NDC -The Leftovers

A Swedish dansband-style song with a slightly modern twist, Female lead vocals, The mood is nostalgic, quirky, and heartfelt, The song should have a mid-tempo rhythm (around 105 BPM), strong 4/4 beat with a soft shuffle feel, Clear instrumentation: electric guitar with a twangy tone, soft pads, bass, drums with snare on beats 2 and 4, tambourine, and synth strings, It should be danceable – suitable for foxtrot or bugg – with a classic, folky Scandinavian dancehall vibe, Vocals should be warm and expressive, with storytelling in the verses and emotional lift in the chorus, Add vocal harmonies in the chorus and a dreamy, slightly cinematic feel in the bridge, ‑Do not include autotune, ‑hip-hop elements, ‑trap beats, ‑heavy electronic dance music, ‑glitch effects, ‑aggressive vocals, ‑or English lyrics

Upbeat glitchpop-disco anthem with strong Eurovision influence, Driving four-on-the-floor beat, bright synths, shimmering arpeggios, and full vocal presence, Female lead vocal with emotional clarity and pop precision, Verses should be simple and steady; chorus must lift with layered harmonies and bright instrumental textures, Bridge drops the beat for an intimate moment, then builds quickly into a full-on final chorus and massive crescendo, Include a final repeated hook (“NEON KNOWS”) with stacked vocals and synth saturation before ending on a dramatic full stop, ‑No lo-fi effects, ‑no analog distortion or vintage tape sounds, ‑Avoid subtle or whispered vocals — this is bold and confident, ‑No jazzy rhythms, ‑ambient textures, ‑or downtempo mood, ‑Keep energy high, ‑p

Slow, Smoky Delta Blues With A Raw, Live Feel, Slide Guitar And Acoustic Strumming In Open Tuning, Laid-Back Harmonica Fills, Deep Walking Bass, And Brushes On A Small Drum Kit, Recording Should Feel Intimate, Like A Late-Night Jam In A Dim Bar With Tape Hiss, Male Vocals By Lars Vega — Low, Raspy, A Little Amused, Storyteller Tone With Dry Humor, Performance Feels Improvised, Leaning Into Small Imperfections, The Vibe Is Throwback, Nostalgic, Tagged As “Throwback Thursday, ”

Playful Children’s Choir Punk Song, Upbeat and silly, with acoustic guitar, bass and simple punk-style drumming (snare hits, stomps, claps), Sung by children’s choir (ages 7–10), with laughter and giggles between lines, Keep the energy raw, fun, and slightly chaotic, like a mix between a playground chant and a punk show, ‑No polished pop vocals, ‑no adult choir, ‑no synths, ‑no heavy orchestration, ‑Do not make it clean or serious, ‑Keep it playful, ‑raw, ‑and messy with children’s voices, ‑laughter, ‑clapping, ‑and punk-style rhythm

80s satire rock / lo-fi punk jingle hybrid, male & female vocals alternating, cheesy commercial voice intro, upbeat tempo with cheap synths and toy drums, playful but darkly ironic tone, sounds like a forgotten 1984 TV ad recorded to VHS, tape hiss, cigarette smoke energy, “Cigarette-Smoking Toy Monkey” by The Leftovers

Future punk / cyberpunk punk rock, Female lead vocal (raspy, loud, angry) with raw gang shouts, Overdriven guitars, distorted bass, heavy punk drums, Metallic synth textures and glitchy background noise, Chaotic, dystopian energy, ‑No clean pop vocals, ‑no autotune, ‑no polished production, ‑no acoustic instruments, ‑no jazz, ‑no funk, ‑no classical, ‑no EDM drops

Trap track featuring female vocals (Marlow) as a modern Dick Turpin, Confident, breathless delivery with a mix of spoken lines and chant-style hook, Dark cinematic UK-style trap beat with FX: motorcycle sounds, wind, gun cocks, and distorted sub-bass, Vocal performance is gritty, sly, and theatrical — like an outlaw on the run

[Live Acoustic Field Recording – Minimal Setup] [Female Vocal: Marlow – raspy, intimate, half-spoken delivery with subtle breaks and sighs] [Instruments: One worn acoustic guitar, loose strumming, soft finger noise, wooden resonance] [Ambience: Outdoor night by a campfire, faint wind, gentle crackle of burning wood, occasional ember pops] [Atmosphere: Lo-fi, unpolished, emotional — recorded as if on an old cassette mic after the world has gone quiet] [Tone: warm, melancholic, fragile; space between notes feels like breathing] [No crowd noise, no applause — just quiet presence of unseen listeners around the fire] [Title suggestion: “The Second Apocalypse – Firelight Session”]

Chillwave Punk Hybrid (Live), Verses in dreamy lo-fi chillwave style: airy female vocals, hazy pads, lo-fi beats, Choruses explode into raw punk energy: distorted guitars, fast drums, shouted gang vocals, Include crowd ambience, mic crackle, feedback squeals, basement-show vibe, Female lead (Marlow) with urgency, attitude, and spoken moments, Playful live atmosphere as if Toxtricity is jamming with The Leftovers

Genre: Tribal punk with raw percussion and distorted garage energy, Female lead vocal – gritty, half-chanted, half-screamed, Organic rhythm from hand drums, scrap metal, and stomps, Sound like a ceremony turned riot

Spanish-language psychedelic punk track with accordion and hallucinatory imagery, Male and female vocals alternate between whispered memories and sung confusion, Accordion leads with haunting, out-of-tune melodies, Rhythm has a cumbia-punk bounce, but loose and dreamlike, Feels like waking up inside someone else’s memory, Atmosphere: ghostly, feverish, unstable, Let the vocals stumble, Let the sound blury, Realidad distorsionada

Raw punk energy colliding with broken jazz, Aggressive live drums, distorted upright bass, off-kilter horns, Guitars scraping, feedback bleeding through, Female vocal – rough, shouted, unapologetic, Sounds like a riot in a rehearsal room, someone smashing a saxophone for rhythm, Think protest, grit, chaos – not melody

[Style: Pirate Rock Sea-Shanty Fusion — rowdy tavern energy, storm-soaked attitude, heavy boots on wooden deck, Raw female lead (Marlow) with raspy grit, echoed by gang-chant male voices, Accordion stabs, low droning hurdy-gurdy, thundering floor-tom drums, jangly seaworn acoustic guitar, and creaking ship ambience, No modern synths, Rhythm swings like waves, chorus built as a shouted crew chant, ] [Performance Notes: Marlow leads with feral sea-captain intensity, Echo’s whispers sound like wind through rigging, Kane’s shouted lines hit like commands on deck, Drums deep and tribal, gang shouts raw and imperfect, Occasional gull cries and distant storm rumble allowed, organic only, ] [Vibe: Salt-bitten, myth-haunted, riotous, Like a cursed crew singing defiance into a black ocean, ] [Keep all original lyrics EXACTLY as written, No additions, no rewrites, ] [Anti-Prompt: No electronic sounds, no synth pads, no digital FX, no polished pop production, No AI clichés, Everything must feel wo

joyful, modern electropop song for children with a summery, magical vibe, Playful female lead vocals, supported by a cheerful kids’ choir in the chorus, Bright xylophone melodies, warm synth pads, light percussion and claps, Add whimsical sound effects (like sparkles or giggles) and a dreamy bridge, Let it feel like a nighttime adventure under the stars — fun, safe, and full of imagination

Atmospheric raw black metal with female vocals, Screamed verses mixed with whispered passages, Cold, lo-fi production with tremolo-picked guitars, blastbeats, and ambient noise, The tone is bitter, isolated, and deeply personal — centered on the memory of being the last one chosen in schoolyard games, Include a spoken-word bridge filled with resentment and quiet despair, The overall atmosphere should feel like a frozen playground echoing with voices that never called your name, ‑Avoid polished black metal or melodic interludes, ‑No symphonic or cinematic elements, ‑No gothic choirs or fantasy themes, ‑This should not sound theatrical or heroic — it should feel forgotten, ‑lo-fi

[Genre: Russemusikk / EDM-Punk-Party Anthem / Norwegian Vocals – Male + Female Shouted Vocals] [Tempo: 130 BPM, heavy 4-on-the-floor kick, distorted bass, air-horns, crowd chants, live festival energy] [Instruments: sub-bass, synth brass stabs, claps, vocal shouts, distorted guitar stabs, party FX, sirens] [Mood: wild, reckless, euphoric, midnight chaos – sounds like a full russebuss crowd screaming the chorus] [Production: loud, compressed, gritty club mix – vocals raw, shouted, imperfect, dripping attitude]

Garage rock with spy-thriller influence, Female vocals, intense and gritty, Cracked voice, dark energy, fast drums with occasional orchestral stabs (Bond-style strings), Think late-night bar fight with a silencer in your coat, The song should feel cinematic but dirty — dramatic without polish, The band sounds like they’re barely holding it together but deadly accurate, ‑No synths, ‑no echo, ‑no ambient soundscapes, ‑No dream pop, ‑no retro-futurism, ‑No neon, ‑no sci-fi, ‑Avoid polished production, ‑no clean vocals or perfect harmonies, ‑No overused spy clichés — make it feel

Traditional mariachi with a raw, street-band twist, Band name: Lor Rezagados, Female lead vocals (Maria Luz – warm, passionate, slightly rough) with male backing shouts and “¡Ay ay ay!” calls, Trumpets bright and proud, nylon-string guitars strummed hard, deep guitarrón bass, and loud cowbell front in the mix, Occasional handclaps, foot stomps, and bar crowd ambience, Tempo is lively but imperfect, like played after too many tequilas, Lyrics celebrate birthdays and anniversaries with humor, mischief, and love for the moment, Keep it joyful, loud, and human — like a block party where everyone’s invited, Intro idea: [Intro – bar noise, bottle clink] Maria Luz (laughing): “¡Esta noche celebramos TODO! …y sí, más campana, por favor!” (Trumpet hit, cowbell cracks in, the band shouts “¡Uno, dos, tres!”)

Lo-fi britpop with soft male lead vocals (Kane) and melodic female vocals (Marlow), Guitar-driven, slightly dreamy but gritty, Echoed snare, vintage tape hiss, and a slow build into layered choruses, Lyrics reference religion, Camden, broken love and late-night faith, Bridge features whispered harmonies, Touch of organ or ambient background for a gospel feel

[Female lead vocals (Marlow) – emotional, dynamic, starting with whispered Spanish verses, ending in raw screams, Begin with flamenco-inspired rhythm – foot stomps, palmas, acoustic guitar, Let distortion slowly build into the mix: gritty bass, fuzzy guitar textures, and chaotic drum fills, The final section should collapse into noise – feedback, vocal breaks, messy timing, Add subtle reverb and mic clipping for a lo-fi edge, This is a personal breakdown dressed in rhythm – dance, then destroy, ], ‑[Do not use soft pop vocals or clean production, ‑Avoid polished transitions, ‑layered harmonies, ‑or balanced mixing, ‑No autotune, ‑No rhythmic perfection, ‑Let it crack, ‑bleed, ‑and collapse, ‑]

Glam rock with grit and attitude, Big stomping drums, fuzzy glam guitars, handclaps, and sassy riffs, Female vocal — confident, playful, with a sneer and swagger, Catchy, raw, and strutting, Sounds like a 70s glam band tearing it upp on stage with glitter and eyeliner, but still keeping it dirty, Add crowd noise or live feel for extra chaos

Cinematic synthwave soundtrack with intense retro-futuristic space battle sound design, Includes 80s analog synths, driving arpeggios, and atmospheric textures, Adds layered space battle sounds: laser blasts, warning sirens, distant explosions, distorted intercom chatter, Male spoken word verses (calm, dark voice) as if transmitting a final message, Female vocoder chorus (melancholic, ghostlike), Emotional tone: cinematic, tragic, defiant, Ends with a distorted power-down and static, ‑Avoid upbeat, ‑cheerful melodies or dance rhythms, ‑No trap beats, ‑no major chords, ‑No overly clean or commercial synthpop, ‑This is not a celebration — it’s a battle in space with emotional weight

This is not a performance, It’s a reckoning, A full symphonic orchestra — not just strings — performs a slow, fractured adagio built from sorrow, static, and suppressed screams, The string section leads with trembling restraint, but it’s the low brass and woodwinds that bring the unease: – horns that growl like distant thunder – a bassoon line that feels like a whisper you don’t want to hear – oboes slightly sharp, cutting the stillness – trumpets that don’t soar — they accuse Timpani and floor toms anchor the pain, like footsteps in a ruined hall, Piano enters sparsely, dissonant and hesitant — like a child playing in the dark, Let each section feel human — slightly off, like they’re trying to remember the piece from memory and failing, It should not feel like a clean recording — it should feel like grief conducted through tremors, Pain that unfolds slowly, but never releases you

[Style: Deep Psychedelic Rock with slow, drifting groove, Female lead vocal (Marlow): airy, dreamy, slightly slurred, Male vocal (Vega): dark, low, steady, Guitars: swirling phaser, long reverb tails, bending notes, surf-echo edges, Include a long instrumental section with extended psychedelic guitar drift (20–30 sec) after Verse 2, Bass: warm and circular, almost looping, Drums: lazy, behind the beat, hypnotic, Vibe: Bermuda Triangle weirdness — sunburnt, eerie, humorous, lost-at-sea feeling, Energy: slow, wave-like motion with dissolving edges, No synths, Rock instrumentation only, Structure: Spoken Intro → Verse 1 → Chorus → Verse 2 → Extended Guitar Drift → Whispered Bridge → Final Chorus (drawn out), ]

Classic Swedish Dansband In The Style Of Sven-Ingvars, Thorleifs, And Saxparty, Male Lead Vocal, Warm And Nostalgic, Full Band Arrangement: Saxophone Fills And Solos, Electric Guitar With Chorus, Keyboard/Organ Backing, Accordion In Verses, Walking Bass Line, And Steady Two-Beat Drums With Cymbals, Big Sing-Along Chorus With Backing Vocals, Bright, Summery, And Dance-Friendly, Recorded Like A Live Dansband Performance At A Summer Dance Hall

[Dark Emotional EDM Sad Banger, Extended instrumental intro – long section of only beats, bass, and pads before vocals, Female vocal – whispered, stretched, fragile, Words come late, drawn out over long bars, leaving rhythm to dominate, Deep sidechained bass, reverb-heavy pads, metallic echoes, Atmospheric, hypnotic, minimal, ], ‑[No early vocals, ‑No fast singing, ‑No pop chorus, ‑No cheerful EDM, ‑No festival drops, ‑No commercial sound, ‑Do not rush – keep it long, ‑stretched, ‑hypnotic and raw, ‑]

[Epic cinematic instrumental track, Slow atmospheric intro with deep drones, wind textures, and shimmering ambient pads, Builds gradually into a dramatic climax with wide synth layers, heavy percussion, and emotional orchestral textures, No vocals at all – entirely instrumental, Ideal for a film soundtrack, Tempo around 90 BPM, Ends with soft piano and a single fading breath or note, ]