Day 31

Gritty early-90s grunge and classic-rock anthem with brooding verses, muscular guitar riffs and a huge, emotionally raw chorus, Open with clean, reverb-soaked electric guitar before thick distorted guitars, heavy live drums and rumbling bass crash in, Deep, weathered male baritone with loose phrasing, restrained intensity in the verses and powerful raspy belts at the crescendos, The song should feel windswept, muddy and heroic, like one man battling mountains, exhaustion and his own limits, Build steadily from reflective storytelling into an explosive final chorus with layered guitars, crashing cymbals and rough backing vocals, Add a short, soulful guitar solo before the finale, Organic live-band production, dynamic tempo, no polished pop sheen, Finish with the singer roaring the final line over ringing guitars and one enormous closing chord

For Chris’s song, that suggests a rollicking Americana folk-rock track: warm electric guitars, organ, driving live drums, rough soulful male vocals and big harmony choruses, Less dirty punk, more wild road-trip bar-rock anthe

Cambodian psychedelic garage rock, Wild 60s-style fuzz guitar, hypnotic organ, pounding drums and a chaotic pub-rock chorus

fast, scrappy pop-punk, with a huge shout-along “Isaac, don’t Tripp!” chorus, I

Start with crackling air-traffic-control radio, then launch into driving drums, gritty electric guitars, banjo and a deep male country vocal, Think modern outlaw country colliding with stadium rock, The chorus should soar with huge backing vocals shouting “FLIGHT MODE!”, while “Craig Tom-sin” is pronounced clearly, Build the final chorus like a plane taking off: faster drums, rising guitars and full-throttle vocals before the radio outro clears him to land

dark 2000s nu metal leaning hard into scott s Nu Metal, Alternative Metal, Rap Rock choice downtuned guitars sinister whispered verses slapped bass explosive drums and a huge screamed boogey man chorus

Start bouncy and fast for the buggy-king verses, with brass stabs and cheeky gang vocals, Then slam into a filthy half-time hardcore breakdown at: “Shit, I still need my vert, ” Finish as a huge shout-along punk anthem with RUN! HIKE! SURVIVE! It suits the speed, Wellington chaos and sheer stupidity of racing three times in one weekend

Start with ominous banjo, stomping drums and a deep, weathered male voice, The Fiji staircase chorus becomes a rowdy outlaw-country singalong, then the Revenant verse turns dark and cinematic before detonating into massive distorted guitars and screamed vocals: DEAN “MARTHA” STEWART! THE REVENANT KING! Finish with a brutal half-time breakdown around “WIN”, followed by a huge gang-vocal RUN! HIKE! SURVIVE! Basically: tropical hotel holiday meets backcountry horror movie

Insane high-energy EDM rave anthem, built for a man who says he doesn’t need music, Begin with a deadpan male voice saying, “My name is…” followed by a gigantic distorted “GEEEEEEEEEOFF!” launching the first drop, Relentless four-on-the-floor kick, filthy sawtooth bass, pounding techno drums, acid synths, sirens, lasers and chaotic festival energy, Verses delivered by a confident male rave MC over a dark pulsing beat, building rapidly into ridiculous stadium-sized drops, Make “MY NAME IS GEEEEEEEEEOFF!” the main shouted hook, chopped, looped and pitch-shifted through the track, Include fake dropouts, rising alarms, massive bass impacts and a euphoric final-day breakdown before the hardest drop of the song, Wild, funny and triumphant, like a sleep-deprived Day 31 mountain rave in Dunedin, Finish with the beat cutting dead while Geoff’s name echoes endlessly into the distance

high-energy female pop-rock anthem with pop-punk edges: bright guitars, racing drums, a playful verse and an enormous “POCKET ROCKET!” chorus