sparse and curious, built around a soft, rounded low end and gentle off-beat movement, leaving plenty of air for spoken words to sit like rhythmic fragments rather than lines, The groove gradually becomes warmer and more confident, but never busy; bass remains simple and hypnotic, percussion human and understated, with subtle swing rather than precision, Muted dub chords appear briefly as texture, never stepping forward or resolving melodically, A lighter moment emerges where weight drops away and breathy female tone drifts through, intimate and friendly, adding warmth without narrative, The track then settles into its most grounded state, steady and calm, where a single spoken phrase can loop naturally without pressure or urgency, Toward the end, elements gently fall away, leaving space, low end, and atmosphere, allowing the final words to land softly and the track to clos

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

126 BPM, 4/4, rolling tech house with a dominant acid line running end-to-end, UK acid-house attitude rather than melodic leads, DJ-clean intro with kick, closed hats, low rumble only; no vocals, no acid at first, Bassline fades in early and stays locked to the kick, Primary acid line enters filtered very low, sequenced simply, cycling continuously, Acid cutoff and resonance are the main energy drivers across the track, opening and tightening in waves rather than builds, First build introduces vocal stabs (“On call”, “Organized crime”) while acid resonance increases slightly, First drop locks with full groove and acid opened but controlled, no extra elements, Mid section holds long with acid pattern mutating subtly (step changes, octave shifts, resonance nudges) to allow extended mixing, Second build pushes acid harder, sharper resonance, tighter modulation, with darker vocal stabs (“You will pay”, “Law of real men”), Second drop hits with acid dominant and vocals pulling back, Late se, ‑No full verses No rapping No melodic acid leads No trance arpeggios No EDM risers No white-noise sweeps No big melodies No cinematic breakdowns No festival drops

126 BPM, 4/4, rolling tech house with a dominant acid line running end-to-end, UK acid-house attitude rather than melodic leads, DJ-clean intro with kick, closed hats, low rumble only; no vocals, no acid at first, Bassline fades in early and stays locked to the kick, Primary acid line enters filtered very low, sequenced simply, cycling continuously, Acid cutoff and resonance are the main energy drivers across the track, opening and tightening in waves rather than builds, First build introduces vocal stabs (“On call”, “Organized crime”) while acid resonance increases slightly, First drop locks with full groove and acid opened but controlled, no extra elements, Mid section holds long with acid pattern mutating subtly (step changes, octave shifts, resonance nudges) to allow extended mixing, Second build pushes acid harder, sharper resonance, tighter modulation, with darker vocal stabs (“You will pay”, “Law of real men”), Second drop hits with acid dominant and vocals pulling back, Late se, ‑No full verses No rapping No melodic acid leads No trance arpeggios No EDM risers No white-noise sweeps No big melodies No cinematic breakdowns No festival drops

Beat Map (single concise paragraph): 124–126 BPM, 4/4, DJ-friendly 32-bar intro with deep Afro kick, rounded sub, shaker loop, and light breakbeat ghost hits; filtered noise/vinyl air, Verse groove adds Afro percussion (conga, djembe, rim) with syncopated off-beat bass, Pre-chorus builds via rolling toms and claps, looping the chant for tension, Chorus opens hats and adds breakbeat edge (Krafty Kuts–style energy, modern low-end control), vocal call-and-response repeated for longevity, Verse 2 drops intensity slightly with bass/pads carrying momentum, Breakdown strips to percussion + bass pulse, intimate spoken line, Final chorus restores full groove, then 16–32 bar DJ-safe outro with drums and bass only, Style Influence: Afro Tech House foundation; breakbeat attitude and swing inspired by Krafty Kuts (energy and cuts, not pastiche); warehouse-ready, hypnotic, physical, ‑Explicit Exclusions (important): No EDM festival drops, ‑no supersaw leads, ‑no pop topline phrasing, ‑no American cheerleader / rom-com / movie-soundtrack vibes, ‑no Balkan motifs, ‑no over-bright mastering, ‑no excessive FX risers, ‑no autotune gloss, ‑no BPM callouts in vocals

Tempo: 108–112 BPM Time: 4/4 Key: Minor (warm, emotional) Groove: Rolling Afro percussion + reggaeton dembow influence (subtle) ⸻ 0:00–0:40 | Intro • Soft pads • Distant percussion • Subtle bass pulse • Spoken male vocal 0:40–1:30 | Groove Establish • Afro kick + congas + shaker • Warm sub bass • Male verse 1 1:30–2:00 | Pre-Hook → Hook • Add open hats • Female call phrases • No drop — just lift 2:00–2:40 | Verse 2 • Reggaeton swing hinted (not dominant) • Bass slightly more active 2:40–3:05 | Balearic Break • Pads, guitar plucks, filtered percussion • Female melodic lines 3:05–3:40 | Final Hook / Outro • Full groove returns • Vocals fade gradually • Instrumental carries last 20–30 seconds, Afro House warmth + Balearic restraint + Latin swing, • Deep Afro percussion (not tribal-heavy) • Reggaeton feel implied, not pop • Ibiza sunset aesthetics • Emotional but controlled • Space between phrases matters Comparable mood to modern Balearic Javi Colors Afro house, ‑• EDM drops or festival builds • Aggressive tech-house kicks • Trap vocals or rap density • American pop reggaeton clichés • Over-sexualised lyrics • Dark industrial textures This is Ibiza intelligence, ‑not hype

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: 112 BPM Time: 4/4 Feel: Swung breakbeat, vinyl grit, steady evolution Key: Minor → subtle lift near end Groove: ONE core break, layered gradually ⸻ 0:00–0:25 | Intro / Establish • Filtered breakbeat, vinyl crackle • Male spoken-rap begins immediately • No melody yet 0:25–1:10 | Section 1 • Full breakbeat drops • Male lead only • Sparse bass + muted stabs 1:10–1:45 | Section 2 • Add funk guitar or brass stab • Male 2 enters (contrast tone) • Female short responses at bar ends 1:45–2:20 | Section 3 • Strip back slightly (paranoia feel) • Tape noise, minimal bass movement • Female whisper responses 2:20–2:50 | Section 4 • Groove returns fuller • Male 3 reflective delivery • Subtle percussion layers added 2:50–3:20 | Section 5–6 (Lift without drop) • Same beat, more energy • Alternating male/female lines • No chorus, just momentum 3:20–3:40 | Outro • Strip layers gradually • Final female refrain • Male final line • Clean cut ⸻ STYLE INFLUENCE (LOCKED), ‑• EDM drops or builds • Trap / drill rhythms • Autotune leads • Vocal stacking • Cinematic trailer music • New-age fluff • Pop gloss

Tempo: 110–115 BPM • Rhythm: Funky breakbeat swing, hip-hop cadence, heavy vinyl grit • Influence Blend: • Krafty Kuts – break pressure, turntable attitude • Funke Christian – conscious phrasing, funk backbone • Sup the Chemist – sharp, militant clarity • One Chief Rocker – call-and-response swagger • Vinyl Messi – dusty, crate-digging texture Voices • 3–4 distinct male rap voices (different tone & aggression levels) • 1 female voice for hook / spiritual contrast (airy, restrained, hypnotic) What to Avoid • No EDM drops • No American cheerleader hype • No preachy narration • No glossy trap polish, ‑EDM drops, ‑festival builds, ‑or hands-in-the-air energy • Trap clichés (hi-hat rolls, ‑autotune crooning, ‑flex culture) • American hype-rap, ‑cheerleader optimism, ‑or motivational speaker tone • Over-polished pop vocals or glossy commercial sheen • New-age fluff, ‑vague “love and light” spirituality • Preachy sermons or moral superiority • Cinematic trailer music or film-score melodrama No rom-com sentimentality, ‑No corporate “inspiration”, ‑No fake grit

4/4 Afro House × Tribal Tech at 126–128 BPM with a tight, punchy kick and rounded sub locking from bar one; 16-bar intro of filtered percussion, low toms, shakers, and stereo tribal textures to set groove without melody; main groove drops with off-beat bass, conga/djembe polyrhythms, rim accents, and short muted synth stabs, vocal phrases used as rhythmic chants rather than topline; pre-lift every 32 bars by stripping bass and pushing drums + FX tails, then reintroducing bass subtly—no big drop, just pressure; breakdowns are drum-led (kick out, percussion forward, sub filtered), tension built via automation and call-and-response vocal hits; final section adds slight ride/hat energy and wider stereo percussion for drive, maintaining restraint and DJ-functional flow in the vein of Stereo Records—hypnotic, rolling, and built for late-night rooms

4/4 Afro House × Tribal Tech at 126–128 BPM with a tight, punchy kick and rounded sub locking from bar one; 16-bar intro of filtered percussion, low toms, shakers, and stereo tribal textures to set groove without melody; main groove drops with off-beat bass, conga/djembe polyrhythms, rim accents, and short muted synth stabs, vocal phrases used as rhythmic chants rather than topline; pre-lift every 32 bars by stripping bass and pushing drums + FX tails, then reintroducing bass subtly—no big drop, just pressure; breakdowns are drum-led (kick out, percussion forward, sub filtered), tension built via automation and call-and-response vocal hits; final section adds slight ride/hat energy and wider stereo percussion for drive, maintaining restraint and DJ-functional flow in the vein of Stereo Records—hypnotic, rolling, and built for late-night rooms

Afro House × Tribal Tech at ~122–124 BPM, rolling deep kick with rounded sub, off-beat bass carrying the groove, layered tribal percussion (conga, djembe, shakers, rim) creating a hypnotic circular rhythm; sparse minor-key synth stabs with long filters, muted vocal chops and chant-style Spanish phrases used rhythmically rather than melodically; breakdowns built on drums + bass only, gradual tension through automation and polyrhythms, then restrained lifts without EDM drops—club-focused, nocturnal, earthy, and percussive, aligned with Javi Colours’ deep, understated energy, ‑No pop or Latin radio chord progressions, ‑no big EDM drops or supersaw leads, ‑no melodic over-singing or romantic ballad phrasing, ‑no reggaeton dembow bounce, ‑no glossy commercial FX, ‑no American cheerleader / soundtrack vibes, ‑no comedy or novelty tone—keep it raw, ‑tribal, ‑minimal, ‑and functional for the dancefloor

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: 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: ~108–112 BPM | Time: 4/4 | Feel: Loose swing, human, slightly behind the beat Drums: Dry kit, minimal mics; lazy kick, snare with ghost notes; light ride instead of hats; occasional floor-tom pushes Bass: Walking/blues-rooted electric bass, slightly overdriven, simple movement, no funk fills Guitars: Open-tuned acoustic strum + dirty electric answering phrases; short fills between vocal lines; no modern compression Piano/Keys: Honky-tonk upright, sparse stabs in verses, more present in refrains Percussion: Subtle handclaps or tambourine on refrains only Vocals: Conversational, half-sung, slightly sardonic; double-tracked lightly in refrains; no big chorus lift Structure: • 4-bar loose instrumental intro (guitar + piano) • Verses stay restrained and narrative • Refrain repeats same melody each time (no modulation) • No modern “drop”; energy comes from band push, not production • Fade-out on final refrain with ad-libs and guitar fills What to AVOID: • Modern drum tightness

Tempo: ~108–112 BPM | Time: 4/4 | Feel: Loose swing, human, slightly behind the beat Drums: Dry kit, minimal mics; lazy kick, snare with ghost notes; light ride instead of hats; occasional floor-tom pushes Bass: Walking/blues-rooted electric bass, slightly overdriven, simple movement, no funk fills Guitars: Open-tuned acoustic strum + dirty electric answering phrases; short fills between vocal lines; no modern compression Piano/Keys: Honky-tonk upright, sparse stabs in verses, more present in refrains Percussion: Subtle handclaps or tambourine on refrains only Vocals: Conversational, half-sung, slightly sardonic; double-tracked lightly in refrains; no big chorus lift Structure: • 4-bar loose instrumental intro (guitar + piano) • Verses stay restrained and narrative • Refrain repeats same melody each time (no modulation) • No modern “drop”; energy comes from band push, not production • Fade-out on final refrain with ad-libs and guitar fills What to AVOID: • Modern drum tightness

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

— 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

AFRO HOUSE x UKG x STRINGS) STYLE: Afro house foundation, UK underground garage swing, orchestral strings, flamenco + banjo touches, Fender bass groove, BPM: 122–125, 0:00–0:20 — Intro Soft bongos + light shakers Muted Fender bass plucks Flamenco guitar harmonics Atmospheric violin swell 0:20–0:45 — Groove Entry Afro house kick (deep, warm) Bongos tighten into a 3/2 pattern Cello drone underpinning Light UKG hi-hat shuffle 0:45–1:15 — Verse 1 Strings (violin) answering vocal phrases Gibson banjo muted plucks on offbeats Bass becomes rounder and syncopated Minimal chords 1:15–1:40 — Pre-Chorus Flamenco guitar arpeggios rising Shakers widen Kick softens slightly Cello accents build tension 1:40–2:10 — Chorus Drop Full Afro house drum pattern Bongos + congas layered Wide violin/cello stabs Fender bass rolling groove UKG swing on hats + ghost claps 2:10 Percussion reduces Banjo + flamenco interplay Bass warms but stays minimal Pads widen behind strings, bounce drop, guitar

AFRO HOUSE x UKG x STRINGS) STYLE: Afro house foundation, UK underground garage swing, orchestral strings, flamenco + banjo touches, Fender bass groove, BPM: 122–125, 0:00–0:20 — Intro Soft bongos + light shakers Muted Fender bass plucks Flamenco guitar harmonics Atmospheric violin swell 0:20–0:45 — Groove Entry Afro house kick (deep, warm) Bongos tighten into a 3/2 pattern Cello drone underpinning Light UKG hi-hat shuffle 0:45–1:15 — Verse 1 Strings (violin) answering vocal phrases Gibson banjo muted plucks on offbeats Bass becomes rounder and syncopated Minimal chords 1:15–1:40 — Pre-Chorus Flamenco guitar arpeggios rising Shakers widen Kick softens slightly Cello accents build tension 1:40–2:10 — Chorus Drop Full Afro house drum pattern Bongos + congas layered Wide violin/cello stabs Fender bass rolling groove UKG swing on hats + ghost claps 2:10 Percussion reduces Banjo + flamenco interplay Bass warms but stays minimal Pads widen behind strings, bounce drop, guitar

122–124 BPM, deep Afro-house groove with warm rolling kick, rounded sub bass breathing off-beat, shakers and organic percussion (conga, djembe, rim) creating forward swing; Krafty Kuts influence comes through subtle broken-beat ghost hits and funk syncopation, not full breaks; intro uses filtered percussion, low pad, spoken vocal; verses stay sparse with bass + percussion only; pre-chorus opens hats and toms; chorus adds fuller percussion stack and vocal chant loop; break strips to drums, sub pulse, delay throws; final chorus reintroduces all elements with added open hats and rhythmic stabs, Exclude EDM builds, supersaws, cinematic drama, trap hats, glossy pop vocals, American hype delivery — keep it tribal, intelligent, and physical, electro

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;

Afro House × Flamenco × Reggaeton Beat Map (Krafty Kuts feel) — 122 BPM, 4/4, A minor with a hopeful lift near the end, 16-bar intro: deep Afro kick, soft sub, sparse palmas, filtered flamenco guitar harmonics, light texture, Verse (24 bars): steady kick/sub, subtle reggaeton swing, rim & shaker low, flamenco guitar call-and-response with intimate vocal, Pre-chorus (8 bars): rolling toms, tighter palmas, rising pad, Chorus (16 bars): off-beat bass opens, open hat, rhythmic guitar, no EDM drop, wider vocal, Short broken-beat fill (8 bars) with shuffle percussion, Verse 2 (20 bars) strips back, swing clearer, Chorus 2 returns fuller, Breakdown (12 bars): guitar + palmas only, Final chorus (16 bars) lifts gently, light strings, Outro (12 bars) fades to guitar and sub

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

🪗 NOTAS CLAVE – “MÁS ACORDEÓN” • Intro: acordeón solo 8–12 compases (melodía clara, repetible) • Versos: acordeón responde cada línea vocal (call & response) • Coros: acordeón abierto, brillante, doblado en octavas • Puente: acordeón libre, casi improvisado (Lisandro-style) • Outro: fade con acordeón solo (muy importante) Producción: • Acordeón al frente de la mezcla • Bajo y caja contenidos, sostienen — no compiten • Guacharaca constante pero suave, ‑• No reggaeton, ‑no dembow, ‑no trap • No EDM, ‑no drops, ‑no risers, ‑no FX modernos • No synth leads ni pads electrónicos • No autotune fuerte o voces robóticas • No machismo, ‑amenazas ni burla • No dramatismo tipo telenovela • No pop latino genérico • No coros femeninos sensuales • No hip-hop phrasing • No vibes de rom-com / soundtrack de película • No exageración caricaturesca

CARLOS FRANCISCO – AFRO-LATIN TECH HOUSE PROMPT 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, Lead guitars, bass guitars, flamenco Spanish guitars cello bongos tam tam cow bell full drum kit cow bell, sitar, violin Afro house

122–124 BPM, 4/4 Afro-house foundation fused with Andalusian flamenco feel; deep rounded Afro kick with warm sub, layered with palmas patterns inspired by tangos/soleá (simplified to sit in 4/4), nylon-string flamenco guitar providing rhythmic rasgueado and short melodic answers; intro uses filtered kick, low drone, distant palmas and dry spoken vocal; Verse 1 adds shakers, rim, muted break accents and restrained bass; Pre-Hook drops kick briefly, palmas and guitar push forward with rising tension; Hook brings full kick, bass, open hats, palmas wider in stereo and chant vocal; Verse 2 increases breakbeat presence with syncopated toms and more animated guitar phrasing; Bridge strips to guitar, palmas, and heartbeat-style low percussion; Drop reintroduces full Afro groove with guitar and palmas interlocking; Ecstatic build opens filters, increases saturation and delay; Peak removes kick for 4–8 bars letting palmas, guitar, bass, and vocal collide; Outro collapses to guitar harmonics, bre

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 — Afro House × Reggaeton × Breaks (ULTRA FIT) 97 BPM · 4/4, Intro 4 bars: filtered kick, air, shaker, spoken male, Hook 8 bars: full groove, male/female short lines (“Don’t call / No me llames”, “Don’t text / No me escribas”), Verse 12 bars: reduced drums, rolling bass, single lead, Chorus 8 bars: full groove, shared vocals, Verse 12 bars: same groove, other lead, Drop 12 bars: percussion-led chant (“Dance it off / Báilalo”), Final Chorus 8 bars: widest section, Outro 4 bars: filtered groove, last line only, clean 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”

124 BPM, 4/4, Hard minimal UK tech house in the vein of Terry Francis, Gideon Jackson, and Eddie Richards, Tight 909 kick with weight, dry clap on 2 & 4, shuffled closed hats, swung rimshots, sparse tribal percussion, rolling mono sub locked to the kick, Acid: dominant TB-303 style square-wave line, single 16-step pattern, medium decay, strong envelope, pronounced resonance, Acid enters after first chorus already audible (not teased), cutoff opening steadily across long phrases, accents engaged early, slides introduced mid-track and maintained for pressure, No drops, no breakdown payoff — percussion thins briefly in the bridge while acid stays driving and hypnotic, Final section keeps acid aggressive and unresolved, DJ-friendly, warehouse energy throughout

Tempo: 125 BPM Time: 4/4 Style: Afro Tech House × Reggaeton (minimal, club-first) Intro — 8 bars • Kick (low, rounded) • Sub pulse (sidechained) • Shaker (16th swing) • Spoken vocal only Verse — 16 bars • Kick • Rim / clap (on 2 & 4) • Muted bass groove • Very light percussion loop • Vocal = 1 line every 2 bars (important) Pre-Chorus — 8 bars • Add toms (Afro feel) • Bass opens slightly • No new vocals after bar 6 (leave air) Chorus — 16 bars • Full groove locked • Kick + bass dominant • Open hat off-beat • Vocal = short chant phrases, repeatable Verse 2 — 16 bars • Same as Verse 1 • Add one new percussion texture only Pre-Chorus — 8 bars • Same as first (don’t change it) Chorus — 16 bars • Identical to first chorus (clubs need sameness) Breakdown — 8 bars • Kick drops • Sub + pad • One spoken line only Final Chorus — 24 bars • Everything back in • Extra percussion • Ad-libs allowed Outro — 8 bars • Kick + sub • Vocal echo tail

170–174 BPM | 4/4 | Key: F minor → Ab major lift — Atmospheric intro with vinyl crackle, city ambience, filtered pad and sub swell; Verse drops into rolling liquid DnB with warm Reese bass, crisp Amen break layers, ghost snares, and deep sidechained sub; Pre-Chorus strips drums slightly, adds rising pad and delayed vocal throws; Chorus hits full-energy liquid/anthem DnB with wide pads, emotional chord stabs, steady ride cymbal, and strong bass movement; Verse 2 adds subtle jungle percussion and call-and-response bass edits; Bridge switches to halftime (85–87 BPM feel) with minimal drums, sub bass, and reverb-heavy vocals; Final Chorus returns full 174 BPM with added string synth, octave bass, and extra top-end lift; Outro fades with pad, filtered break, and tape echo — nostalgic UK DnB with modern polish, emotional not aggressive

STYLE (Tech Afro House × Breaks / Krafty Kuts) 4/4 | 124 BPM | Key: A minor — Intro with filtered Afro percussion, shuffled breakbeat top loop, deep sub pulse, vinyl FX, radio noise, spoken intro vocal rhythmically chopped, triggered on beat 1 every 2 bars; Verse locks into rolling tech-Afro groove — punchy kick, syncopated bass, rim + clap, organic tribal percussion, lead vocal delivered spoken-sung, short phrases snapped to the grid, 1 bar on / 1 bar off; Pre-Chorus drops kick briefly, percussion continues, filter opens, vocal reduced to single-word hits on off-beats; Chorus hits full power — solid kick, breakbeat layer underneath, wide Afro drums, bass pressure, chant vocal looped as a 4-beat rhythmic hook, percussive not melodic; Verse 2 adds extra percussion and break fills, same vocal rhythm maintained; Bridge strips to sub, percussion and FX, vocal gated and pulsed on quarter notes; Final Chorus brings full groove back with extra break fills and open hats, crowd-style response

(Minimal Tech House) 118 BPM, 4/4; deep clean kick, soft side-chained sub, shuffled closed hats, rim clicks, 16-bar intro with kick + texture only, spoken line drops dry, Main loop runs hypnotic with no added elements; tension from repetition, Female call appears every 32 bars, filtered and panned, 8-bar breakdown removes kick, leaves bass pulse + delay tails, then rebuilds slowly, Outro strips back to kick, sub, and whispered “Twisted English, ”

BOX 2 — BEAT MAP (TECH HOUSE x AFRO-LATIN FOLK) 124–126 BPM | 4/4 | Club-ready Intro (0:00–0:45) Filtered drum loop, off-beat closed hat, low-passed bass ghost notes, Spanish guitar single-note plucks (high-passed), FX riser every 8 bars, spoken “Still moving…” teased with delay, Groove Establish (0:45–1:30) Full kick enters, tight rolling mono bassline, clap/snare on 2 & 4, shuffled hats, muted stab chord, guitar rhythm tight and percussive, Build 1 (1:30–2:00) Bass filter opens slightly, Afro/Latin percussion fills, vocal chop “closed eyes”, noise sweep tension, Drop 1 (2:00–3:00) Bass fully open, drums locked, rhythmic stab chord, Drop Chant (“Still moving / Cuerpo y ritmo”) every 8 bars, guitar hook answers bass, Breakdown (3:00–3:30) Kick drops, bass filtered, Spanish vocal line “No me salves…” with long delay throws, guitar sparse and emotional, Build 2 (3:30–4:00) Light snare roll, filter automation up, white-noise lift, guitar tremolo rising, Drop 2 / Peak (4:00–5:15) M

(ACID HOUSE × ANDALUSIAN FOLK, FITS LYRICS) 126 BPM | 4/4, Straight 909 kick throughout, shuffled closed hats with light breakbeat swing (Krafty Kuts feel but 4/4), rolling TB-303 acid bass with slow cutoff automation doing the heavy lifting for movement, clap on 2 & 4, sparse rim fills every 8 bars, Andalusian nylon guitar used rhythmically, short rasgueado stabs answering the acid line, not leading, Vocals enter as loops, not verses: “Still moving / closed eyes” as dry chant every 8–16 bars in drops, Spanish lines used only in breakdowns with delay, Breakdown strips to kick + filtered acid + guitar, then cutoff rises back into peak, Track length comes from filter changes, percussion swaps, and acid modulation — no extra vocal sections added

Dark UK-leaning Afro house at 123–124 BPM in 4/4, late-night and weighty, minor key, swung groove with subtle broken-beat influence, deep rounded kick with controlled sub pressure, intro 16–32 bars instrumental with filtered percussion, low vinyl texture and distant guitar stabs, verses run on steady kick, shuffled hats, low tom/conga ghost hits and minimal bass movement, vocals dry and close, pre-chorus pulls low end briefly to create tension, chorus keeps groove unchanged but adds low male/female harmony and darker chord voicings, no energy lift, Krafty Kuts–style break edits appear as sharp 1–2 bar fills and turntable-style cuts between sections (never a full break), bridge strips to percussion, bass pulse and guitar texture with exposed vocals, final chorus returns full groove with added harmonic weight but no brightness, long outro designed for DJ blending, no EDM risers, no drops, pressure over drama, suitable for Fabric-style floors at 4–6am