and then

djent, heavy, deep growl vocals, messhugah-style chugs, brutal breakdowns, horror, earth-shattering, ‑pop, ‑melodic

midwest emo, emo pop punk, indie emo, raw recording, acoustic space with mic'd room, unprocessed mix, open tuned interlocking guitars with reverb and delay, bright single coil clean tones breaking into overdriven walls of sound, arpeggiated melodic riffs layered over chugging rhythmic palm mutes, punchy snare driven drums with dynamic soft to loud shifts, warm bass holding the low end through tempo changes, raw earnest vocals with a slight nasal edge and emotional grit, dual vocal harmonies stacking in choruses, half time breakdowns building into explosive full band crescendos, lo fi warmth in the quiet sections contrasted with polished full band energy, melancholic atmosphere with cathartic release

post-hardcore, jazz-inflected post-hardcore, midwest emo, R&B phrasing, smooth male vocals, down tuned guitars, clean arpeggiated guitar, percussive melodic bass, kick-synced bassline, warm Rhodes voicings, maj9 guitar voicings, suspended chord swells, punchy tom grooves, halftime backbeat, plate reverb, tape saturation, warm mid forward mix, mid tempo pocket, restrained chorus lift, human looseness

romantic intimate ballad, jazzy chords, 4-part harmony, solo Fender Rhodes electric keyboard only, singer/songwriter, breathy vulnerable vocals, no drums, no other instruments, minimalist two-element arrangement, delicate Rhodes bell tones, whispered emotional delivery, slow contemplative, reverb-drenched keys, stripped down production, acoustic space, solitary piano accompaniment, contemplative

gospel soul, New Orleans second line, call and response choir, preacher style lead vocal, full-throated soprano belts, shouted ad libs, baritone sax growl, trombone punches, staccato horn stabs, choked rhythm guitar, organ under choir, percussion locked bass, tight snare kick syncopation, raw dry tones, mono to stereo mix, punchy low mids, relentless groove, sanctified swagger, midtempo march