Кентербери

Full track in the style of the Canterbury Scene and classic Soft Machine, Progressive rock mixed with jazz-fusion and psychedelic rock, Use complex time signatures (7/8, 5/4, occasional 4/4 transitions), warm analog fuzz bass, overdriven Lowrey/Hammond organ solos and chords, dissonant tenor saxophone, and dry, intricate jazz drumming, Male vocals in Russian, high-pitched, slightly nasal, fragile and expressive, often half-spoken like Robert Wyatt, Surreal, humorous, philosophical lyrics about a cosmic teapot and absurd reality, Include long instrumental passages, free-jazz improvised sections, tape delay, reverbs, reversed textures and experimental sound design, Make it sound like an early-1970s Canterbury progressive record: organic, warm, eccentric, intellectually playful yet emotionally deep

Canterbury scene progressive rock in the style of classic Soft Machine, Soft, slightly fragile male vocal like Robert Wyatt, English late‑60s/early‑70s psychedelic jazz‑rock mood, No lead guitar: focus on vintage Lowrey‑style organ through a Marshall‑type stack with fuzz, warm melodic electric bass, expressive jazz drums with snares off, and dissonant alto saxophone, Use odd meters (7/8, 5/8) and occasional switches to 6/8 and 4/4, with playful yet complex rhythms, Start with a droning organ and intimate vocal, then build into a denser, experimental fusion section with extended organ and sax solos, tape‑echo effects, and psychedelic textures, Keep the harmony mostly modal with unexpected chromatic chords, mixing whimsy and melancholy, Emphasize dynamics: quiet, close verses, chaotic instrumental middle, and a powerful, organ‑driven outro that swells in fuzz and suddenly cuts to silence, No modern EDM sounds; everything should feel analog, warm, slightly detuned, and improvisational, li

Canterbury scene progressive rock in the style of classic Soft Machine, Soft, slightly fragile male vocal like Robert Wyatt, English late‑60s/early‑70s psychedelic jazz‑rock mood, No lead guitar: focus on vintage Lowrey‑style organ through a Marshall‑type stack with fuzz, warm melodic electric bass, expressive jazz drums with snares off, and dissonant alto saxophone, Use odd meters (7/8, 5/8) and occasional switches to 6/8 and 4/4, with playful yet complex rhythms, Start with a droning organ and intimate vocal, then build into a denser, experimental fusion section with extended organ and sax solos, tape‑echo effects, and psychedelic textures, Keep the harmony mostly modal with unexpected chromatic chords, mixing whimsy and melancholy, Emphasize dynamics: quiet, close verses, chaotic instrumental middle, and a powerful, organ‑driven outro that swells in fuzz and suddenly cuts to silence, No modern EDM sounds; everything should feel analog, warm, slightly detuned, and improvisational, li

1970s Canterbury Scene, Progressive Rock, Jazz Fusion, Avant-Garde, Heavy Fuzz Bass, Lowery Organ with Wah-Wah, Dissonant Saxophone, Complex Time Signatures, 7/8 Rhythm, Dry Jazz Drums, Robert Wyatt style vocals, High Pitch Fragile Male Voice, Psychedelic, Experimental, Surreal

[Full Song Prompt | Canterbury Scene Progressive Rock in the spirit of Soft Machine | witty, surreal, jazz-rock, vintage] Canterbury progressive rock with Soft Machine-inspired jazz-fusion energy: fuzzy melodic bass ostinatos, loose-but-precise jazz drums, Lowrey/Hammond-style organ with detuned “circus” motifs and wah-filter soloing, prominent saxophone improvisations, abrupt meter shifts between 7/8 and swinging 4/4, quirky spoken-word asides, warm vintage tape saturation and room ambience, Male vocal: high, fragile, slightly nasal, deadpan-ironic, art-school British vibe; playful phrasing that sits inside odd meters, Arrange as a mini-suite: intro riff → verse (7/8) → catchy horn-driven chorus (4/4) → heavier verse (7/8) → bigger chorus → extended sax/organ solo section → minimal verse (5/4) → spoken philosophical outro on one chord → dissolving tape-echo ending with studio noises

1970S Canterbury Scene, Progressive Rock, Jazz Fusion, Avant-Garde, Heavy Fuzz Bass, Lowery Organ With Wah-Wah, Dissonant Saxophone, Complex Time Signatures, 7/8 Rhythm, Dry Jazz Drums, Robert Wyatt Style Vocals, High Pitch Fragile Male Voice, Psychedelic, Experimental, Surreal

Canterbury progressive rock, Soft Machine–inspired late 60s/early 70s jazz-psychedelic fusion; vintage studio band: Lowrey organ with fuzz + rotary, Rhodes electric piano, fuzz bass, tight dry drums, baritone/tenor sax (occasional muted trumpet), playful dadaist surreal mood with melancholic chorus; odd meters (mostly 7/4, bridge free-jazz then locked 5/4), stop-time hits, tape saturation, spring reverb, tape echo throws, wide stereo; high airy boyish male lead vocal (Wyatt-like) slightly behind the beat, close-mic spoken-word ending; dynamic arc from quirky groove to dreamy chorus to chaotic improv and minimal near-silence, ending in hypnotic loop with feedback and long tape-delay fade

Full-song prompt: Canterbury-scene progressive rock / jazz fusion track with witty surreal vibe; verses in 7/8 (3+2+2) driven by melodic fuzz bass and vintage Lowrey organ with fuzz/wah; dry jazzy drums with ghost notes; sax/brass stabs and quirky “quacking” phrases; abrupt dynamic shifts into a swinging 4/4 chorus that feels like a psychedelic carousel; extended organ+sax improvisational bridge with free-jazz tension and hard-stop “shattered glass” hits; outro becomes looped, echo-drenched and hypnotic; final ends in near-silence with Russian spoken-word philosophical coda and one lonely cymbal hit; analog warmth, tape delay, wide stereo image, punchy low end; male high fragile tenor vocal, detached and intimate