Concept Album In progress

Progressive rock, retro-prog 70s & modern prog fusion, Inspired by Genesis (Foxtrot, Selling England by the Pound), Emerson, Lake & Palmer ( 70s), with modern clarity, Key instruments: Moog synthesizer arpeggios & melodic leads, Hammond organ riffs & wide chords, Drums: jazz-influenced, syncopated, with odd-time signatures, Bass: pedal tones and counter-melodies, driving but fluid, Guitars: clean to slightly overdriven, textural and melodic, not heavy metal, occasional solos but secondary to keys, Harmony: modal (mixolydian/dorian), avoid pop cadences (no I–V–vi–IV), Use I–bVII–IV progressions, pedal bass with changing upper chords, sus2/add4 voicings, Mood: epic, optimistic, adventurous, exploring, Structure: dynamic contrasts, instrumental interludes, Moog vs, Hammond call & response, atmospheric fade-out, dry to moderately dry, close-mic, slightly gritty/edgy, Narrative, prog-rock style

Keep mainly to existing style Enhance accoustic guitar by moog and oriental synth sounds, Main male singing voice remains one singer from start to finish Use more synthetic voices for the echoes, Use Multilayered voices for echoes, Dry and tight studio mix, Radio voices hyper realistic, different voices as inidicated

melancholic progressive rock with narrative dynamics, subtle textures, emotional vocals, dry and raw mix, Guitars alternate between clean and slightly distorted tones, Use ambient pads and occasional dissonant accents to enhance tension, Drums understated but present, BPM: 75–90, Begin with broken, dusty textures, evolve into moments of clarity and tension, Add background guitar motifs (single notes, delayed or lightly distorted) in verse 1 and Hiroshima passage, Chorus should remain expansive, but not triumphant, Bridge minimalistic, outro introspective

Genre: Heavy Progressive Rock, Retro-Prog/Modern Prog Fusion Influences: Genesis (Foxtrot), King Crimson (Red), AC/DC-style (stomp riffs), Fairport Convention (folkloric touch) Mood: From rebellious and triumphant to dark, chaotic, bitter Key Instruments: Crunchy guitars with AC/DC-style stomp (4/4, 7/8), Hammond organ riffs, Moog leads, driving bass with counter-melodies, syncopated drums (odd times, 5/4 in bridge) Vocals: Passionate to cynical lead, choral backing (folkloric intro/chorus 1, dissonant chorus 2), Spoken manifesto parts (intro, bridge, outro); female call-and-response in outro Harmony: Modal (Mixolydian/Dorian), I–bVII–IV, sus2/add4 Structure: Choral intro, stomping verses, anthemic chorus, chaotic 5/4 bridge with glitch, reflective outro Production: Dry, gritty mix, close-mic, subtle distortion in bridge Tempo: 90–110 BPM, marching feel, accelerating bridge, slow outro Lyrics Vibe: Narrative, intense, poetic – from zeal to betrayal

slow, gentle Mid-Album track of a prog-rock concept album, Bass groove dominating with pattern being repeated in the various parts

No filter on the voicers, clearly understandable verse 1, Sing the Bridge, no Sprechgesang Dystopian psychedelic prog metal in 7/8, Psychedelia inspired by Lucy In The Sky With Diamonds, dark synth wave like Depeche M, orchestral drama like Muse, and modern progressive heaviness reminiscent of Dream Theater, Start immediately with drums (keep intro to minimum), Cold female voice for Vashti; emotional male voice for Kuno, Quiet detuned mechanical bee-hum under the mix, Sterile synths, pulsing bass, gated drums, Bridge: full drop — no hum, only acoustic guitar + night ambience → ~30s emotional bluesy prog solo (long bends), Final chorus: explosive prog-metal peak → sudden collapse, tape-stop hum, glitch feedback, Outro: fragile acoustic + lonely flute, whispered lines → single distant bird call → silence, ‑pop, ‑schlager, ‑children song, ‑polka

odd meters, epic middle section, rock, old male vocals, progrock

Upbeat 130-160 bpm Progressive Retro Pop/Rock With Influences From The 1980S, Verses Feature Rhythmic Spoken Vocals In German, Dry And Slightly Ironic – Inspired By Falco Without Leaning Fully Into Ndw, Chorus Should Be Melodic And Expansive With A Progressive Build-Up, Avoiding Anything Too Anthemic Or Poppy, Bridge Introduces Subtle Tension: Stripped-Down Arrangement, Glitchy Analog Synths, And A Darker, Whispered Vocal Tone, End With The Iconic English Line: “Tonight We’re Gonna Party Like It’s 1999, ” Instrumentation: Analog Synths, 80S-Style Drums, Electric Bass, Telecaster Guitar Riffs (Not Dominant), Subtle Handclaps, Layered Pads, Production: Polished And Dynamic, With Retro Warmth And Modern Clarity, References: Falco (Spoken Delivery), Bowie And Queen (Structure And Theatricality), 80S Progressive Pop

A dynamic progressive rock song with a dramatic, cinematic arc, Begins with a playful and mysterious intro entering into a circus or amusement park, transitions into a mix of clean and distorted guitars, layered keyboards and shifting rhythms, This first part ncludes alternating instrumental sections with intense Prog keyboard solos, a chaotic interlude after the first chorus, which transitions to a second part, that will be later extended and the verses will have a different vibe, The verses of the second part will play under water, and will have keyboard dominated pad sounds that reflects deep water, The vocal delivery should evolve from narrative and reflective to powerful and anthemic

Poregressive Rock/Metale in the style of Dream Theater, Guitar Like John Petrucci, Voice like my personae Steven alternating with different whispering voices in Bridge B, drums like Mime Portnoy and Keyboards like Jordan Rudess

Use detuned piano for intro, Add echo fade out for final scream

A dramatic, cinematic, and politically charged German-language rap song with a dark, urgent atmosphere, The song features a male vocalist delivering rap verses and spoken word sections, often with a distorted, megaphone-like effect, The instrumentation includes a prominent, driving electronic beat, deep synth bass lines, and atmospheric pads, Orchestral elements such as strings and brass are used to build tension and add a sense of grandeur, Sound effects like news broadcasts, explosions, and crowd noises are integrated throughout, enhancing the narrative, The tempo is moderate, creating a sense of impending doom, The vocal delivery shifts between aggressive rapping, urgent spoken word, and a more melodic, almost operatic singing style in certain sections, The production is dense and layered, with a focus on creating a powerful and immersive soundscape, The song builds in intensity, culminating in a chaotic and climactic outro with multiple vocal layers and sound effects