77 Twisted Tracks - Wicked Music

AFRO HOUSE x UKG x STRINGS) STYLE: Afro house foundation, UK underground garage swing, orchestral strings, flamenco + banjo touches, Fender bass groove, BPM: 122–125, 0:00–0:20 — Intro Soft bongos + light shakers Muted Fender bass plucks Flamenco guitar harmonics Atmospheric violin swell 0:20–0:45 — Groove Entry Afro house kick (deep, warm) Bongos tighten into a 3/2 pattern Cello drone underpinning Light UKG hi-hat shuffle 0:45–1:15 — Verse 1 Strings (violin) answering vocal phrases Gibson banjo muted plucks on offbeats Bass becomes rounder and syncopated Minimal chords 1:15–1:40 — Pre-Chorus Flamenco guitar arpeggios rising Shakers widen Kick softens slightly Cello accents build tension 1:40–2:10 — Chorus Drop Full Afro house drum pattern Bongos + congas layered Wide violin/cello stabs Fender bass rolling groove UKG swing on hats + ghost claps 2:10 Percussion reduces Banjo + flamenco interplay Bass warms but stays minimal Pads widen behind strings, bounce drop, guitar

Andalusian folk songs are deeply rooted in Southern Spain's culture, primarily expressed through Flamenco, a passionate art form featuring various styles (palos) like Soleares, Siguiriyas, and Fandangos, often with deep, emotional lyrics and distinct rhythmic structures, Key elements include the characteristic Andalusian cadence (a descending chord progression) and melodic scales, with traditional songs like "El Vito" showcasing the unique Phrygian mode and historical connections to bullfighting and popular culture, Key Characteristics: Emotional Depth: Lyrics often convey intense feelings of despair, joy, jealousy, and love, reflecting the human condition, Rhythm & Meter: Complex rhythms and time signatures are central, with distinct feels for each palo(style), Melodic Scales: The Phrygian mode (Andalusian cadence) is a hallmark, creating a distinctive sound, Popular Styles (Palos) of Andalusian Folk Music: Sevillanas: A more cheerful, couple-dance form, popular in festivals, Solear

Here is the single-paragraph Tracy Chapman (Telling Stories) beat map, clean and usable: like the unplugged Clapton chapman style Slow folk storytelling at 86–92 BPM in 4/4, human and slightly behind the beat, with a dry, intimate lead vocal front and centre carrying a linear narrative (no chorus or drops), supported by steady acoustic guitar (simple downstrokes or light fingerpicking that never changes), very subtle percussion (soft kick felt on beat 1, occasional brush or rim later), warm bass entering gradually with mostly root notes, and sparse colour added only as the song develops (low organ or Chamberlin pad barely audible, optional single violin, pedal steel, or low whistle lines late in the track using long sustained notes); dynamics rise through vocal clarity rather than volume, instruments drop away toward the end, and the song finishes naturally like a thought completed, not a performance climax

Intro — 16–32 bars: minimal drums & percussion + atmosphere • Build-up / Pre-drop — introduces bassline and elements gradually • Main Drop / Groove — full drums, bass, percussion, groove elements • Breakdown / Minimal Section — strip back, remove kick/bass or lower energy • Second Drop / Variation — reintroduce full groove with variation (percussion, synth stabs, FX) • Outro / DJ-friendly exit — elements fade out gradually for mixing (This structure template matches most modern tech-house and underground-club-style tracks) ⸻ 🔊 Core Layers / Virtual Instruments & Samples • Kick drum (punchy, club-ready, sub + click) • Bassline / Sub-bass synth (deep, rolling, groovy)Krafty Kuts × Andalusian Guitar × Afro House — Beat Map 4/4 | 124 Bpm Constant | Quantised, Cut-Friendly, Dj-Safe Track Opens With Deep Afro-House Kick Fully Present From Bar One, Round And Steady, Side-Chained Gently To A Warm Sub Bass Playing A Simple One-Bar Motif With Swing; Dry Rim Or Clap On Two And Four O

Tech House Beat Map (Club-ready, minimal, functional) 124–126 BPM, 4/4, Intro (0:00–0:45): filtered drum loop, off-beat closed hat, low-passed bass ghost notes, subtle FX riser every 8 bars for DJ mixing, Groove Establish (0:45–1:30): full kick enters, tight rolling bassline (mono), clap/snare on 2 & 4, shuffled hat pattern, short stab chord muted, Build 1 (1:30–2:00): bass filter opens slightly, percussive fills, vocal chop or spoken phrase teased, tension via noise sweep, Drop 1 (2:00–3:00): bass fully open, drums locked, stab chord rhythmic, minimal vocal hook repeating every 8 bars, Breakdown (3:00–3:30): kick drops, bass filtered, delay throws on vocal, tension FX, Build 2 (3:30–4:00): snare roll light, filter automation up, white noise lift, Drop 2 / Peak (4:00–5:15): maximum groove density, extra percussion layer, bass variation every 16 bars to avoid fatigue, Outro (5:15–6:00): elements strip back for mixing, hats and kick last, FX tail out

122–124 BPM, deep Afro-house groove with warm rolling kick, rounded sub bass breathing off-beat, shakers and organic percussion (conga, djembe, rim) creating forward swing; Krafty Kuts influence comes through subtle broken-beat ghost hits and funk syncopation, not full breaks; intro uses filtered percussion, low pad, spoken vocal; verses stay sparse with bass + percussion only; pre-chorus opens hats and toms; chorus adds fuller percussion stack and vocal chant loop; break strips to drums, sub pulse, delay throws; final chorus reintroduces all elements with added open hats and rhythmic stabs, Exclude EDM builds, supersaws, cinematic drama, trap hats, glossy pop vocals, American hype delivery — keep it tribal, intelligent, and physical, electro

Tempo 76–82 BPM, 4/4, key of G or A major/minor blend: sparse acoustic guitar (boom-chick), upright bass entering after first chorus, brushed snare or muted kick on 2 & 4; Intro (0:00–0:20): solo acoustic guitar, light room reverb, no vocal; Verse 1 (0:20–1:05): male lead, guitar only, bass tacet; Pre-Chorus (1:05–1:25): female harmony enters softly, bass root notes begin; Chorus (1:25–2:05): full harmony, bass steady, subtle brush/snare; Verse 2 (2:05–2:45): female lead, male low harmony, same groove; Pre-Chorus (2:45–3:05): drop snare, vocal focus; Chorus (3:05–3:45): full dynamic return; Bridge (3:45–4:15): instruments pull back to guitar + bass, voices close-mic’d; Final Chorus (4:15–5:00): widest harmony, optional pedal steel or fiddle pad; Outro (5:00–5:20): guitar resolves alone, natural decay

CARLOS FRANCISCO – AFRO-LATIN TECH HOUSE PROMPT Afro-Latin tech house with rolling percussion, groovy sub bass, organic tribal elements, and rhythmic vocal accents, Carlos Francisco vibe: warm, percussive, uplifting, and groove-focused, Lead guitars, bass guitars, flamenco Spanish guitars cello bongos tam tam cow bell full drum kit cow bell, sitar, violin Afro house

Krafty Kuts × Andalusian Guitar × Afro House — Beat Map 4/4 | 124 Bpm Constant | Quantised, Cut-Friendly, Dj-Safe Track Opens With Deep Afro-House Kick Fully Present From Bar One, Round And Steady, Side-Chained Gently To A Warm Sub Bass Playing A Simple One-Bar Motif With Swing; Dry Rim Or Clap On Two And Four Only, No Fills; Shuffled Breakbeat Hats And Ghost Snares Enter Quietly To Give Krafty-Kuts-Style Grit Without Breaking The Grid; Andalusian Nylon Guitar Plays Short, Percussive Phrases (Muted Strums, Rasgueado Flicks, Tremolo Swells) Strictly Between Vocal Or Hook Phrases, Never Over The Kick; Flamenco Palmas Layer As Texture In Call-And-Response With The Breakbeat Ghosts, Filtered In And Out Every 8 Or 16 Bars; Energy Comes From Cuts And Drops Of Elements (Half-Bar Kick Mutes, Snare Cuts, Guitar Chops), Not From New Parts; Mid-Section Strips To Kick + Bass + Shuffled Breakbeat Drums Only, Then Guitar Re-Enters Chopped And Re-Pitched For A Crafty Feel;

Afro House × Flamenco × Reggaeton Beat Map (Krafty Kuts feel) — 122 BPM, 4/4, A minor with a hopeful lift near the end, 16-bar intro: deep Afro kick, soft sub, sparse palmas, filtered flamenco guitar harmonics, light texture, Verse (24 bars): steady kick/sub, subtle reggaeton swing, rim & shaker low, flamenco guitar call-and-response with intimate vocal, Pre-chorus (8 bars): rolling toms, tighter palmas, rising pad, Chorus (16 bars): off-beat bass opens, open hat, rhythmic guitar, no EDM drop, wider vocal, Short broken-beat fill (8 bars) with shuffle percussion, Verse 2 (20 bars) strips back, swing clearer, Chorus 2 returns fuller, Breakdown (12 bars): guitar + palmas only, Final chorus (16 bars) lifts gently, light strings, Outro (12 bars) fades to guitar and sub

Krafty Kuts × Andalusian Guitar × Afro House — Beat Map 4/4 | 124 Bpm Constant | Quantised, Cut-Friendly, Dj-Safe Track Opens With Deep Afro-House Kick Fully Present From Bar One, Round And Steady, Side-Chained Gently To A Warm Sub Bass Playing A Simple One-Bar Motif With Swing; Dry Rim Or Clap On Two And Four Only, No Fills; Shuffled Breakbeat Hats And Ghost Snares Enter Quietly To Give Krafty-Kuts-Style Grit Without Breaking The Grid; Andalusian Nylon Guitar Plays Short, Percussive Phrases (Muted Strums, Rasgueado Flicks, Tremolo Swells) Strictly Between Vocal Or Hook Phrases, Never Over The Kick; Flamenco Palmas Layer As Texture In Call-And-Response With The Breakbeat Ghosts, Filtered In And Out Every 8 Or 16 Bars; Energy Comes From Cuts And Drops Of Elements (Half-Bar Kick Mutes, Snare Cuts, Guitar Chops), Not From New Parts; Mid-Section Strips To Kick + Bass + Shuffled Breakbeat Drums Only, Then Guitar Re-Enters Chopped And Re-Pitched For A Crafty Feel;

Tempo: 92–98 BPM Time Signature: 4/4 Groove: Syncopated Dem Bow, slightly swung for Colombian pocket • Kick (BD-808 + BD-Punch layer): Pattern: Boom—pa-boom / boom-pa Add a soft transient layer for club punch, • Snare/Clap: Soft Colombian clap + digital crisp snare layered, Hits on 2 and 4, with a slight delay for groove, • Hi-Hats: 1/8th closed hats + 1/16th ghost hats, pan left/right subtly, Add triplet rolls on transitions, • Percussion Loops: Layer with Colombian tumbadoras, barriles, and dry shakers, Lots of air movement 2, Organic Colombian Influences To make it Colombia, but global, add these: A, Guacharaca (very light, rhythmic scraping) • Use it in the background on offbeats, • Gives the track a Colombian signature without overwhelming, B, Gaita Flute • Use short, catchy riffs in the intro and pre-chorus, • Filter it (low pass) on the verses, open up in chorus, C, Cumbia-style Tambora • Play soft stomps under the kick during drops, • Creates festival energy, D, Acco

🪗 NOTAS CLAVE – “MÁS ACORDEÓN” • Intro: acordeón solo 8–12 compases (melodía clara, repetible) • Versos: acordeón responde cada línea vocal (call & response) • Coros: acordeón abierto, brillante, doblado en octavas • Puente: acordeón libre, casi improvisado (Lisandro-style) • Outro: fade con acordeón solo (muy importante) Producción: • Acordeón al frente de la mezcla • Bajo y caja contenidos, sostienen — no compiten • Guacharaca constante pero suave, ‑• No reggaeton, ‑no dembow, ‑no trap • No EDM, ‑no drops, ‑no risers, ‑no FX modernos • No synth leads ni pads electrónicos • No autotune fuerte o voces robóticas • No machismo, ‑amenazas ni burla • No dramatismo tipo telenovela • No pop latino genérico • No coros femeninos sensuales • No hip-hop phrasing • No vibes de rom-com / soundtrack de película • No exageración caricaturesca

122–124 BPM, 4/4; Afro-house foundation fused with Andalusian flamenco feel using deep rounded Afro kick and warm sub, interlocked with palmas patterns adapted to 4/4 and nylon-string flamenco guitar (rasgueado rhythms and short melodic answers); intro uses filtered kick, low drone, distant palmas and dry spoken vocal; Verse 1 adds shakers, rim, muted break accents and restrained rolling bass; Pre-Hook drops kick briefly while palmas and guitar push forward with rising tension; Hook brings full kick, bass, open hats, palmas widened in stereo with chant vocal; Verse 2 increases breakbeat presence with syncopated toms and more animated guitar phrasing; Bridge strips to guitar, palmas and heartbeat-style low percussion; Drop reintroduces full Afro groove with guitar and palmas tightly interlocked; Ecstatic build opens filters and raises saturation and delay; Peak removes kick for 4–8 bars letting palmas, guitar, bass and vocal collide densely; Outro collapses hard to guitar harmonics

96–98 BPM (sweet spot 97) · 4/4, Intro 4 bars: Afro-house kick + warm sub, vinyl air, light shaker; spoken male vocal bars 3–4, Hook A 8 bars: full groove — Afro kick on 1 & 3, reggaeton swing percussion, clap/snare on 2 & 4 with micro-delay, closed hats with subtle break ghosts; male/female alternate short boundary lines, Verse 1 12 bars: groove strips back (no clap), rolling bass, male lead only, Pre-Chorus 8 bars: lift with tom fills, rising hats, female lead, Chorus 8 bars: full groove returns, bass wider, male lead with female counter-lines/harmony, Hook B 8 bars: sharper percussion accents, quicker vocal swaps, Verse 2 12 bars: same groove as Verse 1, female lead, Bridge 8 bars: kick + sub + sparse break clicks only, spoken lines traded, Drop 12 bars: percussion-led, Afro kick + reggaeton perc, chant overlap (“Dance it off / Báilalo”), Final Chorus 8 bars: widest section, stacked but restrained harmonies, Outro 4 bars: groove filters down, last two lines only — no truncation, ‑Avoid: – American pop vocals or accents – cheerleader energy, ‑rom-com tone, ‑movie soundtrack feel – Broadway, ‑musical theatre, ‑Disney, ‑Netflix drama style – teen pop or glossy radio pop – exaggerated vibrato or belting – smiley, ‑over-emotive, ‑theatrical delivery – major-key feel-good melodies – English-first US phrasing or pronunciation

BEAT MAP — Afro House × Reggaeton × Breaks (ULTRA FIT) 97 BPM · 4/4, Intro 4 bars: filtered kick, air, shaker, spoken male, Hook 8 bars: full groove, male/female short lines (“Don’t call / No me llames”, “Don’t text / No me escribas”), Verse 12 bars: reduced drums, rolling bass, single lead, Chorus 8 bars: full groove, shared vocals, Verse 12 bars: same groove, other lead, Drop 12 bars: percussion-led chant (“Dance it off / Báilalo”), Final Chorus 8 bars: widest section, Outro 4 bars: filtered groove, last line only, clean end

Tempo 76–82 BPM, 4/4, key of G or A major/minor blend: sparse acoustic guitar (boom-chick), upright bass entering after first chorus, brushed snare or muted kick on 2 & 4; Intro (0:00–0:20): solo acoustic guitar, light room reverb, no vocal; Verse 1 (0:20–1:05): male lead, guitar only, bass tacet; Pre-Chorus (1:05–1:25): female harmony enters softly, bass root notes begin; Chorus (1:25–2:05): full harmony, bass steady, subtle brush/snare; Verse 2 (2:05–2:45): female lead, male low harmony, same groove; Pre-Chorus (2:45–3:05): drop snare, vocal focus; Chorus (3:05–3:45): full dynamic return; Bridge (3:45–4:15): instruments pull back to guitar + bass, voices close-mic’d; Final Chorus (4:15–5:00): widest harmony, optional pedal steel or fiddle pad; Outro (5:00–5:20): guitar resolves alone, natural decay

STYLE (Tech Afro House × Breaks / Krafty Kuts) 4/4 | 124 BPM | Key: A minor — Intro with filtered Afro percussion, shuffled breakbeat top loop, deep sub pulse, vinyl FX, radio noise, spoken intro vocal rhythmically chopped, triggered on beat 1 every 2 bars; Verse locks into rolling tech-Afro groove — punchy kick, syncopated bass, rim + clap, organic tribal percussion, lead vocal delivered spoken-sung, short phrases snapped to the grid, 1 bar on / 1 bar off; Pre-Chorus drops kick briefly, percussion continues, filter opens, vocal reduced to single-word hits on off-beats; Chorus hits full power — solid kick, breakbeat layer underneath, wide Afro drums, bass pressure, chant vocal looped as a 4-beat rhythmic hook, percussive not melodic; Verse 2 adds extra percussion and break fills, same vocal rhythm maintained; Bridge strips to sub, percussion and FX, vocal gated and pulsed on quarter notes; Final Chorus brings full groove back with extra break fills and open hats, crowd-style response

BEAT MAP — “Dancing Is Better Than Therapy” 94 BPM · 4/4 · Colombian dem bow (light swing), Intro 8 bars: filtered kick, light guacharaca, LP gaita, air pad; spoken EN→ES line bars 5–8, Hook A 8 bars: full groove; vocals alternate per bar EN/ES — “Dance it off / Báilalo / Don’t text me / No me escribas / Dance it off / Báilalo / Don’t call / No me llames”, Verse 16 bars: reduced drums, English lead only, Pre-Chorus 8 bars: lift, gaita opens, EN lead with ES echo tails, Chorus 8 bars: full groove, EN melodic lead, soft ES word-doubles, Hook B 8 bars: language flip — “Báilalo / Dance it off / Si duele demasiado / Let it be / Báilalo / Dance it off / Nada más / That’s all”, Bridge 8 bars: kick + tambora only, spoken EN, Drop 16 bars: chant alternating bars “Dance it off / Báilalo”, Final Chorus 8 bars: widest section, EN lead + soft ES harmony, Outro 8 bars: filtered groove, EN “I want peace” → ES “Quiero paz”

124 BPM, 4/4, Hard minimal UK tech house in the vein of Terry Francis, Gideon Jackson, and Eddie Richards, Tight 909 kick with weight, dry clap on 2 & 4, shuffled closed hats, swung rimshots, sparse tribal percussion, rolling mono sub locked to the kick, Acid: dominant TB-303 style square-wave line, single 16-step pattern, medium decay, strong envelope, pronounced resonance, Acid enters after first chorus already audible (not teased), cutoff opening steadily across long phrases, accents engaged early, slides introduced mid-track and maintained for pressure, No drops, no breakdown payoff — percussion thins briefly in the bridge while acid stays driving and hypnotic, Final section keeps acid aggressive and unresolved, DJ-friendly, warehouse energy throughout

Tempo: 125 BPM Time: 4/4 Style: Afro Tech House × Reggaeton (minimal, club-first) Intro — 8 bars • Kick (low, rounded) • Sub pulse (sidechained) • Shaker (16th swing) • Spoken vocal only Verse — 16 bars • Kick • Rim / clap (on 2 & 4) • Muted bass groove • Very light percussion loop • Vocal = 1 line every 2 bars (important) Pre-Chorus — 8 bars • Add toms (Afro feel) • Bass opens slightly • No new vocals after bar 6 (leave air) Chorus — 16 bars • Full groove locked • Kick + bass dominant • Open hat off-beat • Vocal = short chant phrases, repeatable Verse 2 — 16 bars • Same as Verse 1 • Add one new percussion texture only Pre-Chorus — 8 bars • Same as first (don’t change it) Chorus — 16 bars • Identical to first chorus (clubs need sameness) Breakdown — 8 bars • Kick drops • Sub + pad • One spoken line only Final Chorus — 24 bars • Everything back in • Extra percussion • Ad-libs allowed Outro — 8 bars • Kick + sub • Vocal echo tail

170–174 BPM | 4/4 | Key: F minor → Ab major lift — Atmospheric intro with vinyl crackle, city ambience, filtered pad and sub swell; Verse drops into rolling liquid DnB with warm Reese bass, crisp Amen break layers, ghost snares, and deep sidechained sub; Pre-Chorus strips drums slightly, adds rising pad and delayed vocal throws; Chorus hits full-energy liquid/anthem DnB with wide pads, emotional chord stabs, steady ride cymbal, and strong bass movement; Verse 2 adds subtle jungle percussion and call-and-response bass edits; Bridge switches to halftime (85–87 BPM feel) with minimal drums, sub bass, and reverb-heavy vocals; Final Chorus returns full 174 BPM with added string synth, octave bass, and extra top-end lift; Outro fades with pad, filtered break, and tape echo — nostalgic UK DnB with modern polish, emotional not aggressive

(Flamenco × Afro House) 122 BPM, 4/4, deep Afro kick with rounded sub; 16-bar intro using filtered flamenco guitar harmonics, palmas (hand claps), shaker, and low ambience, Verse groove brings Afro percussion (conga, djembe, rim) with syncopated flamenco guitar riff answering the vocal, Pre-chorus tightens with rolling toms and claps accenting the heartbeat feel, Chorus lifts without a drop — add off-beat bass, open hat, and vocal chant loop (“Feel the rhythm”), Verse 2 introduces call-and-response guitar phrases and light break fills, Short 8-bar breakdown: guitar + palmas only, then rebuild layer by layer, Outro strips back to kick, sub, and whispered vocal fragment

Dark UK-leaning Afro house at 123–124 BPM in 4/4, late-night and weighty, minor key, swung groove with subtle broken-beat influence, deep rounded kick with controlled sub pressure, intro 16–32 bars instrumental with filtered percussion, low vinyl texture and distant guitar stabs, verses run on steady kick, shuffled hats, low tom/conga ghost hits and minimal bass movement, vocals dry and close, pre-chorus pulls low end briefly to create tension, chorus keeps groove unchanged but adds low male/female harmony and darker chord voicings, no energy lift, Krafty Kuts–style break edits appear as sharp 1–2 bar fills and turntable-style cuts between sections (never a full break), bridge strips to percussion, bass pulse and guitar texture with exposed vocals, final chorus returns full groove with added harmonic weight but no brightness, long outro designed for DJ blending, no EDM risers, no drops, pressure over drama, suitable for Fabric-style floors at 4–6am

(Minimal Tech House) 118 BPM, 4/4; deep clean kick, soft side-chained sub, shuffled closed hats, rim clicks, 16-bar intro with kick + texture only, spoken line drops dry, Main loop runs hypnotic with no added elements; tension from repetition, Female call appears every 32 bars, filtered and panned, 8-bar breakdown removes kick, leaves bass pulse + delay tails, then rebuilds slowly, Outro strips back to kick, sub, and whispered “Twisted English, ”

(Minimal Tech House) 118 BPM, 4/4; deep clean kick, soft side-chained sub, shuffled closed hats, rim clicks, 16-bar intro with kick + texture only, spoken line drops dry, Main loop runs hypnotic with no added elements; tension from repetition, Female call appears every 32 bars, filtered and panned, 8-bar breakdown removes kick, leaves bass pulse + delay tails, then rebuilds slowly, Outro strips back to kick, sub, and whispered “Twisted English, ”

Intro – Spoken Definition 4/4 | 94 BPM | tight kick, rim, vinyl crackle, space Sevillanas 132 BPM | palmas, cajón, nylon guitar | cheerful, festival lift Soleares 96 BPM | sparse palmas, tremolo guitar | dignified, spacious Siguiriyas 92 BPM | heavy accents, minimal backing | intense, ritual Fandangos (Malagueñas / Granadinos) 122 BPM | melodic guitar runs, airy vocal | regional colour Tangos Flamencos 128 BPM | groove-locked palmas, cajón, bass | celebratory Transition Bridge Filter flamenco guitar → club chop | tempo settles 126 BPM Afro House (Story Section) 126 BPM | deep kick, Afro percussion grid, warm bass Breakbeat Switch Same tempo | drop kick, broken drums, sharper bass Outro Flamenco palmas + nylon flourish | Phrygian resolve

Tempo: 92–98 BPM | Time: 4/4 | Feel: Loose folk-blues sway, slightly behind the beat Drums: Minimal kit or brushed snare; kick on 1 & 3; no modern tightness; human drift allowed Bass: Upright or warm electric; root–fifth movement; subtle push into choruses Guitars: • Acoustic steel-string driving the rhythm (Dylan folk pulse) • Gritty electric fills answering vocal lines (Stones attitude) Keys: Sparse upright piano or organ pads, only to underline transitions Vocals: • Lead: conversational, narrative, imperfect phrasing encouraged • Optional low harmony on last line of verses, no stacked choirs Dynamics / Structure: • Verses stay restrained and lyrical • Energy rises from lyric weight, not production • No big chorus; repetition is emotional, not melodic • Outro strips back to vocal + acoustic, fade or hard stop What to AVOID: • Quantized drums or modern folk polish • Anthemic chorus lifts • Dense metaphors or wordplay gymnastics • Synths, pads, or cinematic builds

KRAFTY KUTS × ANDALUSIAN GUITAR × AFRO HOUSE — BEAT MAP 4/4 | 124 BPM constant | quantised, cut-friendly, DJ-safe Track opens with deep Afro-house kick fully present from bar one, round and steady, side-chained gently to a warm sub bass playing a simple one-bar motif with swing; dry rim or clap on two and four only, no fills; shuffled breakbeat hats and ghost snares enter quietly to give Krafty-Kuts-style grit without breaking the grid; Andalusian nylon guitar plays short, percussive phrases (muted strums, rasgueado flicks, tremolo swells) strictly between vocal or hook phrases, never over the kick; flamenco palmas layer as texture in call-and-response with the breakbeat ghosts, filtered in and out every 8 or 16 bars; energy comes from cuts and drops of elements (half-bar kick mutes, snare cuts, guitar chops), not from new parts; mid-section strips to kick + bass + shuffled breakbeat drums only, then guitar re-enters chopped and re-pitched for a crafty feel; final phase simplifies ba

124 BPM, 4/4, D minor, Afro-house foundation with Krafty Kuts–style breakbeat shuffle; intro uses filtered Afro kick, sub swell, vinyl hiss, breath FX and dry spoken vocal; Verse 1 adds rim, shakers, muted breaks with restrained rolling bass; Pre-Hook drops kick and percussion briefly with riser and breath automation; Hook brings full Afro kick plus breaks, open hats, stacked chant widening to stereo; Verse 2 increases break presence with syncopated toms and more bass movement; Bridge strips to pad and heartbeat-style kick every two bars with intimate vocal; Drop reintroduces full groove with Afro kick dominant and breaks tucked underneath; Ecstatic build opens filters, raises saturation and delay sends; Peak removes kick entirely for 4–8 bars letting breaks, bass and chant collide in dense overload; Outro collapses hard to pad and breath, kick returns quietly then fades dry to silence, ‑• ❌ No rom-com, ‑feel-good, ‑movie-soundtrack vibes • ❌ No American cheerleader energy or pop-EDM hands-in-the-air cheese • ❌ No gospel uplift, ‑no choir climax, ‑no inspirational arc • ❌ No explicit sexual language, ‑no porn cadence, ‑no moaning clichés • ❌ No spa-music, ‑healing-retreat fluff, ‑or New-Age meditation kitsch • ❌ No over-sung vocals or vocal acrobatics • ❌ No drop-happy EDM structure (one real peak only) • ❌ No Latin pop / reggaeton bounce bleeding into this track • ❌ No happy major-key resolution at the end

[SECTION 1 — OPERA INTRO] • Piano: Steinway grand, slow dramatic chords with heavy reverb, • Strings: Full section — violins holding long notes, cellos adding deep counter-lines, • Choir: Mixed choir sustaining warm “ahhh” harmonies, no short cut-offs, • Style Notes: Inspired by “Carmen – Habanera” energy, theatrical, bold, emotional, • Atmosphere: Big hall sound, slow build, tension rising, [SECTION 2 — ORCHESTRAL TRANSITION] • Harp: Soft glissando to signal movement from opera to orchestral, • French Horns: Warm, cinematic phrases; answering the strings, • Violins: Rising lines, shimmering tremolo, building anticipation, • Cellos/Basses: Slow, powerful bow strokes holding the foundation, • Percussion: Only soft cymbal washes — keep the space open, • Purpose: Shift from operatic drama into full classical grandeur, [SECTION 3 — AFRO-HOUSE GROOVE] • Drums: Afro-house beat with four-on-the-floor kick, congas, talking drum, shakers, • Influence: Ginger Baker–style Af

BOX 2 — BEAT MAP (TECH HOUSE x AFRO-LATIN FOLK) 124–126 BPM | 4/4 | Club-ready Intro (0:00–0:45) Filtered drum loop, off-beat closed hat, low-passed bass ghost notes, Spanish guitar single-note plucks (high-passed), FX riser every 8 bars, spoken “Still moving…” teased with delay, Groove Establish (0:45–1:30) Full kick enters, tight rolling mono bassline, clap/snare on 2 & 4, shuffled hats, muted stab chord, guitar rhythm tight and percussive, Build 1 (1:30–2:00) Bass filter opens slightly, Afro/Latin percussion fills, vocal chop “closed eyes”, noise sweep tension, Drop 1 (2:00–3:00) Bass fully open, drums locked, rhythmic stab chord, Drop Chant (“Still moving / Cuerpo y ritmo”) every 8 bars, guitar hook answers bass, Breakdown (3:00–3:30) Kick drops, bass filtered, Spanish vocal line “No me salves…” with long delay throws, guitar sparse and emotional, Build 2 (3:30–4:00) Light snare roll, filter automation up, white-noise lift, guitar tremolo rising, Drop 2 / Peak (4:00–5:15) M

Andalusian folk songs are deeply rooted in Southern Spain's culture, primarily expressed through Flamenco, a passionate art form featuring various styles (palos) like Soleares, Siguiriyas, and Fandangos, often with deep, emotional lyrics and distinct rhythmic structures, Key elements include the characteristic Andalusian cadence (a descending chord progression) and melodic scales, with traditional songs like "El Vito" showcasing the unique Phrygian mode and historical connections to bullfighting and popular culture, Key Characteristics: Emotional Depth: Lyrics often convey intense feelings of despair, joy, jealousy, and love, reflecting the human condition, Rhythm & Meter: Complex rhythms and time signatures are central, with distinct feels for each palo(style), Melodic Scales: The Phrygian mode (Andalusian cadence) is a hallmark, creating a distinctive sound, Popular Styles (Palos) of Andalusian Folk Music: Sevillanas: A more cheerful, couple-dance form, popular in festivals, Solear

CARLOS FRANCISCO – AFRO-LATIN TECH HOUSE PROMPT Afro-Latin tech house with rolling percussion, groovy sub bass, organic tribal elements, and rhythmic vocal accents, Carlos Francisco vibe: warm, percussive, uplifting, and groove-focused, RAP R and B dancehall, male and female voice

4/4 | 124 BPM | ONE LOOP, NO SECTIONS Deep Afro-house kick plays from bar one to the end, unchanged; warm bass repeats a simple one-bar pattern with space between notes; soft clap or rim on two and four only; flamenco palmas appear quietly as texture and drop in and out every 8 or 16 bars; nylon guitar used only for short answers between vocal lines (muted strums or tremolo swells), never continuous; no tempo changes, no drops, no breaks; energy comes only from adding or muting elements; vocals loop freely over the groove without needing alignment; track can run 4 minutes or 10 minutes without changing structure

guitar, male voice, catchy Afro house flamenco bongos tam tam, blues, bass Latin flamenco drums acoustic Spanish guitars Te Amo Balũ, catchy, acoustic guitar

72 BPM, E minor, Intimate opening with Gibson J-45 fingerpicked acoustic and sparse cello swells, Spanish female lead close-mic’d with natural room reverb; English translation enters as a harmonic counter-voice rather than a call-out, Pre-chorus introduces Ramírez concert guitar in Paco de Lucía-style rhythmic compás, subtle palmas and fretless bass to lift momentum, Chorus blooms with layered violins and sustained cello, harmonised female choir wide but restrained, Bridge strips back to solo Spanish guitar + breathy vocal, vibrato increased, then accelerates gently with light string ostinatos bridging into final chorus, Final section adds Telecaster volume swells, fuller string ensemble, and restrained cajón + soft bass drum, resolving emotionally rather than rhythmically heavy

Genre: Violin-led Afro-Latin / Reggaeton Bounce / Fantasy Strings Style tags: Violin Calypso, Fantasy, Reggaeton Latino, Trap accents, Upbeat Bounce BPM: 124 (122–126 safe) Key: D minor → F major lift in choruses Mood: Cinematic → sensual → rhythmic → intimate Length: ~4:15 INTRO (0:00–0:20) • Choir (wordless, airy, wide reverb) • Low ambient pad / sub drone • No drums, no bass VERSE 1 (0:20–0:55) • Choir sustained • Cello (legato, low register) • Soft swells and reverses • No kick, pulse implied only PRE-CHORUS (0:55–1:20) • Viola mid-range movement • Low violin ostinato (subtle calypso feel) • Filtered shaker / light percussion • Energy rising CHORUS 1 (1:20–1:50) • Violin lead (bouncy, rhythmic, calypso-influenced) • Cello rhythmic plucks • Double bass warm foundation • Light reggaeton dembow (controlled) VERSE 2 (1:50–2:25) • Cello melodic phrases more prominent • Violins call-and-response stabs • Bass syncopation continues • Groove maintained, slightly stripped

Beat Map (124 BPM, 4/4): Track opens with electro drum machine hits and filtered breakbeat loops, vinyl noise and tape hiss for texture, no full kick yet; classic acid bassline fades in slowly with low cutoff and restrained resonance; main groove drops with layered breakbeat and four-to-the-floor kick underneath, electro claps and syncopated toms adding breakdance swing, bass elastic and rolling; dub stabs and short electro synth chirps hit off-beats; vocal enters in rhythmic spoken flow riding the breaks; mid-section strips kick briefly, leaving electro drums, acid line, and delay-washed stabs, filter opening gradually; drop returns with full breakbeat pressure, acid line more open and expressive, subtle house piano or synth stab for Summer of Love lift; final section eases elements out progressively, leaving electro drums and acid bubbling before filtering down and releasing naturally

Beat Map (124 BPM, 4/4): Track opens with electro drum machine hits and filtered breakbeat loops, vinyl noise and tape hiss for texture, no full kick yet; classic acid bassline fades in slowly with low cutoff and restrained resonance; main groove drops with layered breakbeat and four-to-the-floor kick underneath, electro claps and syncopated toms adding breakdance swing, bass elastic and rolling; dub stabs and short electro synth chirps hit off-beats; vocal enters in rhythmic spoken flow riding the breaks; mid-section strips kick briefly, leaving electro drums, acid line, and delay-washed stabs, filter opening gradually; drop returns with full breakbeat pressure, acid line more open and expressive, subtle house piano or synth stab for Summer of Love lift; final section eases elements out progressively, leaving electro drums and acid bubbling before filtering down and releasing naturally

Afro house, strings violin, cello, bongos, fender bass guitar, les Paul Gibson banjo, flamenco guitar

while retaining the Krafty Kuts breakbeat / pure science feel: Breakbeat / Krafty Kuts–style science rap at 126–128 BPM in F minor, heavy swung funk breaks with clean boom-bap punch, vinyl crackle and laboratory synth beeps intro (0:00–0:20), filtered pulse and riser into full break drop for Verse 1 (Hydrogen–Boron) with mono bass stabs, off-beat funk guitar/clav hits and wide space for clear educational vocals; Chorus strips back to kick, snare, tambourine with call-and-response vocal echoes and short synth stabs; Verse 2 (Carbon–Neon) adds vocoder science synth, more syncopated bass and ghost snares with scratch fills; Chorus repeats brighter; Verse 3 (Sodium–Phosphorus) hits peak energy with layered breaks, acid-tinged synth answers and turntable accents; Verse 4 (Sulphur–Calcium) drops bass briefly then slams back heavier with FX hits on each element name; Outro breaks down to kick and synth pulse, repeating “first twenty elements” hook, filter sweep down and vinyl brake ending

THE DEL 5 – FUNKY TECH HOUSE PROMPT Funky tech-house with quirky synths, warm bass, crisp hats, bouncy rhythm, and playful energy, The Del 5 vibe: upbeat, fun, rolling grooves with unique character and tight percussive detail, Afro house, Latin, violin, bongos drums

GENRE: Afro House / Orchestral Sacred Carol Fusion BPM: 122 KEY: A minor LENGTH: 6:00 STRUCTURE TIME MAP: 0:00–0:35 – Cathedral intro: tubular bells, celeste, large choir, organ pad 0:35–1:20 – Verse 1: strings, sleigh bells, low African percussion 1:20–1:55 – Chorus: full choir, congas, deep emotional lift 1:55–2:35 – Drop 1: Afro-house kick, djembe, log drums, big bells 2:35–3:25 – Verse 2: lighter percussion, intimate strings + bells 3:25–4:05 – Bridge: brass swell, sacred choir, no kick 4:05–4:45 – Drop 2: full ensemble, African drums + cathedral bells 4:45–5:30 – Final chorus: massive carol lift + Afro pulseTERRY FRANCIS – WIGGLE / FABRIC TECH HOUSE PROMPT Gritty underground tech-house with swung 909 drums, warm sub bass, minimal stabs, shuffled percussion, and hypnotic late-night movement, Terry Francis vibe: dark, rolling, dubby textures, deep stereo atmospheres, and dry club-ready mix, • Deep house kick + warm sub • Large SATB choir + boys’ choir top note line VOCAL MAP: •

AFRO HOUSE x UKG x STRINGS) STYLE: Afro house foundation, UK underground garage swing, orchestral strings, flamenco + banjo touches, Fender bass groove, BPM: 122–125, 0:00–0:20 — Intro Soft bongos + light shakers Muted Fender bass plucks Flamenco guitar harmonics Atmospheric violin swell 0:20–0:45 — Groove Entry Afro house kick (deep, warm) Bongos tighten into a 3/2 pattern Cello drone underpinning Light UKG hi-hat shuffle 0:45–1:15 — Verse 1 Strings (violin) answering vocal phrases Gibson banjo muted plucks on offbeats Bass becomes rounder and syncopated Minimal chords 1:15–1:40 — Pre-Chorus Flamenco guitar arpeggios rising Shakers widen Kick softens slightly Cello accents build tension 1:40–2:10 — Chorus Drop Full Afro house drum pattern Bongos + congas layered Wide violin/cello stabs Fender bass rolling groove UKG swing on hats + ghost claps 2:10–2:40 — Verse 2 Percussion reduces Banjo + flamenco interplay Bass warms but stays minimal Pads widen behind strings 2:40–3:20 — Bridge Kic

FRED NASEN – DEEP MINIMAL GROOVE PROMPT Deep minimal tech-house with dubby chords, warm textures, subtle FX, rolling basslines, and hypnotic rhythmic detail, Fred Nasen style: atmospheric yet groovy, understated, refined, late-night feel, GENRE: Cinematic orchestral intro → orchestral section solos → Afro House fusion, BPM:118, KEY:D minor → F major lift, LENGTH:5–7 min, STRUCTURE:0:00–0:25 massive vocal choir + solo lead + soft pads;0:25–0:45 string solo (high violins + soft basses);0:45–1:05 brass solo (warm horns + stabs);1:05–1:25 woodwind solo (flutes + clarinets);1:25–1:45 full orchestra hit with drums muted;1:45–2:10 transition: deep sub pulse + filtered djembe;2:10–2:40 Afro house groove: kick, congas, shakers, warm bass, guitar plucks;2:40–3:10 verse groove: rhythmic keys + muted guitars;3:10–3:40 chorus: open hats, layered percussion, string stabs, vocal harmonies;3:40–4:20 second Afro lift: log drums, marimba riffs, brass accents;4:20–4:50 breakdown: kick-out, sub + pads + vo

GRANT DELL – WIGGLE-STYLE SWING PROMPT Loose, shuffled UK tech-house with rolling sub bass, Wiggle-style swing, dry tight drums, filtered stabs, and minimal hypnotic movement, Grant Dell vibe: deep groove, subtle modulation, late-night bump, DJ-friendly structure, understated funk, Gritty underground tech-house with swung 909 drums, warm sub bass, minimal stabs, shuffled percussion, and hypnotic late-night movement, Terry Francis vibe: dark, rolling, dubby textures, deep stereo atmospheres, and dry club-ready mix

CARLOS FRANCISCO – AFRO-LATIN TECH HOUSE PROMPT Afro-Latin tech house with rolling percussion, groovy sub bass, organic tribal elements, and rhythmic vocal accents, Carlos Francisco vibe: warm, percussive, uplifting, and groove-focused, Tech House — clean, classy repetition • 4/4 punchy kick, tight hats, short clap • Rolling warm bassline that repeats every 8 bars • Main stab synth with subtle filter movement • Loop-friendly structure so vocals can return naturally • Club whistle on each drop + subtle accents every 8 bars • Crowd cheer layered under the first and second drop • Delay throws on the repeating vocal hits for variation • Occasional chop/reverb swell between repeats Structure for a full-length feel • 8-bar intro • Loop vocals (1st cycle) → Drop • 16 bars groove • Loop vocals (2nd cycle) → Drop with louder whistle • Break (no vocals) • Loop vocals (final cycle) → Final drop

BPM 126 • Swing 56–58 Afro-Tech House • London / Wiggle / Nathan Coles spirit KICK: 4/4 + ghost on 4e (every 4 bars) HATS: x, x x | open hat every bar end SHAKER: swung 1e+a continuous CONGAS:, x, x + x, x, (off-grid) RIM:, x, |, x, CLAP:, x, (airy + tight mix) SUB: 1, x |, x, |, x |, x, ARRANGE: 0:00–0:16 intro (kick + shaker) 0:16–0:48 perc build 0:48–1:12 drop 1 (hook) 1:12–2:00 verse groove 2:00–2:24 breakdown 2:24–2:48 build 2:48–3:32 drop 2 3:32–end outro Afro house deep house NOTES: swing hard, keep hats loose, sub warm, micro-fills every 4–8 bars