Iztril/Duni-Rolling Maul

[is_MAX_MODE: TRUE](MAX) [QUALITY: MAX](MAX) [REALISM: TRUE](MAX) [REAL_INSTRUMENTS: TRUE](MAX) [START_IMMEDIATELY: TRUE] Alt-dance / art-rock, Jittery drum machine, rubbery bass, clipped guitars, talk-sung mania, dance‑punk chaos, Beck absurdism × Byrne twitch‑dance × LCD party self‑destruction, Tempo: ~128 BPM, Key: G minor, ‑american accent, ‑american pronunciation, ‑us vocal inflection, ‑los angeles mix, ‑nashville production, ‑hollywood tone, ‑west coast mastering, ‑american english diction, ‑nasally vowels, ‑american rock phrasing, ‑southern twang, ‑country tone, ‑blues inflection, ‑yankee drawl, ‑american radio compression, ‑american indie vocal, ‑california accent, ‑mainstream us pop polish, ‑midwestern intonation, ‑overbright eq, ‑american snare tone, ‑clap-heavy mix, ‑usa mastering curve, ‑american studio tone, ‑american-style autotune, ‑american session vocalist, ‑pop-punk americanism, ‑transatlantic accent

Catchy breakbeat + drum‑and‑bass (≈ 175 BPM), Structure: intro (8 bars), fast rap verse (16 bars, ~200 wpm), pre‑chorus (8 bars, decel to 165 BPM), melodic chorus (12 bars) with four‑part SATB harmony, natural vibrato, and “ooh‑aah” pads, slow rap verse (16 bars, ~120 wpm, breath‑rap), hybrid bridge (8 bars) that ramps back to 175 BPM (slow → double‑time), final expanded chorus (16 bars) adding a high‑soprano ad‑lib, and fade‑out outro (10 bars), Vocals: professional lead centered, double‑track fast rap, single‑track slow rap, harmonies recorded separately, panned wide, plate reverb (~1, 2 s), hand‑controlled vibrato (5‑6 Hz), Mix/EQ (“perfect EQ”): kick + bass boost 60 Hz/100 Hz, cut 300‑500 Hz; snare high‑pass 150 Hz, snap 2‑3 kHz; synth pads shelf 8 kHz, dip 400 Hz; vocals presence 3‑4 kHz, de‑ess 6‑7 kHz, low‑cut <80 Hz, Side‑chain choir to kick, mid‑side EQ on stereo bus, multiband compression on master, -14 LUFS Alt-dance / art-rock, Jittery drum machine, rubbery bass, clipped

Bold robotic vocoder vocals with strong formant shaping, tight harmonized chord stacks, and a metallic yet warm synthetic tone, Deep UKFdrum & bass / garage crossover with2011–2013 underground DNA, elevated to 2026 with modern sub clarity, restraint, and spatial control, [TEMPO] 138 BPM, rolling pressure, halftime feel, [MOOD / ENERGY] Collective, grounded, hypnotic, Forward motion through shared weight, not aggression, Feels inevitable, not explosive, [SONIC PALETTE] Sub-bass leads: warm, elastic, chest-level, perfectly mono, Sparse swung hats, muted kicks, dub-space reverb tails, One VIP bass phrase mutation mid-track, Dark highs, no bright synths, no festival drops, [VOCALS] Vocals function as rhythmic weight and communal cue, [LYRICS / THEMES] slurry sultry space lesbians, Short slurry ritual phrases only, Presence, slurred, drugged, sexy, dark, contact, continuation, feels like hot fast bathroom encounters, ‑us vocal inflection, ‑los angeles mix, ‑nashville production, ‑hollywood tone, ‑west coast mastering, ‑american english diction, ‑nasally vowels, ‑american rock phrasing, ‑southern twang, ‑country tone, ‑blues inflection, ‑yankee drawl, ‑american radio compression, ‑american indie vocal, ‑california accent, ‑mainstream us pop polish, ‑midwestern intonation, ‑overbright eq, ‑american snare tone, ‑clap-heavy mix, ‑usa mastering curve, ‑american studio tone, ‑american-style autotune, ‑american session vocalist

Electro‑Rock/Synth‑Wave/Anthemic Intro 8 bars, Verse 16 bars, Pre‑Chorus 8 bars, Chorus 16 bars, Bridge 8 bars, Final Chorus 24 bars, Guitars: Double‑tracked distorted rhythm (gain –1 dBFS, peak at 3 kHz), lead solo with slight tremolo, EQ cut –3 dB at 500 Hz, boost +2 dB at 6 kHz, Drums: Acoustic kit samples, kick (−2 dBFS, 60 Hz), snare (2, 5 kHz snap, –4 dBFS), overheads wide, 12 kHz shimmer, Synths: Analog arpeggiator (120 bpm, 14 kHz high‑end sparkle), pad layer (low‑pass 8 kHz, –1 dB), Bass: Fat synth bass (fundamental 45 Hz, –1 dBFS), side‑chained to kick, slight overdrive at 700 Hz (+0, 5 dB), Vocals: Main lead +6 dB gain, de‑esser at 6 kHz, plate reverb 2, 2 s, stereo widening +12 %, Mix processing: Parallel compression on drums (4:1 ratio), bus EQ high‑pass 30 Hz, gentle dip –2 dB at 250 Hz, Master: Multiband compressor (low 1, 5:1, mid 2:1, high 3:1), limiter set to –0, 1 dBTP, target loudness –8 LUFS 96 kHz sample rate, 24‑bit depth, dithering disabled (high res)a, ‑Vocal duet, ‑Blurry vocals, ‑inaccurate intonation, ‑imprecise pronunciation, ‑non-drone sounds, ‑poor mastering applied, ‑unprofessional reverberation, ‑unprofessional mastering, ‑poor FX applied over the song, ‑poor EQ, ‑shimmering, ‑lasering, ‑excessive distortion, ‑inexact breathing, ‑too quiet voice, ‑uncreative FXs

Experimental glitch-hop and wonky techno at 90 BPM, deep distorted 808 sub-bass, heavy swinging beat with stuttering percussion, detuned angular synth leads, chopped and screwed female vocal samples, gritty urban atmosphere, heavy groove, [how instruments are played]: vocaloid fragment sliced & layered w/ shimmer (0, 4Hz depth, stereo maxed); sub-bass glides w/ LPF sweep on drop; ghost snares + triplet hats for swing; ambient pad swells then cuts, Lead phrase stuttered, reversed, glides to high-pitched ghost tail, [vocals]: CaroCaro lead (natural), Vocaloid (Hatsune Miku/Luka blend) on drop [vocal delivery STYLE]: whispered-glide, vowel-blossom harmonics [story arc]: trauma to defiance → liberation [keys]: Am → Cmaj (drop) → Fmaj (outro)