2:41

Genie
v4.5
Boom bap grime beat drives the track, anchored by relentless heavy 808s and guitar basslines, Throughout, regal British male vocals proclaim with exaggerated monotone, theatricality, layered over a constant looping filtered synthwave and motif, the chorus is eerie and haunting with a pop beat, The outro explodes with a wild, high-pitched male voice, unrestrained and shouting over the dense backdrop, Broadway, Posh British, Regal, Royal Theatre, Heavy Sarcasm, male vocals, ‑singing
3:41

3:47

High
v4.5
Bright piano leads open into punchy, glam-tinged guitar riffs, driving soft rock drums, Male american vocalist, Bass lays bold, upbeat undertones while wry instrumental breaks feature cabaret-style percussion, A rousing, melodic chorus lifts the mood, anchored by grand piano and brassy accents reminiscent of vintage music hall
3:39

Poor Souls
v4.5
A brooding orchestral intro with distant, crackly found audio swells into thunderous percussion, brass, and haunting choir, Layered strings and tense synths intensify, leading to a theatrical climax featuring booming drums, dramatic sound design, culty adlibs, crowd vocals, and a soaring sung chorus
3:14

3:07

3:17

Backtrack
v4.5
A fun classic east coast track that jumps straight in without an intro, The American male vocalist raps with self deprecating humour, The instrumentals are layered with east coast trap influenced drums and snares, an inconsistent time signature, There is some powerful bass pulsing throughout with a slight trap influence, At the end of the track, a bouncy swing sample dance tune takes over as the track ends
3:53

3:12

Baby Black
v4.5
A Memphis phonk type beat at 144 bpm fuses brooding, slow sub-bass and gritty guitar with broken, distorted drum patterns, crazy imposing bass dominates the track, The male american vocalist has a very deep, raspy and grungy voice, Experimental shifts in time signature keep sections unpredictable, Synths breeze through while rhythmic flows ride jagged, syncopated beats
3:29

3:17

Letterbox
v4.5
A bass-boosted, silly grime by spoken word in crisp, male British accents, dialogues and punchlines cut with playful laugh tracks, Cheeky adlibs from backing vocalists punctuate key moments, while the instrumental is limited to a thumping, grime, hip-hop bass groove, male british, massive basslines throughout, Chorus is spoken word slow and monotone
2:44

Drop King
v4.5
British vocalist for verses 1 and 2, The chorus erupts with thunderous sub-bass, punchy 808s verse 1 has a regal and royal british, 1920s vocalist, slow and methodical, verse 2 has a very exaggerated spanish male vocalist, angry! high pitched at times
vinyl flick after chorus finishes
consistent beat after the first verse
heavy bassline drill beat, synthwave 808s
chorus needs a powerful bassline, ‑female
3:56

Just Human
v4.5
A long, mournful intro, A sad trap track led by a male vocalist with an experimental rap flow, featuring mournful spoken word lines, The production combines lo-fi soul textures with a deep, submerged bassline, heavy 808s, vinyl crackle, and ambient field recordings, Muted trumpets echo after the chorus, blending into a funeral-inspired beat for an atmospheric soundscape
3:23

eeire drill, posh British, regal, duet, slow bass 808, Sherlock, Holmes, male vocals
3:27

Cronenberg
v4.5
a poised male British vocal in the royal English accent, The pacing remains spacious, offering room for dramatic pauses, stately percussion provide elegance and gravity, But there's tones of panic throughout
2:18

Sweet Loam
v4.5
Dark experimental western hip-hop/trap at 78-82 BPM, with swung, unstable rhythms and bursts of precise rhyme, Close-mic dry male vocals, loud adlibs of haunting deep eerie choir chanting, Sections shift from drumless dusty detuned piano and static to full swampy 808s, metallic industrial snares, humming pads, and wind fallout ambience, Verses build from creeping to punchy; choruses are chant-driven, hypnotic, and layered; bridge is ambient and spoken; final verse slows then ends in silence
2:31

Agony Aunt
v4.5
The track opens with a grand piano riff and subtle vinyl crackle, the posh, regal British intro layered over orchestral hits, Verses 1 and 2 feature a relaxed hip hop groove—tight snare, upright bass, gentle Rhodes—while the posh vocal delivers lines with dry comedic pauses, Verse 3’s beat intensifies with punchy drums and faster percussive fills as an angry English guy shouts over grittier synths, The chorus is marked by string flourishes and parodic vocals: the regal man’s exaggerated old lady impression, playful horns, and quick comedic breaks that spotlight the absurdity
2:35

A posh and regal British vocalist glides over sharp UK grime drums and hard 808s, with lush, bass lines weaving between sections, The chorus strikes a goofy, playful tone, underpinned by bouncy rhythms and quirky melodic accents, Rap and flow with monotone and sarcastic vocals
eerie piano, with distorted basslines in the background, male VOCALS ONLY
2:54

Burnout
v4.5+
The track fuses pop rock, hard-rock grit, and old-school jazz voicings with dark techno textures and booming house-inspired punchy 808s, Slap-bass and rolling hi-hats ride atop grimy, progressive hip hop beats in an odd time signature, Hard kicks and layered slap-bass drive a thunderous, eccentric groove, Bass vocals cut through with aggressive, studio-quality delivery, all wrapped in a catchy, party-ready refrain, two regal British vocalists deliver a back and forth rap commentary in verse 2, male vocals
4:01

Keep Coming Back
v4.5+
A punchy indie‑pop track with jangly guitars, syncopated drums, a minimalist bass groove, and catchy repetitive hooks, Use conversational male vocals, cool‑tempered delivery, with layered backing harmonies at choruses, Build gradually—start sparse, add emotional guitar arpeggios and percussion by the second verse, then full instrumentation by the final chorus, Mood: wry and detached with biting wit
3:22

2:48

Rest Now
v4.5+
The track launches with warped vocal samples and a glitchy synth loop over sparse trap-inspired percussion, Verses slowly ride a distorted 808 bass, sporadic hi-hats, and eerie keys, The chorus contrasts with airy, detuned pads and abrupt rhythmic shifts, sustaining a surreal, unsettling vibe
3:16

Dark, 1970s-Infomercial-Jingle, dark-jazz, elevator-music, funk, dark-broadway, theatrical-rap, male vocalist, light-rap-rock, horrorcore-pop
3:23

Regal, slow, posh, exaggerated mundane, theatrical, Dan Bull, melodramatic rap, male vocals
2:50

dark choir, trap, British, slow rap, deep voice, british male vocals, kratos
3:15

3:22

3:14

Grand Old Day
v4.5+
Verse 1 starts with a soft guitar melody and a man softly singing in a lullaby tone as if he's strumming the guitar himself, The chorus is uplifting and happy, verse 2 starts off the same as 1 but soon devolves into chaos and screaming when the explosions happen, male vocals
2:57

Translate II
v4.5+
The track opens with a stately 1920s-style British orchestra—strings, brass, and a grand piano—establishing a luxurious mood, A slow, heavyweight 808 bass and sparse grime-inspired percussion underpin male spoken-word rap, delivered as if addressing an audience in an opulent hall, Dynamics shift between lush orchestral swells and stripped-back moments where rap takes center stage, merging posh elegance with urban grit, Anything in brackets is also spoken word, ‑female, ‑singing
3:01

A British drill cypher featuring a Monotone deep British old school aristocratic voice, the verse begins with stark 808s, metallic hi-hats, and brooding synths, Each verse spotlights a regal British voice: posh and articulate layering vocal timbres for dynamic interplay, 1920s theme and voices, posh and exaggerated pompous exposition, male vocals
3:08

Dearest Me
v4.5
Opens with dramatic orchestral strings and bold brass stabs layered with deep, cinematic bass, The verses feature crisp American male rap, theatrical pacing, and dynamic ad-libs over intricate percussion, The chorus contrasts with a melodic male voice, reinforced by sweeping orchestra










